I believe there’s nothing more captivating or stimulating than a well-crafted murder mystery—one that not only keeps you guessing about who committed the crime but also allows you to inhabit the mind of the killer and explore his dark, twisted sensibilities. Stories like these offer a blend of suspense and psychological depth that few genres can match. In recent years, Indian films, from Rautu Ka Raaz and Thudarum to Sector 36, have managed to grip audiences with narratives so intense that they kept everyone at the edge of their seats. Each of them, in its own way, examined human depravity and the fragile boundaries between morality and madness. When it comes to delving into the psyche of a sociopath, Raman Raghav 2.0 still stands out to me—it remains the benchmark, a chilling portrayal of obsession and insanity. That said, it’s impossible to ignore the brilliance of Vikrant Massey’s performance in Sector 36, which was equally magnetic and unsettling, proving once again how powerful an actor’s presence can be in elevating the entire narrative.
Directed by Akshay Shere, Bhagwat Chapter One: Raakshas is the story of a cop with a troubled past. ACP Vishwas Bhagwat had lost his sister when he was just 17 years old. He and his family were never able to find out what actually happened to her. The man blamed himself for her disappearance, though he was not exactly at fault there. That sort of thing could have happened to anybody, and it was just sheer misfortune that Vishwas found himself in that situation. But that guilt played a crucial role later in his life. Vishwas often lost his temper while dealing with criminals, a habit that often landed him in trouble. Vishwas’ seniors respected him, and they knew that he was a very honest and hardworking cop. That was the only reason why Vishwas wasn’t suspended from his position even after multiple cases of police brutality were filed against him. Vishwas was transferred to Robertsganj, where he was put in charge of a case through which I believe he got an opportunity to redeem himself. He was investigating the disappearance of a local girl named Poonam, and in the process, he ended up uncovering a hidden web of secrets. He got to know that many girls had disappeared in the last 4-5 years and nobody really had a clue what exactly had happened to them. ACP Vishwas Bhagwat took the case very personally. He had told the father of the missing girl that his daughter would come back home in the next 15 days. But he was unable to find a breakthrough for the longest time. While all his colleagues and juniors were almost on the verge of giving up on the situation, Vishwas just refused to do so. He had sleepless nights, but he just wasn’t ready to let the perpetrator get the better of them. At the end, he did strike gold, and that’s when he realized what he was dealing with.
Talking about the storyline, I would say that Bhagwat Chapter One: Raakshas has a thrilling first half. The film is based on true events, so I believe that a chunk of the material would have been taken from the real-life events. But even then, it’s crucial to weave those events into a screenplay that heightens the viewer’s curiosity and keeps them constantly guessing. Bhavini Bheda, the writer of the film, does exactly that—she keeps the audience engaged as ACP Vishwas steadily peels the layers of the mystery, one after another. It becomes a bit challenging to hold the attention of the viewers after the identity of the killer is revealed. I felt that the screenplay needed to delve deeper into the psyche of the killer. No doubt we got those moments where the killer’s mind was exposed and we were made privy to the horrifying reality, but I personally craved for more. I wanted to know the motivations of the killer, what gave him this sadistic pleasure, why he loved certain people so obsessively in his life that he was ready to sacrifice himself for their sake, what his endgame was, why he felt so invincible, if there were any past traumas that he had suffered, etc. I won’t be going into the details of the story, but I did feel that the ending was a bit rushed, though I loved the interrogation sequences that were rather disturbing.
In any such murder mystery, I believe the spotlight is on the performers. Especially the sociopath. But in this case, I believe the makers have done a great job in giving equal importance to the protagonist too, i.e., the character of ACP Vishwas Bhagwat, played by Arshad Warsi. Warsi’s restrained performance as a cop dealing with anger issues is one of the highlights of the film. The ACP understands how society operates and is well aware of the prevailing mindsets that shape the world around him. Yet, he refuses to accept them blindly, even knowing that he may never be able to change the system completely. What drives him is the belief that he can still make a small but meaningful difference—and for him, that’s enough. While I expected that sort of gritty performance from an actor of Arshad Warsi’s caliber, Jitendra Kumar’s portrayal of his character came as a surprise to me. I believe when you have seen an actor only in positive roles, you don’t expect him to have such a shocking turnaround in the film. I believe Jitendra’s past works and his famous characters created that illusion for me and made me believe that he couldn’t be the villain of the story. Jitendra Kumar has done a superb job, and the way he has embodied the character, be it his psyche or his physical demeanor, is a treat to watch.
Beyond performances and storytelling, I truly believe the technical aspects—especially art direction and color grading—play a crucial role in shaping the tone of such films. The color palette, in particular, adds a psychological dimension; the muted tones, shadowy frames, and desaturated visuals accentuate the emotional gloom, making the atmosphere feel heavier and more immersive. It’s that synergy between story and visual design that transforms a regular thriller into something haunting and deeply affecting. I believe, even though it is shown in every other film and series, creating the setup of a police office is rather a tricky business. I believe art direction and crisp editing really helped the cause of the film. In the end I would say that Bhagwat Chapter One: Raakshas might not be the best murder mystery you have ever seen; the film does have its shortcomings, but it is definitely worth a watch. If not for anything else, watch it to witness some really good performances by the entire cast ensemble.
