Daijiworld Media Network - Bengaluru
Bengaluru, Dec 15: Director-writer Prakash Veer’s The Devil walks a tightrope for much of its runtime and, for the most part, manages to stay balanced. Built around a familiar commercial cinema framework — dual roles, a political backdrop and the eternal good-versus-evil conflict — the Kannada film remains watchable, if not strikingly original, until its writing begins to unravel in the latter half.
The story revolves around Chief Minister Rajashekhar (Mahesh Manjrekar), who is battling corruption charges. When his wayward son Dhanush, who proudly calls himself “The Devil”, proves unfit to inherit political power, a lookalike is planted in his place. The scheme is masterminded by Rajashekhar’s advisor Nambiar (Achyuth Kumar), whose own interests are at stake. The lookalike turns out to be Krishna (Darshan), an aspiring actor with a strong moral compass.
One of the film’s strengths lies in its self-aware writing. The screenplay acknowledges and playfully addresses its own logical leaps — from a father failing to recognise his son to voters continuing to believe in lofty election promises. These moments lend the film a light touch and prevent it from collapsing under the weight of its familiar tropes.
A particularly effective sequence sees Krishna, now impersonating a political leader, cooking and serving quality midday meals to government schoolchildren. While it stems from his genuine instinct to help, the act is perceived as a publicity stunt, even drawing scepticism from the media. Such scenes highlight the film’s cautious and thoughtful approach in parts.
However, The Devil struggles to maintain momentum. What it needed were consistent high-impact moments and deeper exploration of the face-off between the hero and the villain. Instead, the narrative slips into extended fight sequences, dulling the impact of what could have been compelling confrontations.
Darshan’s decision to play an out-and-out antagonist is intriguing, but the character of Dhanush remains underwritten. Despite being stylishly presented, his philosophy of choosing freedom over power is never fully explored. Darshan fares better as Krishna, the innocent man caught in a moral and political Catch-22, delivering a performance that makes the audience invest emotionally.
The romantic subplot, where both lead characters fall for the same woman (Rachana Rai, in a promising debut), diverts the film from its core conflict. Unfortunately, this track slips into melodrama and dated portrayals, marking a noticeable dip in the writing.
The Devil also carries meta references to Darshan’s own career — his massive fan base, undeniable potential and the constant search for a perfect masala entertainer. While the film offers plenty for his ardent fans, it ultimately delivers mixed results as a complete cinematic experience.
The Devil is currently running in theatres.