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‘Shaitaan’ movie review: R Madhavan makes the mean monster shine opposite Ajay Devgn in this horror show.<br/>Backed by a poignant premise and powerful performances, director Vikas Bahl generates some genuine moments in eerie situations but surprisingly shows a straight bat in the slog overs.<br/>The film is a remake of the Gujarati horror film Vash (2023). Janki Bodiwala reprises her role from the original here. Kabir (Ajay Devgn) and Jyoti (Jyotika), along with their teenage daughter Jahnvi (Janki Bodiwala), and son Dhruv (Anngad Raaj) drive away to their remote farmhouse to spend some quality time. Their tranquillity shatters when a stranger. Vanraj Kashyap (R Madhavan), enters their world. He somehow takes complete control of Jyoti’s will and makes her a slave of sorts. She harms herself, almost kills her brother, slaps her father and fights with her mother. All this is brought out in visceral detail. The viewer is spared nothing. Kabir and Jyoti try vainly to get Janhvi to listen to them but to no avail. Things keep escalating. Vanraj wants to take away Janhvi but he would only do so with their explicit permission. We learn that he’s an evil tantrik who wants to take over the world. And must sacrifice a bevy of girls to do so. He succeeds in luring Janhvi away and now it’s up to Kabir to save her and other girls from being killed.<br/><br/>The film starts with a disclaimer that the film isn’t propagating superstition and then proceeds to do so for the next two hours. Vanraj equates himself to God, claims he can control anyone if he deems fit and indulges in the sort of mumbo jumbo even street magicians will steer clear off. The climax scene, which showcases mass hypnotism, features young girls all eager to throw themselves in a pyre. There’s no backstory as to why he’s become this instrument of evil. He’s made to spout some nonsense about controlling the life of everyone in the world and we’re supposed to believe that.<br/><br/>Ajay Devgn played a laid-back man who uses his wits to save his family in the Drishyam franchise and kind of steps back into the Drishyam mould again in this film. He’s perfectly cast as the super caring dad who keeps a close watch on his children but gives them ample freedom at the same time. He brings out the helplessness and dedication of a loving father who would do it all to save his world from falling apart perfectly well and looks good in action scenes as well. Jyothika, seen in a Hindi film after aeons, is cast as a caring mother who fights like a wounded lioness when it comes to saving her daughter. Her reactions look totally genuine. She uses her body language and expressive eyes to convey a range of emotions. She shares a good rapport with Ajay Devgn. It’s good to see middle-aged stars being cast together and acting their age. It’s a step in the right direction indeed. Madhavan and Jyothikha have acted in romantic comedies like Dumm Dumm Dumm (2001) and Priyamaana Thozhi (2003) earlier and have a reunion of sorts in Shaitaan. But
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In the clamoring streets of the city, where each step resonations with distress and reason, there exists a mysterious world, one habitually disregarded by the hurried observer. Amidst the expanse of withdrawn faces, there lies a man, persevered by time and circumstance, his exhausted figure hung in broken down layers, searching for solace in the shadow of rising above structures. He is the representation of ignored dreams and rejected trusts, a calm spectator to the common example of humanity's absence of concern.<br/><br/>It is amidst this view of metropolitan anonymity that a fundamental act of kindness spreads out, a showing of the strength of compassion in a world bewildered by its own absence of concern. It begins with a young woman, her means faltering as she sees the single figure bunched against the infection concrete. In her eyes, there is a glint of affirmation, a transient depiction of sympathy that traverses the huge hole of social hole.<br/><br/>Conclusively, she floats away from her predestined way, her heart guiding her towards a depiction of huge affiliation. She pushes toward the man with temporary advances, her commitment held out like an uplifting sign in the midst of hopelessness. It is an unobtrusive sign, a container of water upheld in her outstretched hand, yet inside its ease lies the capacity to transcend limits and contact the genuine encapsulation of humanity.<br/><br/>The transient's look meets hers, his eyes reflecting a kaleidoscope of sentiments — shock, appreciation, and perhaps, a glimmer of suspicion. For in a world that has since quite some time in the past double-crossed him, this little act of kindness fills in as an update that sympathy surpasses every single sensible constraint. With shiver hands, he recognizes the offered water, his dry throat yearning for the cool embrace of its things.<br/><br/>As he takes a taste, a sensation of re-energizing washes over him, a passing preview of alleviation from the savage genuine elements of street life. It isn't just the genuine assistance of thirst that he experiences, yet rather, a more significant sensation of endorsement — an insistence of his natural worth personally. In the exchanging of an essential container of water, an affiliation is formed, interfacing the huge hole of social partition with strings of compassion and understanding.<br/><br/>For the young woman, the experience is a bringing down indication of the power of compassion to transcend limits and join the separated pieces of humanity. In a world that regularly gives off an impression of being consumed by private situation and absence of concern, it is easy to forget to zero in on the huge impact that even the tiniest acts of kindness can have. In any case, in offering water to a transient in the city, she finds a stockpile of compassion inside herself, a wellspring of sympathy fit to be delivered.<br/><br/>In the days that follow, the memory of that passing experience holds up like a mumbl
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