Vadh 2 deepens the moral universe introduced in Vadh (2022), echoing its predecessor while confidently standing on its own. The film once again revolves around Shambhunath “Shambhu” Mishra (Sanjay Mishra) and Manju (Neena Gupta), retaining their names but reimagining their lives in a striking role reversal. This continuity lends the narrative an almost fated quality, as though these characters are destined to keep colliding with ethical grey zones, no matter the setting.
In the earlier film, Shambhu was a retired schoolteacher crushed by debt after taking a loan to send his son to the US, only to be abandoned. Here, he is a widowed policeman, still carrying the same financial burden for the same reason. Manju, meanwhile, is a lifer in jail. Separated by iron bars and stone walls, the two are in love and dream of a future together once her sentence ends. Shambhu supplements his income by supplying goods to prisoners and by quietly stealing vegetables grown by inmates inside the jail compound, selling them at his vegetable shop outside, a small, telling act that reflects how normalised petty corruption has become.
The writing offers a scathing yet grounded look at prison hierarchies. Every jail, the film suggests, is unofficially ruled from within, and that power rests with Keshav (Akshay Dogra), the politically connected inmate who enjoys privileges ranging from alcohol and narcotics to a television in his barrack. His exploitation of authority extends to coercing a female jailor for sexual favours, a disturbing thread handled with sobering realism. When a strict new jailor, Prakash Singh (Kumud Mishra), takes charge and attempts to restore order, the inevitable collision between principle and power sets off a chain of events that leads to Keshav’s disappearance.
The investigation, led by Ateet Singh (Amitt K Singh), unfolds with quiet persistence. Ateet is convinced a murder has taken place, even when proof remains elusive. A year later, when Keshav’s decomposed body is found buried behind Prakash’s staff quarters, the case reopens, peeling back layers of deceit and moral compromise. The screenplay is patient, allowing secrets to surface gradually rather than relying on convenient shocks. There would be obvious comparisons to Drishyam but that’s neither here nor there.
What truly elevates Vadh 2, however, is its emotional core. Who says romance is the preserve of the young? The love story between a middle-aged prisoner and a policeman, conducted through whispered conversations, a loose stone in the wall and stolen moments, is tender, restrained and deeply moving. It doesn’t need physicality to feel intimate. This understated chemistry between Neena Gupta and Sanjay Mishra becomes the film’s quiet triumph, often overshadowing the murder mystery itself.
The film is also unafraid to confront uncomfortable social truths. Prakash Singh’s casual casteism towards those around him mirrors everyday prejudice in our society, while the depiction of female prisoners and the compromised female jailor feels ripped straight from newspaper headlines. Notably, the film resists easy judgment; even those who do wrong are shown as products of fear, pressure and systemic failure.
Performances across the board are strong, but the film firmly belongs to Sanjay Mishra and Neena Gupta. Both bring extraordinary depth, vulnerability and lived-in authenticity to their roles. Kumud Mishra leaves a strong impression despite limited screen time, and one can’t help but wish there was more of him. Amitt K Singh, though increasingly typecast as the straight-laced cop post Bhaukaal, delivers a sincere and steady performance that grounds the film.
Anchored by assured direction and thoughtful writing, Vadh 2 is less about solving a murder and more about understanding the quiet compromises people make to survive. The ending is genuinely surprising, but more importantly, it lingers, not as a twist, but as a moral reckoning.
Also Read: Everything We Are Watching This Week: Vadh 2 and More
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