THIS BLOG IS CURRENTLY BEING EDITED - PHOTOS ARE MISSING - 10/5/2025
In the stillness where nightmares move softly and evil seeps out occasionally, Gorachand Saha's epic film "The Son of Devil" waits. It is not watched. It is consumed. Watch all 2 hours and 48 minutes in one sitting. It will linger within you for the rest of your life. To pull back the stringy veil of bloody human entrails, Gorachand graciously stepped into the spotlight for a brief moment in October 2025 to answer a few questions about his unsettling pyscho-art-shock cinema masterpiece. Caution: There are spoilers below. Watching the movie before reading is highly recommended.
Hello Gorachand. Loved the movie. Where in India was it filmed?
It was filmed in a town called Nabadwip in India. The large bridge is called 'Gaurang Bridge'.
Let's go back to the very beginning, right when the project began. How did it all start?
I wanted to create something big - something real - with many actors and powerful scenes. But I had no one to rely on. Everything rested on me alone. Still, I began. Within weeks, I threw myself into the work with new energy, writing and rewriting my story. Slowly, new people started to join me. We began rehearsals, and to my surprise, the sessions went beautifully. After struggling to gather some funds, I finally planned to start shooting. I was hopeful - happy, even. For the first time, it felt like the dream was taking shape. But fate had other plans. All my actors worked at a private insurance company.
One day, that company suddenly shut down, and they all lost their jobs. Their families were in turmoil; their personal lives fell apart. Under such circumstances, it was impossible for them to continue with my film. I was crushed, but I didn’t give up. After thinking deeply, I turned to a close friend for help. He listened to my story carefully. He owned a camera, so I asked him to become both my cameraman and casting director. He agreed. Within a few days we got all the artists and started shooting.
Many strange things were happening during the film shooting. I can remember that night on the railway tracks. It was deep into the night, the kind of silence that hums with danger. We were shooting on the railway tracks—no lights, no safety nets, just shadows and steel. I was playing the killer. A savage, unhinged soul, charging forward like a wild beast, clutching a massive, gleaming blade. My eyes were locked on the imaginary victim. My body moved with fury. I had become the character. And then, out of nowhere, a train suddenly appeared in front of me from beside the railway tracks. It roared in from the adjacent track, slicing through the darkness. I didn’t see it. I didn’t hear it. I was too far gone—too deep inside the mind of the murderer I was portraying. For a few terrifying seconds, reality vanished. The world around me blurred. My senses were hijacked by the role, and I forgot I was just an actor on a set. Had I taken one more step, had I lunged just a moment sooner, I wouldn’t be here telling this story.
That night, I didn’t just survive a scene. I survived the razor-thin line between fiction and fate. My friend’s quick reflexes saved me that night. The railway police rushed in soon after, ready to arrest us, but because we had the official permission letter from the railway department, they couldn’t. After a few days of this incident I shot a horrific fight scene. I was alone in this fighting scene and many enemies were against me. During the shooting, I was seriously injured. Then I could not sleep all night in terrible pain. Not only that day, I was injured several times during the shooting. But I continued shooting by ignoring all the pain. But my hard work, unbearable pain and money spent for this movie failed one day. The one whom I gave the responsibility of the casting director and cameraman, he betrayed me. He was very clever, which I was not. I helped him a lot in his life and so I thought that he would help me as a friend in making this film. But, I was wrong. He was trying to steal my movie through deceit. I couldn’t take any legal action against him. Because I had not signed any agreement with him. And at the same time my uncle died. He was the pillar of our family. As a result of these incidents, I became physically and mentally devastated. Everything of mine was gone. I did not understand what to do next! I became once again alone.
