‘Bhagwat Chapter One: Raakshas’: Everything works, and then doesn’t

Two excellent actors, thriller genre, a real story and an authentic setting… ‘Bhagwat Chapter One: Raakshas’ seems to possess very many ingredients that make for a gripping fare. Indeed, the film starts off well: a girl has gone missing. Arshad Warsi, as Inspector Vishwas Bhagwat, has serious anger management issues and gets a punishment posting in the same town. He has a backstory, which is just hinted at to begin with, but explains both his anger and passion to go after criminals like a man possessed. His investigation into this particular case not only leads him to many more missing girls, but also dead end after dead end, until a breakthrough presents itself.

If you are hoping for an edge-of-the-seat police procedural, the expectation is only half-met and half-belied. A parallel track introduces us to Sameer, who is wooing a young girl, Meera (Ayesha Kaduskar). Since the rather endearing Jitendra Kumar of ‘Panchayat’ fame plays this love-struck man, Sameer, you may not smell a rat to begin with.

However, this tale of a serial killer is not exactly riding on the thrills or tropes of whodunit. It is more like why-dunnit. How did the killer operate and how will Bhagwat nail him? Both queries hold your attention, for a while at least, if not all the way through.

But just as Inspector Bhagwat tries to put the pieces of the jigsaw puzzle together, you are reminded of Reema Kagti’s potent ‘Dahaad’. Of course, it was a web series and that genre allows characters and backstories to flesh out better. But comparisons can’t be avoided as the central premise is uncannily similar and, hence, tiringly familiar. ‘Dahaad’ was a scathing social comment wrapped as a thriller and brought to fore how India’s grand fixation with marriage makes girls vulnerable to wolves in sheep’s clothing.

In ‘Bhagwat’, this aspect is more of a teaser. In a conversation among police officials, biases that plague single women, especially in small-town India, unfold, but only fleetingly. Indeed, since this is a 2-hour and 7-minute film, a crime thriller at that, every single social schism and fault line can’t be underlined. In the beginning though, how love jihad has become the most convenient ruse is foregrounded. The focus remains on the character arc of the killer, his psychological inflections and how he trapped unsuspecting young girls. Since we don’t see/meet other victims, except for one girl, Meera, the empathy factor too gets whittled down.

Initially led by the titular character, the film tilts towards Jitendra Kumar midway. Turning a new leaf, the actor, who is better known for playing the amiable good guy, impresses with understated menace. His boy-next-door looks are a perfect foil and cover for his devious acts. Like a true blue criminal caught in the police dragnet, he turns many colours.

Watch him confess to his crimes and even better, watch him defend himself and equate himself to a baaz who lies low to rise again.

Arshad Warsi’s intensity surfaces and he too is consummate, but the writing lets him down ultimately. If this would be a franchise, as the title promises, then he deserves a better-written part. So did the film, that fails to translate into an impactful statement despite a relevant central core and corresponding treatment. Individual parts engage you partly, but the sum of parts never turns into a beating whole. Post-climax, we are fed some facts which reinforce how the story is inspired by true events and a real person.

Director Akshay Shere certainly keeps it real, only this reality doesn’t bite as it ought to.

It is watchable if you want to see how the genial Sachivji of ‘Panchayat’, Jitendra Kumar, can break new ground and hold it too.

In case you haven’t seen ‘Dahaad’, the film could present some taut, even revealing, moments. Otherwise, this isn’t a must on your watchlist.