The Bhatts are one of the low-profile power camps in the industry today. And the scions of the family have proved their mettle in some form or the other. Mahesh Bhatt was one of the leading rebels of the 80’s and probably the finest mainstream filmmaker of the decade. Daughter Pooja created her own niche with some high volume women oriented films. Robin Bhatt has written many a commercial blockbuster in the 90’s. And Mukesh has been the businessman of the family, managing the family productions on a model that would be the envy of B-School whizkids.
So far, the only black sheep of the family has been Vikram Bhatt, whose only claims to fame were his impeccable track record of plagiarism and a failed affair with somebody who was a nobody in the industry. Prior to the release of Shaapit, Vikram had claimed that the film would be scary without the use of gimmicks. However, given Vikram’s prior track record, I nurtured my own doubts. But contrary to my expectations of utter trash, Shaapit gave me mixed feelings.
For starters, Shaapit is a “film with a difference” in its true sense. A common strain binding all Hindi horror flicks is the absence of a script. Shaapit breaks the tradition. Though not even in the league of above average, leave alone good or great, one does exist here. And though its a barrage of loopholes, it just manages to keep the viewer interested in the proceedings. Because, the story keeps moving, however twisted a direction it might be taking. And true to his word, Vikram refrains from using gimmicks like sound effects at unexpected times to get the audience’ heartbeat faster. Finally, for a welcome change, Vikram decided to spend his research time for this film in wiccan circles instead of DVD libraries.
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