Shaitaan Review

Shaitaan (Devil) is a 2024 Indian Hindi supernatural horror thriller directed by Vikas Bahl (renowned for Queen) and produced by Ajay Devgn. It is a remake of the 2023 Gujarati horror film Vash. Starring Devgn, Madhavan, Jyothika, Janki Bodiwala (reprising her role from Vash) and Anngad Raaj, the movie has raised high expectations for several reasons. First, it's produced and led by Devgn, known for his stellar performances in Hindi horror movies like Bhoot and high production standards seen in Tanhaji. Secondly, Madhavan portrays an evil character for the first time, Jyothika returns to Hindi cinema after 25 years, and for the first time all three good actors - Madhavan, Jyothika and Devgn - share the screen. With the film shot mostly in an isolated villa almost 25 years after Kaun, and following the lull in quality horror movies since Tumbbad (2018), anticipation is high.

I'll never tire of emphasizing how the Indian audience passionately embraces the horror genre. When executed well, they celebrate it. Even dubbed versions of poorly received Hollywood movies like Insidious and Nun 2 manage to generate significant business in India. Also, the Telugu and Kannada film industries' forays into folklore and horror, such as Kantara, have been praiseworthy. Shaitaan promises to be another in the list of successes.

The story revolves around Kabir (Devgn) and his family, who retreat to their secluded farmhouse for a vacation. Their peaceful getaway is disrupted by the arrival of a mysterious man, Vanraj (Madhavan), who refuses to leave, and eventually takes control of their daughter Jahnvi using black magic. He then takes her away with him to fulfill his sinister ambition of winning the world. The family must confront dark forces and rescue their daughter along with several other girls who have been Vanraj's captives long before Jahnvi became one, uncovering disturbing themes of Devil worship and voodoo along the way.

As mentioned earlier, the movie is a remake of Vash. However, it's a frame-to-frame remake, similar to the Hindi remake of Vikram Vedha. While the production quality is better, producer-actor Devgn hasn't introduced anything new, unlike his usual style. For example, in Drishyam 2, he innovatively added a character played by Akshaye Khanna, which was well-received by both audiences and reviewers.

The film, much like the original, delves excessively into creative ways to torment its characters (Jahnvi, Kabir, Dhruv, and Jyoti). Cutting back on the torment would have been an improvement over the original.

Madhavan's portrayal exudes wild sadism, resembling the Devil himself. Delving into the villain's motive for targeting especially the family's daughter would have enriched the movie, akin to Ashutosh Rana's Lajja Shankar Pandey in Sangharsh. Vanraj's motives echo those of Pandey, but not as well defined.

The film masterfully builds tension, with the first half establishing a warm family dynamic before seamlessly transitioning into chaos. The gradual introduction of Madhavan injects a sense of impending dread, skillfully exploiting the vulnerability of familial sanctity. The subtle details of welcoming a stranger into their home serve as the foundation for their eventual downfall.

As the story unfolds, the audience is left questioning how and why Madhavan gains such unrestricted access to his victims. These moments prompt reflection on the family's missteps, setting the stage for a gripping drama as Madhavan revels in their torment.

The classy charm slightly diminishes nearing the climax, not the climax. The massy fight sequence about the end and the heroic elevations somewhat diminish the impact. The movie could have done equally well without those scenes. However, the very final moments make up for the loss and reignite the spark, leaving the audience captivated.

The antagonist's ambitions extend far beyond mere wealth and influence; he seeks dominion over the world itself. Shaitan boasts compelling performances, with Jyothika masterfully conveying the anguish and desperation of a mother witnessing her daughter's possession. Devgn's portrayal transitions seamlessly from devoted family man to determined protector, showcasing remarkable restraint amidst turmoil, like he did before in Drishyam and Drishyam 2.

The tender bond between Kabir and his son Dhuv adds depth to their characters, revealing a brotherly dynamic that is truly heartwarming. However, it's Kabir's moments of restrained agony as he watches his daughter suffer that truly highlight his acting prowess. He knows and the audience knows that he can rip Vanraaj apart, but he restrains. And during these moments of restrain, his eyes speak volumes.

Janki had played the role of the possessed and tormented daughter in the original Gujarati movie. Here she outdoes her part.

Madhavan and Janki navigate their roles as tormentor and victim with finesse, avoiding the pitfalls of over- or underplaying their characters. Madhavan's subtle smile betrays his sinister intentions, a stark departure from his previous romantic roles. Witnessing his transformation into this malevolent figure is truly astonishing. If someone in 1999 had told me Madhavan would excel in such a role, I would have dismissed it as absurd.

The film's production quality and background score are executed brilliantly, a standard I expect from a Devgn production. Despite primarily being set in one location, the film captivates viewers through the actors' conviction and meticulously staged sequences.

A standout element elevating the film is Amit Trivedi's music, particularly the title track, which embodies the malevolence of Madhavan's character and serves as a haunting reminder of his sinister intentions.

With a runtime of 2 hours and 12 minutes, Trivedi's score never overwhelms the audience. Instead, it leaves a lasting impression, hinting at the impending doom and occasionally revealing shocking truths about the antagonist's otherworldly nature. In addition to the background score, the film features just two songs, "Khushiyaan Bator Lo" and "Aisa Main Shaitaan", seamlessly integrated into the narrative to the extent that they go unnoticed as standalone musical sequences.

In summary, here's a Hindi horror film after 5 years that truly merits your attention. It's the first well-crafted horror movie since Tumbbad. It appears to be receiving the acclaim it deserves, evident in positive reviews and box office success. On a related note, I attempted to attend the first-day screenings of the Hindi versions of "Operation Valentine" and "Article 370" in Hyderabad cinemas, but they were cancelled due to lack of audience. Interestingly, I found "Shaitaan" playing with moderate attendance.