Adhura Review: In the film “Adhura,” Ishwak Singh and Rasika Dugal take on the roles of investigators tasked with unraveling a murder mystery. However, this horror flick falls flat in delivering the thrills and chills that one would expect. Instead, the narrative unfolds as a lackluster and uninteresting experience that fails to captivate its audience.
Growing up, most Indians were exposed to popular supernatural shows like “Ssshhhh…Koi Hai,” “Aahat,” “Vikraal aur Gabraal,” and films by the Ramsay Brothers, as well as early works by Ram Gopal Varma. We were also treated to gems like “Raaz” and “Manichitrathazhu.” However, in recent times, we seem to be stuck with lackluster attempts at supernatural scares or those that employ the genre solely to convey social messages. While the latter has given us notable films like “Stree,” “Bhediya,” and “Tooth Pari,” the former has resulted in forgettable offerings such as “Boo,” “Virupaksha,” “Gaslight,” “Blurr,” “Chhorii,” “Dybbuk,” “Boomika,” “Laxmii,” “The Priest,” “Bulbbul,” “Bhoot Police,” “Bhoot: The Haunted Ship,” “Bhool Bhulaiyaa 2,” and many more.
There have been rare exceptions like “Tumbbad,” “Andhaghaaram,” and “Churuli,” but the success of films like “Evil Dead Rise” and “The Pope’s Exorcist” in Indian theaters reveals an appetite for good, visceral, and pulpy horror. Yet, we are once again faced with another lackluster addition to the Indian horror genre in the form of the tedious “Adhura.”
Adhura Review:
“Adhura,” created by Ananya Banerjee and Gauravv K. Chawla, is set in Nilgiri Valley School. The sudden death of the former dean, Vyas, just before the reunion of the 2007 batch, further intensifies the already chilly and mysterious ambiance of the place. A shy student named Vedant becomes the target of bullies Sarthak, Kabir, and Dhruv. While the current dean, KC Swamy, advises Vedant’s parents to take him away from the school, they refuse, believing that it is the responsibility of the institution. One fateful night, Vedant is locked in a closet by his tormentors and is seemingly possessed by the spirit of the late Dean Vyas.
The focus then shifts to the 2007 batch, comprising Adhiraj, Malvika, Suyash, Rajat, and Dev. Adhiraj is a teacher in the USA, while Malvika is married to the wealthy Dev, making her the subject of judgment as a “trophy wife.” Suyash is a struggling TV actor, and Rajat sells water purifiers. Interestingly, one character, Ninad Raman, is mysteriously absent from the picture, but it becomes increasingly apparent throughout “Adhura” that he holds a crucial role in the narrative.
Despite attempting to be discreet about Ninad’s significance, the trailers, posters, and viral marketing posts for “Adhura” have already spoiled his connection to one of the main characters. If you manage to avoid these spoilers and watch the show, hoping for a surprising twist involving Ninad, you’ll be disappointed to find that the first episode itself reveals this connection. At that point, you may rationalize that perhaps the early revelation is intentional, a deliberate decision to focus on the aftermath rather than building anticipation for a big surprise.
However, we must inform you that this is not the case. By prematurely divulging the revelation and presenting hollow and unlikable characters, Banerjee and Chawla provide the audience with nothing substantial to ponder. Superficial discussions on topics like homophobia and postpartum depression are thrown in, without any impactful exploration. The show fails to deliver memorable dialogue, pivotal moments, or compelling characters.
This brings me to a message for all Indian filmmakers and show creators: if you are going to address homophobia and the abuse faced by queer individuals, please ensure you include positive representation for the LGBTQ+ community. The Hindi entertainment industry has long been guilty of stereotyping queer characters and now delves into their struggles without addressing the root cause of homophobia.
Films like “Badhaai Do,” “Loev,” “Shubh Mangal Zyada Saavdhan,” and “Chandigarh Kare Aashiqui” are only just beginning to normalize gay relationships. However, in “Adhura,” queer individuals are portrayed as vengeful monsters who kill indiscriminately, while “School of Lies” links their queerness to molestation and presents them as violent criminals. Even the “Fear Street” trilogy, which featured queer vengeance as a central theme, managed to provide positive representation while critiquing bigotry.
Unfortunately, these shows offer nothing in that regard. It is not to say that queer individuals do not face physical and mental assaults, but their experiences encompass more than just victimization. The glaring disparity between the intensity of violence inflicted upon queer characters and the normalcy of their queerness suggests that creators are merely exploiting the community as a shallow gimmick, indulging in scenes of abuse.
In conclusion, “Adhura” adds another lackluster entry to the underwhelming Indian horror hall of fame. It fails to deliver on its promise of supernatural scares and struggles to engage audiences. As viewers, we yearn for compelling, visceral, and gripping horror experiences that have the potential to captivate, but unfortunately, “Adhura” falls short.