Movie Mahal

An online film journal for Indian Cinema

SHAITAN (Dir. Bejoy Nambiar, 2011, India)

Shaitan is a mischievous film with a mischievous title. The anarchic content certainly lives up to such claims of youthful mischief but it is a mischief that turns into a tale of contemporary middle class guilt, corruption and murder. The film starts confidently enough with sequences of real visual energy and creativity. By initially taking a deconstructive approach to narrative and genre, the film appears resoundingly iconoclastic and very contemporary in its design. However, Shaitan is a film that self-destructs as the narrative of a fake kidnapping unfolds, gradually descending into a pantomime of relatively familiar cinematic tropes. I completely lost interest in the final third and could not care less of the outcome for the characters. However, unlike Peepli Live which is marred by a dependency on the spoken word, what really makes Shaitan stand out amongst the recent crowd of Indian multiplex films is director Bejoy Nambiar’s attempts to innovate conventional visual language through a prism of distinctive flourishes with the camera. Shaitan is arguably yet another multiplex multi protagonist film and although the film’s stylised visuals may point to something new, a closer look reveals some recognisable features including the jaded cop archetype. The film’s wayward narrative trajectory is more than compensated by the hedonistic camera and hyper kinetic editing style that jumps schizophrenically through the urban spaces. If one were to compare Shaitan to the current crop of Hindi films then based on one sequence alone it would surely be at the top of the list, and this is why:

O ho ho ho, Khoya Khoya Chaand, Khula Aasmaan
Aankhon Mein Saari Raat Jaayegi
Tumko Bhi Kaise Neend Aayegi

Khoya Khoya Chaand – Lyrics by Shailendra, Music by S D Burman
Originally used in the film Kala Bazar (1960)

4 comments on “SHAITAN (Dir. Bejoy Nambiar, 2011, India)

  1. Just Another Film Buff
    January 15, 2012

    You stole the words right out of my mouth, Omar! That scene is the trump card for what is otherwise a passable film and it worked big time.


  2. Omar Ahmed
    January 15, 2012

    Yes, one of the best sequences from last year.


  3. Sachin
    January 21, 2012

    Yes quite the sequence and great use of the music. That sequence also made the dip that followed quite frustrating. Like you mention, there were quite a few recognizable elements throughout which is why I was disappointed with the film overall. Over the years, there have been quite a few Hindi films which have incorporated a collection of cool sequences but the rest of what follows is not that unique. The cool sequences are an attempt to make the film standout because the rest of the material is standard fare presented in a different package. Of course, such words apply more to the big budget Bollywood films which just change the locales to convey a typical narrative of a family tale or a love saga.

    On another note, have you seen Johnny To's Exiled? The film is bookended by two mesmerizing gun sequences yet the core of the film contains enough worthy material.


  4. Omar Ahmed
    January 21, 2012

    Thanks Sachin for your comments – yes, your right, that coolness you talk about does cleverly disguise the more ordinary aspects of such recent Hindi films. I have seen Exiled – and point well made, even though that film also has some balletic gunplay, the rest of the film does stand up pretty well. Of course, To is an auteur though.


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This entry was posted on January 12, 2012 by in Indian CInema, The Indian Multiplex Film, Thriller, Youth.


UK-based Film Scholar and PhD Researcher (Indian Parallel Cinema) at The University of Manchester (AHRC 2015).

Previously Head of Film (2003 – 2016) at Aquinas College, Stockport.


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