Jarann
Introduction
When you are introduced to Radha (Amruta Subhash) in the new Marathi film Jarann, the blank stares and the glances would remind you of Avni (Vidya Balan) from Bhool Bhulaiyaa (2007). But unlike the horror-comedy tropes of Bhool Bhulaiyaa, the mood remains sombre and chilling, making use of the shade of grey hues, while allowing a character-driven plot that solely focuses on the character of Radha, almost making her a distant cousin of Avni. There is a distinct psychological angle to Radha that prompts her to imagine stuff in the confines of her room, while having to visit a family doctor for medicines. It is a very specific angle to the psychological horror genre that stems out of loneliness for Radha, even as a fleeting flashback tells us about her happier times with her husband and her daughter Saiee (Avanee Joshi). A catastrophe later, you definitely see her current state that gives you a fair idea about her psyche, even as you are eerily connected to her, emotionally speaking.
Story & Screenplay
One of the themes that Jarann deals with is that of the supernatural that stems out of superstition. It isn’t as half hearted as showcased in the Hindi film Nikita Roy (2025), instead there is a searing purpose of tying it with the mental space of Radha. The cold open of the drama hints at a certain story – you witness a young Radha peeping into a room that is the epicenter of black magic ensued by a ‘witch’ called Ganguti (Anita Date Kelkar), who later goes on to claim on how Radha would suffer every day of her life. Essentially, Radha is said to be bewitched, prompting her current state that is marred on a psychological level. The writers do not wish to revel in the subplot of superstition, but they do not set it aside as well – the plot-point is almost ambiguous, just enough to tease the viewers while doubling up as a catalyst in this character-driven plot.
The setting of Radha’s ancestral home is an integral creative decision too – particularly because the start of the psychological issues for Radha began in the vicinity of this place. The setting here serves two purposes – one of preparing the viewers with an ominous sign of a ‘supernatural’ presence, just like the plot point in the Hindi film Maa (2025), and the other one being a trigger for Radha while pushing her into an unsolicited territory. In a scene, you see Radha stepping away from the get-together and walking into a room that houses an evil-looking doll called Bhaagabai (a local rendition of Annabelle), something that keeps following her around. It is almost an analogy of her past and how that keeps following her to her present, no matter how hard she strives to step away from it.
The hinted mystery about her husband is revealed at the halfway mark, something that remains a significant plot-point in further highlighting the psychological status of Radha. And because this solely remains a character-driven plot, the proceedings are a slow-burn even as the writers force you to immerse yourselves in the life of Radha. And so you gently witness Radha’s focus shifting towards her daughter Saiee, fearing that she might be bewitched in the same way as Radha had in her childhood. This emotional core of Radha stems from a sense of loss too – wherein she is forced to live a life of solitude with only her daughter for company.
It is interesting how limited the human interaction is of Radha, almost putting on a facade of happiness around her near and dear ones, but staring away blankly within the confines of her room. Her motherly instincts kick in only when she spots her daughter Saiee playing with the evil doll, something that she confides in her psychiatrist too. And yet when the picture starts getting clear, there is a hint of horror that is sprinkled – something that is atmospheric and chilling even as skeletons of her past begin to unravel in a shocking manner.
The details aren’t exactly unpredictable, almost preceding after a moderately tacky exposition that doesn’t allow the viewers to unravel the mystery, but simply dumping its information onto the consumer. But despite that, the detailing messes with your mind, almost haunting you about the personality of Radha, in the wake of a discussion between the superstition and science. The non-committal nature of the ending meant that I was thinking about the drama, long after it had ended!
Dialogues, Music & Direction
The dialogues are conversational but also perfectly in sync with the themes in the narrative. And because this remains a character-driven plot, much of the exposition takes place through the exchange between characters. The BGM is good, utilizing a solid sound design to play around with the eerie atmospherics of the drama. And the notes are successful in creating a chilling ambience along the way. The cinematography is slightly simplistic, with the frames that moderately dilute the impact of key events in Radha’s life (for instance, her accident showcased as a flashback). But, the frames still keep you connected with the emotional core of the protagonist, something that will go as a win in my books. The editing is good but I won’t deny that there are moments of lag in the second hour, when things get slightly repetitive. That passage will mildly test your patience, and something that could have been tauter with its editing pattern too. Director Rushikesh Gupte is committed to the idea of a character-driven plot while resisting the temptations of multiple jump-scares along the way. He is more interested in creating an atmospheric ambience of chills through his setting and characterization, and he is quite successful in that regard. The direction is understated but effective in communicating the psychological scars of the protagonist while using the debate between superstition and science as a driving medium in the drama. The direction is excellent here.
Performances
The performances are wonderful by the members of the cast. Rajan Bhise as Radha’s father, Vikram Gaikwad as Shekhar, Seema Deshmukh as Radha’s mother, Vaishali Rajeghatge, and Priyanka Datar as Priyanka are such fine actors who make their presence felt. Kishore Kadam as Dr Dhananjay Kulkarni is wonderfully understated and delivers a solid performance. Jyoti Malshe as Rashmi is well restrained and delivers a sincere performance. Avanee Joshi as Saiee grasps the vision of the filmmaker pretty well, and delivers a good performance. Anita Date Kelkar as Ganguti is terrifying with her act, and she is successful in sending chills down my spine. She is horrifying to witness, and immensely intimidating.
But the soul of the drama is Amruta Subhash who is absolutely brilliant as Radha. Character-driven plots are always tricky if the actors don’t hold your attention with their performances. But here, Amruta effectively uses her body language and expressions to communicate the plight of her character and her psyche. It is the kind of immersive performance of an artist who switches expressions against the grain, and at will, that will leave you in a state of awe. This remains an acting masterclass of the highest order, given how you are emotionally invested in her character, even as her presence lingers on long after the film has ended!
Conclusion
Boasting of incredible performances, Jarann is a slow-burn psychological drama packed in a solid homegrown horror that lingers on long after the film has ended. It isn’t perfect but is still supremely satisfying as a character-driven plot. Available on Zee5.