But, my enthusiasm was not lost. Again I started trying to collect people again as usual. Then suddenly one day I remembered a friend with whom I had acted in a play several years ago. The next day I went to that friend's house. I told him in detail about my terrible situation. He agreed to help me after hearing all of my words. Leaving aside the previous story, I started writing a new story that was even more exciting than the previous one. I got the idea for this story from an incident I read in the newspaper. With his help I started my film work. Before the shooting started, we arranged the audition for the film. We hired a man for an announcement all over the town about the audition for my film. With a loudspeaker with the wind in his face, he rode through the city in an open car, calling out for actors to audition for roles in the film. Soon, people began contacting us. On the chosen Sunday, many turned up for the audition. We selected our male actors—but I couldn’t find a suitable actress for the leading role opposite me. We tried everything, but every girl we approached declined for personal reasons. Finally, after a lot of effort, my friend was able to convince a girl to act as a heroine opposite of me. But on the day of the shoot, something strange happened. My friend invited another girl—someone he knew from before—to visit the set. She wanted a big role in the film. Since there weren’t any major parts left, she was given a small role in an interview scene. Her role was to call for the waiting candidates one by one in the job interviews scene. She performed well. I was pleased to see her work. Then began preparations for the scene of me and my heroine. I knew that the selected girl who came for the role of my heroine, would be my heroine. But when the shooting started, I was surprised to see that right before the shooting started, instead of the girl chosen to play my heroine, that new girl was suddenly placed in front of me to play the role of my heroine. My friend did this thing without informing me. Because my friend suddenly decided the new girl suited the heroine’s role better than the previous one. So, without informing me, before the shooting began, he explained to the new girl about her character. Although she played well, I could not play well. Because I did not like this new girl.
After the shooting ended I went back home. Then within a few days I started to feel a strange change in my mind. There was a change that started in me, that I didn't understand, what was going on inside my mind! I started to feel a deep attraction to that new girl, that I never felt for anyone in life. The deep attraction of my heart towards her was increasing day by day. I always thought deeply about her only, and no other thought would have come to my mind. In the days that followed, while acting in every romantic scene with her, my love for her was not just acting, but pure. Anyway, we all worked hard for this film. It is necessary to mention our cameraman in regard. In the action scenes in this film, he had to fight to get his camera to focus on us. I can remember that, when we were taking a murder scene on a small hill, suddenly our cameraman became unconscious due to the extremely hot and rough environment. We all quickly took him to the riverbank and sprinkled the river water on his eyes and face. After a few minutes his consciousness was restored. After resting for fifteen minutes, he started shooting again. As for me, during the action scenes under the blazing sun, due to extreme hot weather and rough environment and hard work, I often felt as if I might collapse—or even have a heart attack. But I endured the pain and kept shooting.
I still remember that first murder scene on the railway line, in a remote village. That day, we reached the location—a small, remote village surrounded by quiet fields and dusty roads. As soon as we began shooting the first murder scene, curious villagers started gathering around. At first, just a few stood watching from a distance, but within minutes, the crowd had swelled into dozens. Their whispers filled the air, wondering what we were doing with cameras, blood, and weapons. Then something funny happened: when the actors dressed as policemen arrived, the villagers thought they were real officers who had come to arrest us for murder! Panic broke out instantly. Some of them ran behind trees, others ducked into their homes, and a few simply fled down the dirt road without looking back. We couldn’t stop laughing once we realized what had happened. It took several minutes to calm everyone down and explain that we were only making a film. Once they understood, their fear turned into excitement. The same people who had been terrified a moment ago now stood cheering behind the camera, watching every take with wide eyes and genuine wonder. After that confusion, we resumed filming and worked until sunset. That day reminded me how powerful cinema can be—it blurs the line between fiction and reality, even for those who are just standing on the sidelines. Another day, we crossed a river to shoot in a deep forest. The place was far beyond our residence. That day there were a lot of people with me. It was a scorching day, and we had a big fight sequence between the killer and the police. We started at ten in the morning and kept going until evening—just action after action. We returned home exhausted but satisfied. But that hard work went to waste. A few days later, while transferring our footage from DV to DVD, the technician made a critical mistake. He cropped the frame of the recorded footage too small, and I couldn’t fix it. I didn’t have the money to reshoot. Those action scenes were lost forever.
