Haiwaan Movie Review: Saif Ali Khan Working on Headless Thriller Priyadarshan

A blind man, an innocent child and a mad monster. How director Priyadarshan recreates Oppam (2016) for Hindi audiences, it sets the stage for a gripping, sensual thriller. It follows a visually impaired protagonist, Shyam (Saif Ali Khan), who accidentally becomes the protector of a young girl who is the victim of a ruthless serial killer, Parshuram (Akshay Kumar). The trope of a thriller in which the only person who can save the target is blind to the killer is a mouth-watering bait that pulls us to the edge of our seats.

Along with Sabu Cyril and Diwakar Mani, the veteran director creates an atmosphere where shadows and silhouettes come together to create subtext. In Saif, he has an actor whose apparent desire to become a character these days promises a believable confrontation. Playing a character captured for posterity by the inimitable Mohanlal, he recognizes blindness and creates a look devoid of intention. In his own way, he makes an effort to give the necessary gravitas to the character of the maintenance staff in charge of the high-rise building.

However, the ingredients don’t make the dish. Intention does. The creators follow the remake checklist without making much effort to harmonize the flavors of the original.

Akshay Kumar in the movie “Haiwaan” | Photo credit: Special Arrangement

Coming back to Saif, the story gives Shyam pieces of charisma meant for the huge star that Saif left behind or failed to summon. Shyam has a heightened sense of smell and hearing, which allows him to more than compensate for his lack of vision. A confidante of former Chief Justice Pradhan (Boman Irani) haunted by a mistaken decision, Shyam tests his skills when Pradhan trusts him with the safety of his “bastard” daughter before he is killed. The police consider Shyam a suspect while the real culprit remains on the run waiting for his next murder for nearly 90 minutes, making it an increasingly unpleasant experience.

There’s a lot to play with here, but as he usually does, Priyadarshan alters the DNA of the original and turns it into a simple commercial vehicle with fast action sequences and screaming background music. The letter gradually loses all subtlety. The mechanics of the narrative are fully revealed, red herrings are stripped of color, and plot devices become visible from afar. The motivation seems to be to bring audiences to theaters to watch Akshay’s theatrical performances and applaud Saif’s efforts in becoming the character. It doesn’t work because there’s no room in the story for Tu Khiladi Main Anari reunion. It requires a performer who can balance vulnerability with mass. He needs Samuthirakani (who played Akshay’s character in Oppam) is a surprise of sorts that relies on creepy, hushed looks and an intimidating voice.

By adapting the story to the star, the antagonist loses the haunting, unpredictable stillness that made the original character so unsettling and the narrative its tone. To emphasize that he is playing a dark character, Akshay goes overboard, replacing genuine psychological threat with ruthless boorishness. In trying to contrast Saif, he seems to have forgotten that both characters come from the same socio-cultural space. Like an unforgettable experiment with Nagesh Kukunoor in 8X10 Tasvir, he fails to find the true pulse of internal negativity.

In her last hurray, Asrani brings her classic wit to the fore in an interrogation scene that is reminiscent of Priyadarshan’s. Hungama in the Hindi belt, and the theater is filled with nostalgia. However, due to the lack of fresh jokes, the rest of the supporting cast, Sharib Hashmi, Rajesh Sharma and Rajpal Yadav, fail to keep up the spirit and the banter seems forced after a certain point. Saiyami Kher plays a smart cop who helps Shyam clear his name. The talented Shriya Pilgaonkar is also turning into a roadblock.

It will no longer be possible to repress history without rooting its soul. Once the texture is erased, the game of cat and mouse becomes a showcase of Shyam’s skills. It drags on in the second half and continues effortlessly to justify the killer’s motivation to go after the father first and leave the daughter for the climax. If the original was a slow-burning mystery, the adaptation, which ironically runs about 15 minutes longer, tastes like an overcooked recipe, which ultimately represents a betrayal of Priyadarshan. virasat in Hindi cinema.

Haiwaan is currently running in theaters.