“This film is a work of fiction and doesn’t stereotype women as witches.” What a curious disclaimer in a movie whose hero – Bobo (Emraan Hashmi), aka “Indiaka sabse bada jaadugar” – sees witches in every feminine form he encounters. He subscribes to the lore that their power lies in their tightly pleated braids, and darned if he doesn’t spend half his waking hours charging at long-haired women with a cutting implement. At some point, it becomes funny – and funny is not what you want in something that wants to scare your pants off. Kannan Iyer’s Ek Thi Daayan is an odd beast – part purveyor of unintended schlock-laughs (see above), part flat-out horror movie, and part Freudian mystery, hinging on buried childhood secrets that rise, elevator-like, from deep, dark recesses. That it doesn’t work all that well isn’t perhaps a surprise – what movie with this mix could? – but for a while, you think you’re in for something special.
At the least, Iyer gets the atmospherics right. From the opening credits – waving tendrils of hair framing cityscapes bathed in ghostly green light – we are thrust into a lushly creepy world. We meet Bobo during a stage show, and his props are prescient. The elevator he makes his appearance in – isn’t that like the one he rode in with his sister? The rope in The Great Indian Rope Trick – isn’t that like a braid? The double who impersonates his assistant – isn’t she a mirror of the doubled-up women at the end? While performing an act with this assistant, Bobo experiences a hallucination, and a visit to a hypnotherapist reveals to him (and to us) his past, which he has presumably suppressed. Iyer delights in odd little details, like Bobo, the budding magician, having for a father a professor, a rationalist. And then, a voice from the irrational whispers to him: “Main aa gayi hoon.” Is the new governess, the cunningly named Diana (Konkona Sen Sharma), a daayan?
Until the end of this flashback, we are in sure hands. The performances are good, the children’s world wonderful. As with Rosemary’s Baby (which finds more than a few echoes here), we are never sure if Diana is really a witch or if, as the psychiatrist suggests, these aspersions are simply Bobo’s attempt to deny the woman his father has come to fancy. Talk about psychological horror! But the problem arises as the plot progresses and we keep trying to put the whole thing together in our heads. We think back to Tamara (Huma Qureshi) backstage, smiling as Bobo pulls off another dazzling feat. We think back to the deliberately named Lisa Dutt (Kalki Koechlin) and her earrings. We think back to Diana’s pleas to the young Bobo (the child actor looks uncannily like Daisy Irani). We think back to the feet turned the wrong way. And it all doesn’t really add up. And the bits about reincarnation and Bobo’s affiliation with the realm of the supernatural aren’t worked in convincingly either. If only half the power in that braid had worked its way into the script!
Copyright ©2013 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Zico Ghosh
April 21, 2013
I found the whole flashback superb. I was immersed in the world of the 2 kids and it creeped me out to an extent that no Hindi horror film had done for a long time. Would like to see you elaborate on the flashback part and why you think it works..
Also, listen to this wonderful song. It came with the ending credits.
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s dev
April 21, 2013
well crafted review…………
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rohan
April 21, 2013
Emraan Hashmi’s performance was rocking!! How come no mention about that?
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Nidhi
April 21, 2013
The first half reminded me of Pans Labyrinth, Beasts of the southern wild and countless other films that use magical realism. Gabriel Garcia Marquez once noted that the term ‘magical realism’ is condescending because you are reducing someone’s reality to a childish notion of magic. So I’ve always wondered if magical realism works best when the protagonist is a child with an overactive imagination. This film certainly supports that theory.
Unfortunately, the film goes into full supernatural mode, hell-bent on explaining all the magic. Commercial considerations, I suppose.
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Kaushik Bhattacharya
April 22, 2013
For a first time directorial effort I thought it was quite impressive. The little touches like the lizard (and the braids resembling a lizard’s tail), the numerous red herrings and clues (though not all consistent) were nicely blended together. Even the supernatural parts were dealt with much better than average. For a Hindi horror movie it was leagues better than the rubbish usually churned out.
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Rahul
April 23, 2013
Don’t have any strong opinions about the movie – but ..Imran Hashmi’s moniker was just mindblowing!! I mean, Bobo the Baffler – who came up with THAT? Imagine , a super hero, going around in black robes – and people whispering – “Look I look ! Bobo the Baffler !” How cool is that? There should have been a song sung by Bhappi Lahiri as an intro for Bobo the baffler. He should be kept alive in other movies. Konkona was so convincing that I feel sorry for Ranvir Shorey.
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brangan
April 23, 2013
Zico Ghosh: The flashback was about the only portion that worked for me. The kids were great, and showing the thing through their POV was inspired. The biggest thing is — as I said in my review — the “psychological horror”. Is it all inside the head or is it real? That balance is terrific, and once that’s gone, the film goes off the rails.
Nidhi: “Unfortunately, the film goes into full supernatural mode, hell-bent on explaining all the magic” — but even these explanations weren’t satisfactory, I felt. Did you buy the reveal in the end where we see the woman we don’t expect to see? And how did she keep switching with the other woman? Is it an entire coven? And what’s the woman from Canada doing in all this? Bah!
I wonder if the short story resorted to so much explanation. Have a feeling there’s a lot of extra padding like what happened with “7 Khoon Maaf”.
The director’s words: http://www.rediff.com/movies/report/why-ek-thi-daayan-didnt-do-well/20130423.htm
Rahul: “Konkona was so convincing that I feel sorry for Ranvir Shorey” – ROFL!
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Nidhi
April 23, 2013
BR, the short story is here. http://www.cosmicspree.com/
No, I didn’t buy the explanations either, but by that time the film had already lost me so I didn’t much care for the logic. The Canada girl was a red herring, obviously, but it didn’t quite work. And oh my god, the campy scenes at the end.. it made both actresses look terrible, who are otherwise quite good.
I liked the magical realism parts best. Is the magic really happening or is it inside the protagonist’s head? Some filmmakers/writers can get away with explaining the magic and still not invalidate all the magical parts (I’m thinking of VOLVER and the twist regarding Cruz’s mother), but this one feels like two different films. One very good, one mediocre verging on campy.
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Nidhi
April 23, 2013
There were rumours of Ekta Kapoor’s interference in this film. Apparently the original script deals entirely with psychological horror. I’d like to read *that*. Wish we had the concept of Director’s cut in Bollywood.
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Vineet Digga
April 27, 2013
After i watched the movie, the first thing I felt was ‘is it directed by two directors?’. because it is so inconsistent with the plot. the first was decently done, most of the second half as well. i didn’t the end though, in the last 15 minutes, they included so many things, which confused me and made the movie look stupid, imo. i hate this trend of an ‘un-cliched ending’. is it the new cliche now?
great review by the way!
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andrea
May 3, 2013
My husband and I walked out in the first 5 minutes of the story and vowed not to watch a foreign language movie without reading its plot….Horrified.
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