The struggle to carve a place in this world is as old as time itself. We chase recognition, purpose, belonging. But beneath all ambition lies one primal force - love. Not the romantic kind, not the fleeting kind. I’m talking about the selfless love of one human for another. The kind that builds bridges, not walls. The kind that saves lives. Yet, in this pursuit, there are those who walk a lonelier road. People whose hearts beat with a purity too rare for this world. Their honesty is unflinching. Their love, unguarded. Their humanity, unshakable. And for that, they are punished. Society doesn’t know what to do with such souls. So it breaks them. It deceives them. It discards them. Again and again, they rise—bloodied, bruised, but never bitter. Until one day, something inside them shifts. Some retreat into silence, seeking peace in prayer, in solitude, in the divine. They become the “Children of God”—gentle spirits who choose light over vengeance. But others… others turn toward the fire. They become the “SON OF DEVIL”—not by birth, but by betrayal. They return to the world not with open arms, but clenched fists. Not to be healed, but to burn. I remember reading stories like these in a newspaper—real people, real pain, real transformation. Those stories didn’t just move me. They haunted me. They demanded to be told. And so, The Son of Devil was born.
This film is not just a narrative. It’s a reckoning. It’s a mirror held up to a society that fails its most honest hearts. It’s a protest. A cry. A warning. Because when love is rejected, and truth is punished—what rises from the ashes is not peace. It’s fury. The journey of Son of Devil was never just about making a film. It was about survival—creative, emotional, and spiritual. When I began, I had almost nothing in hand—just forty dollars and an impossible dream. No studio, no sponsors, no team. Only a story that refused to let me sleep. Through pain, betrayal, loss, and endless struggle, I learned that filmmaking is not about money or convenience—it’s about faith. Faith in the story you want to tell, faith in the people who stand beside you, and faith in yourself when everything around you collapses. There were nights when we filmed under railway lights, on empty tracks, surrounded by danger and silence. There were days when I thought I might collapse from exhaustion. Yet, every hardship taught me something that no film school ever could—that art is born not from comfort, but from chaos. Son of Devil grew out of that chaos. It is a story about pain, transformation, and the thin line between love and fury. It asks one simple question: What happens when honesty and love are punished by the world?
The dancing scene was very lively and energetic. Was that a difficult scene to film?
Thank you. This dance scene was not difficult to film at all. That's because both of us were dancing with the natural passion and joy of the heart.
Did you plan your dance before or did you improvise your steps?
Not at all. We improvised the dance steps during the shooting. That's because we were both dancing with deep attraction and joy for each other.
What was the most difficult part of directing the movie?
The most difficult part of directing the film was the murder scene when the train passes on the railway tracks and the intense action scene between the killer and the police force at the end of the film.
Will there be a sequel?
I want to make a second part of this film. But it depends on the financial situation.
Are you writing anything new? If so, could you tell me a little about it?
I began writing a new screenplay once - full of dread, mystery, and the kind of darkness that doesn’t just hide under your bed, but crawls into your dreams. It was meant to be my next film. But life, as it often does, turned cruel. Financial ruin knocked at my door, and I had no choice but to abandon the script midway, leaving it half-alive, gasping in the shadows of my desk drawer. But some stories don’t die quietly. "The Son of Devil" was never just a screenplay. It was a living, breathing nightmare. And when I stopped writing, it didn’t stop whispering. It clawed at my mind, twisted itself into new shapes, and demanded to be reborn - not on screen, but on the page. So I wrote a novel. It’s longer. Darker. Meaner. The skeleton of the original story remains, but I’ve fed it flesh soaked in fear. I’ve changed the rhythm, deepened the horror, and let the characters bleed. What was once a cinematic tale is now a literary descent into madness. The devil’s son isn’t just a figure anymore - he’s a force. And he’s coming. I want this story published by an American house that understands horror not as entertainment, but as revelation. Because this isn’t just a book. It’s a warning.
What are your favorite movies?
