Bhediya Review: Varun Dhawan, Kriti Sanon Film Deserves Full Marks For Originality

In all, 'Bhediya' starring Varun Dhawan, Kriti Sanon, Abhishek Banerjee is a mad ride of a horror-comedy which feels different in the current climate of remakes, thrillers and period dramas. 

New Delhi: 'Bhediya' starring Varun Dhawan, Abhishek Banerjee, Paalin Kabak, Deepak Dobriyal, and Kriti Sanon deserves full marks for originality. The Amar Kaushik directorial has the right slant of comedy with rootedness though the horror is not so apparent in this horror-comedy flick.

'Bhediya' opens with a narration of the Wolf and the Seven Lambs story from Panchtantra which introduces Sharad Kalkar in a marginal role only to be eaten by a werewolf. Like the Panchatantra story, the film is filled with such folklore references, drawing upon the legacy of oral cultures, traditions and storytelling. And, that is why 'Bhediya' manages to land like its predecessor film 'Stree'.

'Bhediya' is about Varun Dhwan ( Bhaskar or Bhasky) getting bit by a werewolf in Arunachal when he is on a project to get a road built through the forests of Ziro. His friends played by Abhishek Banerjee, Paalin Kabak help him through this journey. 

The film is set in the Ziro in Arunachal Pradesh where the cold-windy-wintry landscape changes the colour palette to toned down shades of blue and gray. Makers of 'Bhediya' also obviously make use of the Ziro Music Festival reference but superimpose the Bollywood element overshadowing a small moment which may have thrown some light on the festival.

However, there is a specific background score dedicated to Ziro everytime untoward incidents of animal attacks happen in the film. This score complimented by showing the pristine landscape and untouched beauty of the Arunachal Pradesh is always contradicted with the larger question of 'representation'. Who gets to represent whom, whose story is being told, us ( North Indians) v/s they( people from Arunachal Pradesh and the North East in general), why the burden on the North Indian to emancipate people from the tribal belt in the forests of Ziro etc. etc. (Interstingly, 'Bhediya' stars Paalin from the North East and Deepak Dobriyal's charcter ( Panda) from Nainital to root the story and create the interchangeable boundary between us and them)

Because, 'Bhediya' tends to raise such questions, the film does a commendable job text wise but when it unsuccessfully tries to answer those questions and bring a closure and right every wrong etc, it gets too muddled up. Scenes with no meaning are sprinkled in the film which do not further the narrative at all. For instance; why does every theatrical release have to have an opening sequence song? Should we not move past formula conventions after such dramatic changes in the human psyche in the last couple of years.

Even though the filmmaker is trying to establish a die-for-each-other-kind-friendship between Varun, Abhishek and Paalin's character after this long road-trip song from Guwahati, the 'Baaki Sab Theek' opening sequence track is a cringe fit. It may be a good  independently outside the film but not in it. Likewise, the 'Jungle Mein Kaand' song does not land.

What you may like about the film is the pace. 'Bhediya' does not waste time in the nitty-gritties and gets straight to the point of Bhaskar getting bit by a werewolf and the aftermath in the form of the film.

The gradual unfolding of sequences which throw light on the aftermath of the human body and its transition on being bitten, the element of tribal folklore which worships the werewolf figure as a protector( bhishanu) of the forest, the 120-year old ojha, a veterinary surgeon (Kriti Sanon) who talks about the fine line between nature and culture etc. are all done in a commendable fashion.

What doesn't stick is the filmmaker's itch to follow and establish the leading character of the film Bhaskar played by Varun Dhawan. Perhaps, since the film is based on Bhaskar, the attempt could be excused but 'Bhediya' does tend to get carried away with the nuances with which it projects the many changes in Varun's character after being bitten by a Bhediya. Though there is the right balance of show and tell, the film does feel long though not less entertaining.

While the pre-interval film is everything fresh, interesting and on a forward march, the post-interval 'Bhediya' feels long. 

The screenplay begins to deliver eternal truths, politically correct jargon and answering questions and correcting the wrongs ( like preconceived notions about the people of North East), or keeping the sanctity of the jungle and keeping a balance between nature and vikas ( progress not at the cost of exploiting nature and thus causing human suffering in the form of deadly virus or animal attacks).

While all this is good and much needed, especially the way the film throws light on the insatiable human need of conquest and the blind thirst for materialistic possessions, 'Bhediya' becomes too much tell and less show.

The weird transition of Bhaskar into Bhediya by drawing onto the power of the jungle and becoming one with it is a banal scene, totally avoidable. The recollection from the romantic track 'Apna Bana Le' could have helped Bhaskar in this sequence.

The climax likewise is stretched and over-the-top dramatic. It could have easily been cut down to remove extra seconds and scenes like the fight between humans and werewolves etc. The editing feels lazy especially when long shots could have been cut and montage used to heighten very many moments of horror, comedy. love etc.

Because of the way 'Bhediya' is stuffed with the 'newness of concept', there is not much experimentation with the form. However, Varun transitioning to werewolf scenes are well executed.

In terms of actor performances, Varun Dhawan, Deepak Dobriyal, Paalin Kabak, Abhishek Banerjee, all shine in their parts. Kriti Sanon does not have much role in the film even though she holds central importance in the story.

Nevertheless, Varun Dhawan tries in earnest to prove that he is an actor with great mettle and his honesty shines in 'Bhediya'.

Lastly, the design of 'Bhediya' stands out. Not only does it contribute to the narrative, it also roots the story in the context it is set in. At least, I felt fully convinced that something like this could happen the way it does. 

The music of 'Bhediya' also suits the genre though sometimes over-the-top and melodic in scenes to contrast the horror and comic element reminding one of the horror soaps of the early 2000s like 'Aahat', 'Ssshhhh...Koi Hai' etc.

In all, 'Bhediya' is a mad ride of a horror-comedy which feels different in the current climate of remakes, thrillers and period dramas.