Vidyapati movie review: A bizarre, biting rom-com with a beating heart
Vidyapati(3 / 5)
What begins like a fairy tale—complete with a superstar, a sudden marriage, and a wide-eyed hero—is quickly upended in Vidyapati, a film that lures you in with charm and comedy, only to plunge into the chaos of ego, identity, and quiet rebellion. Ikkat fame director duo Esham Khan and Haseen Khan's sophomore outing is quirky, messy, and refreshingly self-aware.
Siddhu (Nagabhushan), an ordinary man with an oversized hero complex, finds himself unexpectedly married to Vidya (Malaika Vasupal)—a bona fide cinema superstar. His new identity? Not as a husband per se, but as Vidya’s pati (Vidya’s husband), the plus-one to her fame. That cheeky inversion gives the film its title: Vidyapati.
The film opens with a lively voiceover introducing Vidya, a box-office queen disguised in sunglasses, sneaking out to eat roadside pani puri. Enter Siddhu, whom we first see playing the saviour—rescuing a woman from street harassment with just enough swagger to intrigue Vidya. One coincidence tumbles into another, and suddenly, they’re married. Classic rom-com setup? Not quite.
Director: Easham and Haseen
Cast: Nagabhushan, Malaika Vasupal, Dhananjay, Ramachandra Raju and Srivatsa Shyam
Beneath Siddhu’s affable smile is a man hungry—not for love but for clout. As Vidya basks in adoration, Siddhu fades into her shadow, managing appointments and photo ops while quietly nursing his own ambition.
Enter Jaggu (Garuda Ram), a local rowdy with a Godzilla-sized personality and ego. What starts as a selfie request escalates into an ugly confrontation, ending with Vidya slapping him for his misbehaviour. That slap? It’s more than a reaction—it’s the spark that lights the fuse. Humiliated, Jaggu swears revenge. Siddhu, failing to stand up for his wife, is unceremoniously ousted. Vidya gives him a choice: get an apology from Jaggu or get out of her life. Siddhu disappears. And so begins his brutal descent—from star-studded homes. His bank accounts are frozen, jewellery is pawned, and dignity is traded for scraps. Siddhu crashes back into his hometown, and this is where the film sheds its glossy veneer and finds something far more interesting and close to reality—a raw, middle-class reckoning. In flashbacks, we meet a Siddhu who distanced himself from his father, hid a crucial truth from Vidya, and carried the baggage of a stepmother he never truly accepted.
Amidst the comedic beats, the emotional moments shine. The father–son dynamic, in particular, hits home, adding depth to Siddhu’s character. Meanwhile, his childhood friend Kumara re-enters the picture, and with him, reminders of simpler times—and tougher realities. The local Shanti Pulav cart, run by Siddhu’s father, is on the brink of collapse, symbolising not just economic decay but cultural erasure.
Despite these heavier threads, Vidyapati never loses its comic rhythm. Directors Esham and Haseen keep the humour bubbling, even during emotionally charged scenes. Nagabhushan shoulders the film with novelty—his comic timing is impeccable, his emotional range believable, and his transformation sincere.
But just when the narrative seems to stabilise, it takes a surreal detour. Jaggu resurfaces with a grotesque “offer”—a night with Vidya in exchange for peace. It’s repulsive, yes, but the film doesn’t dwell on sensationalism. Instead, it pivots into an absurd training arc. Siddhu, still no fighter, finds an unlikely mentor in a ragged, rat-chasing drunk named Anaconda (Dhananjay). A philosopher in tatters, Anaconda urges Siddhu: “Let go of the frigging fear.” What follows is a metaphor-heavy montage—karate lessons, personal flashbacks, and the painful path to self-worth.
Siddhu’s transformation is as internal as it is external. His dyed hair fades to its natural shade. He reconciles with his father. He no longer fights for applause—he fights to protect. By the time he confronts Jaggu again, the question isn’t whether he will win back Vidya but whether he has finally found himself.
The climax is unexpectedly restrained. There are punches, yes, but the emotional resolution lands harder. There’s no melodramatic reunion, no sweeping kiss—just a gaze. Because respect, the film reminds us, is earned, not demanded.
While the film stays within a reasonable duration, it occasionally feels stretched. But the arrival of Anaconda—Dhananjay in a delightfully bizarre cameo—infuses the third act with fresh energy and offbeat wisdom. A subtle message threads through it all: one must work hard to earn their meal.
Nagabhushan is one of the sharpest comedic actors today—but that’s not all. He, as Siddhu, is at the centre of all things. His turn as the superstar’s husband-turned-underdog hero is his most layered performance yet. Meanwhile, Garuda Ram brings in an unsettling portrayal of Jaggu. Malaika Vasupal, despite limited screen time, brings charm and poise to her role. Shrivatsa, as Siddhu’s loyal friend, adds levity and heart.
Vidyapati offers quirky misadventures and light-hearted fun—with just enough bite to keep things meaningful. However, it is messy in parts, melodramatic, and sometimes bizarre—but that’s its charm. It’s a film that wears its quirks on its sleeve while peeling back layers of identity, gender, and self-worth. Siddhu may have started as a plus-one to fame, but by the end, he becomes a protagonist in his own right.