With horror-comedy becoming an increasingly popular genre in Indian cinema, Odia films had largely stayed away from exploring this territory. However, Mantramugdha, written by Anupam Patnaik and Roshan Bisoi and directed by Patnaik, attempts to bridge that gap and largely succeeds in delivering an entertaining theatrical experience packed with humour, music and a touch of horror.
Set against the eerie backdrop of the dilapidated ‘Mantramugdha’ Palace in Dharakote, the film follows a group of youngsters, played by Sanoj Kumar, Manmay Dey, Sarthak Bharadwaj Mishra and Suryamayee Mohapatra, who arrive at the palace to persuade its owner to convert the property into a hotel. During a tour of the palace with its owner and caretaker, played by Umakanta Sahoo, they accidentally unlock the room of the late princess Mugdha, played elegantly by Bhoomika Dash, triggering a chain of supernatural events.
Mugdha had died by suicide after her father, King Mahendra Singh Deo (played by Hara Rath), forbade her from singing. Her spirit, trapped within a harmonium inside the room, eventually possesses Ankita (Suryamayee). The village itself carries a chilling history; music has been banned there ever since the princess’ death, as her spirit appears whenever someone sings, even if it is merely a lullaby. The ban imposed by the king forms one of the more intriguing aspects of the narrative. The king, too, eventually dies by suicide and when the characters release Mugdha, they inadvertently release Mahendra Singh Deo’s spirit as well, which attempts to once again forbid Mugdha from singing.
What follows is a chaotic yet engaging survival tale as the three youngsters attempt to escape the palace while dealing with the dual possessions. While the film occasionally struggles to fully establish an atmosphere of fear, it compensates with well-timed humour and entertaining performances.
One of the strongest aspects of Mantramugdha is its technical finesse. Deepak Kumar’s cinematography effectively captures the haunting grandeur of the old palace, adding visual richness to the storytelling. The music, too, emerges as a major highlight. The background score by Ashish Pradhan significantly elevates several scenes, particularly the introduction of Mugdha accompanied by the haunting classical rendition of ‘Hajigala Kahin Bainsi Kanhu’, which stands out as one of the film’s most chilling and memorable moments. The ghost’s musical sequence is especially impactful and lingers long after the film ends.
The comedy portions work far better than the horror segments. Supporting characters played by Dipanwit Dasmohapatra and Sahoo inject considerable energy into the narrative and ensure that the humour rarely falls flat. Another commendable creative choice is the seamless switching between Suryamayee and Bhoomika during the possession sequences, which effectively conveys Ankita’s transformation into Mugdha.
Blending comedy, music and supernatural drama, the film turns out to be an enjoyable and refreshing watch.