Most of the logic are simple and at times lame, but the writer has done one remarkable thing. But, keeping the tradition of horror filmmaking in India in mind, this much liberty should be granted. The basic storyline features the pre-independence era when only the privileged class had the access to good medical facilities such as x-ray, but that was competent enough to detect two ghostly claws on the heroine’s shoulders.
Vidya doesn’t get many chances to prove her skills as the focus remains on Tia. Vidya’s hands are her most trusted allies, they fly in the air every time she delivers a dialogue, however some may find it ‘extra minute observation’. She spots her servant sitting beneath a tree in a thick jungle with his head down of course she would go there and touch his chin, otherwise how do you think the vfx will come into the play.īut, she is not the only one doing over-acting, Vidya Malvade plays Jaidev’s sister Karuna, who may remind you of ‘talk to my hand’ phrase. What would one do after listening to some weird war cry like sounds in a jungle? Well, Tia Bajpai is a brave girl who goes after the sound despite knowing that her servant hasn’t returned since many minutes. In fact, these ‘ghoda-gaadis’ (Horse carts) and lantern carrying Ramu Kakas have become so redundant that people start giggling the moment anybody even remotely close to these ‘things’ appear on the screen, but the director Bhushan Patel relied on the clichés and proceeded with a scene where the sound designer seems to be at least ten times more scared than the heroine. ‘1920: Evil Returns’ opens with a sequence that has been done to death since the inception of horror films in India.