Review of “Shaitaan”: You want to cheer for the devil because of R. Madhavan’s frightening antagonist

After hearing glowing remarks about an engaging story, one frequently feels let down and disappointed by the high standards one has set for the product. After all, it is uncommon for something to emerge from a sea of widespread mediocrity with such a subtle yet powerful punch. But one such gift that keeps on giving is Shaitaan, starring Anngad Raaj, Ajay Devgn, Jyotika, Janki Bodiwala, and R. Madhavan.

The basic idea is straightforward, and the main plot is not complicated by extraneous details. While travelling to their isolated farmhouse for a vacation, a family meets an oddly amiable man who gives Kabir’s (Ajay) daughter Jahnvi (Janki), a laddu. The remainder of the narrative centres on Jahnvi, who uses black magic to subjugate the stranger. So one would ask, what’s the point of bothering at all if everything is so simple? There are several reasons, the most important being Madhavan’s original novel and much-needed perspective on the titular devil.

It’s hardly shocking that Madhavan is incredibly talented. The seasoned actor has demonstrated his versatility in various roles, and his range is astounding. But his portrayal of the movie’s antagonist is so masterful that it leaves you gasping with a flood of conflicting feelings.

Madhavan dons a Machiavellian cloak in his role as Vanraj Kashyap. He gives Jahnvi a series of ridiculous and deadly demands with a casual, easygoing air of control that is frighteningly alluring. He is both dominating and unnerving when he is arch. One is left genuinely bewildered by this oscillation, this effortless transition between these two extremes.

Vanraj and his desire for dominance are meant to be hated, but it becomes nearly hard to do so, which makes it much more horrifying and morally challenging. This is the allure of Madhavan’s adversary, who creates tension, suffering, and dark humor throughout the narrative.

It should be mentioned that in some situations, Vanraj has to prove that he is the all-powerful harbinger of control, and it is very admirable how Madhavan shows restraint while still being stern. Had it been any other actor, they would have tripped over the edge and come out as silly rather than scary. Madhavan walks those delicate lines with a great swagger and charm.

Given Bollywood’s track record of mostly forgettable horror films with a few standout exceptions, one would think that the concept of black magic might be easily mishandled and turned into a stifling story replete with forced performances that emphasize possession. Therefore, it is a welcome surprise when moderation is displayed everywhere.

Jahnvi does not have her hair falling in a scary way over her face or her clothing flying across the room. On the other hand, her parents don’t needlessly cry out or yell. All of the performances have a delicate quality to them, and rather than being excessively dramatic, the disquiet is caused by the startled silences that are fixed on the action.

As Kabir, Ajay is a devoted father who has to watch his young daughter come under the strange man’s grip. He is powerless to stop it because, really, what can one do in a situation like this? His display of powerlessness is almost annoying, as you find yourself mentally screaming for the father to take charge. Kabir defies every order, usually given to the “hero” of the story, and dances to Vanraj’s song for as long as it takes.

Jyotika’s Jyoti is in a state of shock and is always mummified. One can hear different thoughts in her quiet moments and thoughtful looks. Her desperation, fury, and helplessness are evident as she looks to her husband to come to her rescue. Fueled by a combination of agony and adrenaline, one witnesses her engaged in combat until the dam of emotions breaks. For this reason, Vikas Bahl’s direction is likewise deserving of great appreciation.

Shaitaan is the kind of movie that would not succeed if the photography did not support the entire idea. But when it happens, it really blows one away. Everything brilliantly supports the plot, from the captivating camera angles to the overall look and feel of the story. The team’s grasp of how to maintain audience engagement is so strong that it hooks viewers from the very first credits.

A movie opening that takes the viewer through the process of making a doll that will be used for black magic is a unique and terrifying sight. The film delivers something the audience may not have even known it wanted—expert shots and a very captivating edit—and keeps up its impressive streak as the narrative comes to an end.

Of course, the painful story has a lesson to teach at the conclusion. Ajay and Madhavan’s chemistry keeps the audience interested even though the manner it is taught briefly makes it appear like they have been teleported to Baghban. One cannot help but feel that there might be more to come as the two symbols battle it out and guide viewers to the conclusion of the story.

All things considered, Shaitaan is a refreshing diversion from the tedium of ostentatious, lighthearted productions that tend to overtake the entertainment industry. Its straightforward strategy and exact execution serve as a fantastic illustration of how to grab viewers and hold their attention through to the very end.