'‎Jatadhara' Review: How the Film Blurs Science, Faith, and Fantasy in an Unsteady Supernatural Drama

‎Energy-driven mythology becomes the core framework of Jatadhara, a film that attempts to merge religious symbolism with scientific concepts. The narrative leans heavily on the vocabulary of “energy,” describing positive forces activated through mantras and idols and negative forces neutralised by surrounding them with divine icons. References to real temples such as the Padmanabhaswamy Temple are woven into the plot to heighten the sense of real-world connection.

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‎Jatadhara blurs the line between science and faith through energy-based mythology, uneven characters, and inconsistent supernatural drama.

‎Jatadhara

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‎The film portrays religion using scientific terms and presents scientific ideas through religious imagery, causing both identities to blend into an ambiguous space. A Tesla coil is explained through the Arunachalesvara Temple’s lingam, creating a visual metaphor that underscores the story’s reliance on cross-coded symbolism.

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‎Shiva, played by Sudheer Babu, introduces himself as a ghost hunter who does not believe in ghosts, positioning his character around fear rather than supernatural conviction. His worldview is briefly contrasted when questioned about the threads on his wrist, which he calls faith, or “aastha,” setting up a thematic divide that the film does not expand upon.

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‎Sitara, portrayed by Divya Khossla, enters the story as an archeologist who becomes entangled with Shiva. Her appearance, framed through a half sari and puffed blouse, reflects a familiar Telugu cinema archetype tied to youthful imagery. Their first interaction unfolds during Shiva’s attempt to prove the absence of ghosts using a device that flashes “Safe!” or “Unsafe!” depending on paranormal presence.

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‎The film’s depiction of action repeatedly relies on showing a setup followed immediately by the outcome, creating scenes where key moments lack visible impact. Examples include a fall implied rather than shown, a gas explosion with no transitional detail, and a fire met with minimal physical reaction from the characters.

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‎A shift occurs when Shiva’s ghost-hunting device registers “Unsafe!” and the story introduces Dhan Pisachini, played by Sonakshi Sinha. She appears as a supernatural guardian of pots of gold and becomes central to Shiva’s past, revealed through an extended flashback. Her need for sacrificial blood is conveyed through imagery of bowls, red markings, and stylized sound design intended to emphasize her monstrous presence.

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‎Fight sequences and horror elements rely on visual suggestion rather than physical intensity. The physicality becomes most noticeable during moments involving Shiva holding lingams, with flexed muscles and heightened exertion that draw the viewer’s attention. The Pisachini’s gaze during these scenes adds another layer to the supernatural tension shaping the film’s later portions.

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‎Jatadhara unfolds through its blend of mythology, speculative science, and character-driven encounters, presenting a supernatural drama built on the interplay of faith, fear, and cinematic spectacle.