My favorite movies are Enter the Dragon, Game of Death, Evil Dead, Commando, Red Heat, Blood Sports, Double Impact, Fright Night (1985), Sleepless (Italian), The Mummy and many more.
I read that you admire Bruce Lee. If you could write a movie with him in the starring role, what would it be?
What is your advice to young filmmakers and screenwriters?
Don’t chase technology—chase the truth.
An actor doesn’t need the latest camera or the most advanced lighting
setup to touch an audience. What matters is passion. What matters is
honesty. You can buy every piece of equipment in the world, but if your
actors don’t believe in what they’re doing—if they don’t feel it—your
film will be beautiful, but empty. The camera captures light. The artist
captures life.
When I made Son of Devil, I didn’t have much—just a handful of people
who believed as deeply as I did. We shot through the heat, the pain, the
sleepless nights, and somehow, truth found its way through the cracks.
And that truth—that raw emotion—is what cinema is really about.
So here’s my advice: learn your craft, but don’t become a prisoner.
Learn your craft, but don’t worship it. Let your camera be an
instrument, not your identity. Tell stories that come from your heart,
not from algorithms. Work with people who feel, not just those who
perform.
Because one day, when the lights go out and the credits fade,
audiences won’t remember the brand of your camera, the clarity of your
sound, or the cost of your lens. They’ll remember the emotion. They’ll
remember the truth. They’ll remember how you made them feel.
They’ll remember you only for that reason.
That is the power of cinema.
And that is where every true filmmaker begins.
Thank you Gorachand. The world is deeply grateful for your twisted dream-engine of imagination and wait patiently for your next project.
"The Son of Devil" on Tubi, the Trailer, buy a DVD, on Letterboxd, on imdb
Gorachand Saha on Instagram and Facebook
Filmmaker J. H. Rood of Ghoul Inc. Productions portrays Detective #1 in "The Son of Devil" answered a few questions about his involvement with the film.
Hi J. H. Excellent job as Detective #1. How did you get involved?
I
first became aware of Gorachand Saha through my friend Chad Knauer, who
made a film called "Skeleton Cop". I was following the "Skeleton Cop" Facebook page when he announced there was a new cast member, and it was
this wild-eyed Indian guy named Gora. I immediately went to Gora's
profile to check him out, because I was in production on a film of my
own at the time and he looked like he would be a good fit. I watched
some of his acting reels and I was sold on this guy! I reached out and we became fast friends. I eventually cast him in my film "The
Abode of Mad Tales" and not long after he approached me to be in "The Son
of Devil".
Was the audition process difficult?
There was no audition, he did give me a script to follow and I
did, to the letter, at least as far as the dialogue goes. We did have a
little bit more creative license with how and where we shot the scenes. We filmed the detective scenes near my home in El Paso, Texas. Coincidentally, not far from where "Manos: The Hands of Fate" was filmed.
Imagine that you are tasked with presenting "The Son of Devil" to a movie theater packed with 380 rabid horror movie fanatics.
Throw their
expectations out the window. Whatever you think you're about to see, you're not. I was in it, and I was completely blown away by it. Strap in and enjoy the ride.
What are your thoughts on the possibility of a sequel?
No. Not because it doesn't
deserve one, but because it doesn't really need one. I think Gora
definitely told that story very thoroughly, and I don't think it needs
to be expanded on. What I would like to see is for him to make a new
film.
As a writer and director, how were you inspired by "The Son of Devil"?
"The Son of Devil" is inspiring because
it exists. Gora poured his heart and soul into that project, and not
only did he get a movie, but he got it distributed! It's on freakin'
TUBI! Too often, I see filmmakers get discouraged when they hit a few
bumps in the road along the way. They will shit-can a whole project
because of a few unforeseen difficulties. Gora worked on "The Son of
Devil" for years, and he did it. He made his movie. Filmmaking never,
ever goes how you expect it to. Expectations are resentments waiting to
happen. Roll with it. Improvise. Think outside the box. John Carl
Buechler once said if you want to make a movie, pick up a camera and do
it. There's nothing stopping you. That's what Gora did
