In the ever-evolving landscape of Indian cinema, anchored by narratives of fathers rescuing their daughters, Ajay Devgn finds himself in familiar territory with “Shaitaan.” This film marks the third consecutive project, following “Drishyam” and “Bholaa,” where Devgn portrays a relentless, protective father. In this riveting horror drama, the stakes are higher as the invincible aura that cloaked him in “Bholaa” is stripped, leveling the playing field against an unnerving adversary, essayed by R. Madhavan.
“Shaitaan” emerges from a regional masterpiece, much like its predecessor “Drishyam,” with director Vikas Bahl masterfully adapting the Gujarati film “Vash” into a full-blown horror spectacle. Bahl, known for dabbling in various genres, conjures a substantial emotional impact with the film, reminiscent of the visceral hits delivered by Ram Gopal Varma in his prime.
The premise seems deceptively straightforward, echoing nuances that one may catch in the film’s 140-second trailer. Devgn and Jyothika embody the quintessential urban parents, grappling with their precocious children. A seemingly innocuous family outing to their farmhouse spirals into chaos upon the arrival of the mysterious Vanraaj, played by Madhavan. A charming stranger in desperate need of help soon reveals himself as a sinister English-speaking occultist with a dark claim over their daughter Janvi, portrayed by Janaki Bodiwala.
It’s the ingeniously executed details, accompanied by a plethora of macabre twists, that position “Shaitaan” as a formidable contender in the horror genre. Moments of sheer hopelessness felt by the on-screen parents are amplified by Vanraaj’s perverse requests for Janvi to laugh or dance, which are especially gripping within the confines of a darkened theater. Krishnadev Yagnik’s underpinning storyline subverts conventional expectations of the supernatural, weaving a more intricate narrative.
R. Madhavan plunges into the depths of his character with a portrayal that balances the eerily authentic with an imposing, almost mythic aura. Ajay Devgn, tapping into an earnest paternal vulnerability, provides a perfect counterpart to Madhavan’s diabolical performance. Jyothika, familiar to audiences through romantic endeavors like “Dumm Dumm Dumm” (2001), refreshes her image with a versatile persona. Janaki Bodiwala, reprising her role from the original film, also stands her ground with a commendable performance.
The film stumbles slightly, however, in rendering Vanraaj’s backstory superficially, missing an opportunity for richer narrative depth akin to “Gehrayee” (1980), another Indian horror classic dealing with possession. Despite this, a wealth of subtext and metaphor lies beneath the surface, from critiques of misinformation to the sway of charismatic leaders, though these themes are never fully developed in favor of a more linear good-versus-evil dichotomy.
Factors outside the narrative, such as Devgn’s dual role as actor and co-producer, may have influenced this creative decision, possibly in an effort to maintain a U/A certification despite the film’s dark themes. These constraints notwithstanding, with slightly more intricate scripting, “Shaitaan” could have been a showcase of Madhavan’s prowess through and through. Yet even as the film resolves with a clever twist, it takes an extraneous step to reaffirm Devgn’s heroism, testifying to the industry’s apprehension to completely unsettle its leading men.
Nonetheless, it is R. Madhavan’s chilling portrayal that dominates the viewer’s memory. “Shaitaan” leaves a haunting echo in its wake, reminding audience members to be wary of smooth-talking enigmas who drift into their lives.
As it stands, “Shaitaan” is showing in theaters, offering a thrilling addition to the portfolio of Hindi horror with its own unique blend of ominous atmosphere and dramatic tension.
