Indian cinema has frequently weakened the horror genre by mixing it with comedy, making genuinely terrifying films relatively uncommon. Even among movies that attempt straightforward horror, delivering consistent scares remains a challenge. 418, backed by KGF and Salaar filmmaker Prashanth Neel, attracted attention after the Central Board of Film Certification (CBFC) reportedly found it excessively scary. Following several delays, the film has finally reached theatres. But does it justify the buzz surrounding it?
Vivek Shankar (Surya Raj Veerabathini) comes from a middle-class family whose parents have mortgaged their home to finance his education. They accompany him to VIMS, a medical college in coastal Karnataka, to enrol him in its newly renovated boys’ hostel. The building had remained shut for 15 years and was previously used as a mental asylum, where horrific murders took place. Women are prohibited from entering the hostel, while Room No. 418 is strictly out of bounds.
A few days after moving in, Vivek begins experiencing paranormal episodes that leave him anxious and paranoid. When a consultation with the college’s senior counsellor (Ramesh Indira) fails to provide clear answers, Vivek and his roommate Rohith decide to investigate the mystery surrounding the hostel.
Director Kirtan Nadagouda establishes the film’s horror credentials from the very first sequence. A blood-covered woman with broken bones and a frightening presence brutally attacks her caretakers. The scene is disturbing, graphic and unsettling, setting the atmosphere for the rest of the film. The visuals become somewhat less intense when the story moves to the college in 2020, shortly before the Covid-19 lockdown began in India.
However, the college sequences unfold at a painfully slow pace. Episodes involving ragging, medical students helping Saisha (Preethi Pagadala), a patient who becomes their friend, and other subplots contribute little to the central mystery. The narrative gains momentum when Vivek starts encountering paranormal activity, only for his roommates and friends to dismiss his experiences as hallucinations.
The interval introduces the backstory through Devika (Chaithra J Achar), explaining why Room No. 418 was sealed and how its disturbing reputation originated. Like many horror narratives, 418 revolves around a woman who has suffered injustice. The events that led to her fate add an intriguing dimension to the story, although the broader narrative follows a largely predictable course.
At times, the film hints at what it could have achieved with a more tightly written screenplay. A conversation between the students and the senior counsellor stands out for its camerawork and the eerie lullaby that introduces Devika. The film also attempts to combine horror with local superstitions and scientific reasoning, offering more avenues for exploration than supernatural encounters alone.
Unfortunately, the lengthy runtime and repetitive scenes undermine these strengths. Several sequences involving Devika repeatedly return to her obsession with having a child, revisiting the same idea without meaningfully moving the story forward. What could have been an emotionally powerful element eventually becomes monotonous.
The film also relies heavily on sound design to create jump scares instead of consistently building genuinely frightening situations. Some of these moments are effective, but the repeated approach becomes increasingly obvious after the interval. The twist just before the climax involving Room No. 418 works well, but the final revelation connecting Devika and Saisha fails to create the intended impact.
Dinesh Divakaran’s cinematography successfully maintains the film’s unsettling atmosphere, while Venky GG’s music complements its horror elements. However, Akul Avinash’s editing, which closely resembles the style associated with KGF and Salaar, becomes tiring as the film progresses.
Despite its flaws, 418 deserves credit for attempting to deliver a horror experience. Its predictable storyline and increasingly repetitive scares stop it from realising its full potential. Beneath the supernatural premise, however, lies a story about women who become victims of societal injustice and the damaging effects of anxiety and depression. The underlying message deserves recognition, even though the film’s execution leaves considerable room for improvement.
