The film “Shaitaan” features commendable performances by actors R. Madhavan and Janki Bodiwala. However, the movie’s plot is riddled with inconsistencies and plot holes.
***Spoiler Alert***
The story revolves around a couple whose daughter falls under the hypnotic influence of a stranger named Vanraj (played by R. Madhavan) whom they encounter in a cafe.
In the cafe, Vanraj offers their daughter a laddu, which she consumes despite her aversion to carbs and her awareness that accepting food from strangers is unwise. Consequently, she becomes hypnotized by Vanraj.
As the plot unfolds, Vanraj gains control over the daughter and enters the couple’s house. In the first half of the film, Vanraj reveals the daughter’s hypnotic state to the couple, providing ample evidence. Despite this revelation, the couple fails to take decisive action to restrain their daughter.
The father, portrayed as a chartered accountant (CA), inexplicably lacks basic problem-solving skills. Some may argue that he didn’t have opportunities to take action and restrain his daughter, but let’s consider the following moments when he could have acted:
1. When Vanraj Leaves with Money:
i. The daughter becomes unresponsive after Vanraj leaves with their
money.
ii. The father could have carried her upstairs, locked her in a room,
and played loud music to prevent Vanraj’s audio commands from
reaching her.
2. In the Storeroom:
i. When the daughter is in the storeroom, confused, the couple could
have repeated the same actions as described in point 1.
3. Every Time the Daughter Leaves the Room:
i. The father could have followed the daughter and restrained her in
another room, stationing the son as a guard.
Instead, the father remains passive, endangering both his son and him. Furthermore, the father could have inflicted harm on Vanraj with minimal legal repercussions, as it would have constituted self-defense. Vanraj’s brazen confidence within their home should have indicated to the father that this wasn’t Vanraj’s first offense, suggesting he was likely a wanted criminal.
Even during the couple’s confrontation with Vanraj, following an uncomfortable scene, the mother blindly attacks him without a clear objective. If her fury was sparked by her daughter’s suffering, the father should have seized the opportunity to silence Vanraj when he was incapacitated. The father’s insistence on recording a statement from Vanraj is perplexing, akin to forfeiting a race with the hope of future victory, rather than resolving his family’s ordeal immediately.
To appease the audience with the triumph of good over evil, the writers crafted a feeble conclusion. Had the narrative been consistent, it might have been more fitting for the antagonist to prevail, given the couple’s demonstrated ineptitude.
In the finale, the father is shown holding Vanraj captive in the basement, delivering a monologue about the hardships a father endures for his child. While the sentiment rings true, it bears no relevance to the film’s family, as the father, a CA, does not face such struggles. As a CA he would hardly have to toil in sun-and-rain. This dialogue seems designed to emotionally manipulate the audience, particularly parents.