‘Raat Akeli Hai: The Bansal Murders’ Movie Review: A Sharply Crafted Crime Story

In “Raat Akeli Hai: The Bansal Murders,” a family that controls a powerful journalism enterprise is found slaughtered in their mansion one night. Five members are killed in a home built on sensationalism and half-truths. The survivors include Meera (Chitrangada Singh), a grieving mother whose devotion to a questionable godwoman (Deepti Naval) makes her a suspect. Meera claims her drug-addicted brother committed the murders. Inspector Jatil Yadav (Nawazuddin Siddiqui) suspects there is more to the story. He learned in the first film, “Raat Akeli Hai” (2020), that within wealthy, dysfunctional families, secrets run deep. Dr. Panicker (Revathi), a forensic expert, becomes his ally. She is determined to uncover the truth, having known what it is to be suppressed. The film reveals the divide between the rich and the poor, with class rage disguised as a thriller. Jatil is on the case, but the case is also impacting him.

Director Honey Trehan and writer Smita Singh (Khauf) create an atmospheric whodunit. While not as moody as the first film, the narrative is more clever. The themes are not immediately obvious, and their revelation exposes society’s complicity. The film resembles a primetime news story that would make waves in the Bansal family's own media empire, using perception as a weapon. Jatil focuses on the details others ignore. The film captures the reality of India. Jatil’s boss takes a ‘personal interest’ in the case because he is a friend of the family. A subplot highlights a speech about journalism in a community whose voices are often silenced. Children are poisoned at a school displaying 'Right to Education' campaigns. The consequences of an illegal factory affect both rich and poor. A shot of a makeshift graveyard shows the anonymity of death, similar to Danish Siddiqui's pandemic drone shot. A cop is instructed to consider public sentiment when solving the case. A family business dispute emerges as news channels shape the investigation. A search for 'PMPO' shows autofill results like 'PM positive'.

The film critiques faith by subtly conveying the toxicity of tradition. Symptoms are everywhere. A holy sweet becomes a murder weapon; the family’s cult-like devotion initially recalls the Burari deaths. Jatil is called to the farmhouse before the massacre to investigate dead crows and severed pigheads. Meera seeks refuge in her godwoman. Superstition is an aesthetic for the privileged, but a refuge for the downtrodden. Jatil’s relationship with Radha (Radhika Apte) is stalled because he can't admit their horoscopes don’t match. Although progressive, Jatil struggles to overcome his heritage. His self-improvement is informed by the case, as he judges the family for their practices. Jatil is guided by instinct, but finds a scientific counterpart in Dr. Panicker, whose facts offset his assumptions.

The film bravely explores social hierarchy and accountability. It examines a system that seeks answers from above while ignoring the truths on the ground. The killer's identity may seem familiar, but the writing reveals an India where revenge is seen as heroic. The film acknowledges the origins of these tropes; if the answers are predictable, it's because the culture is rooted in neglect. The casting tests our assumptions, with showy characters serving as distractions. Nawazuddin Siddiqui's performance reflects Jatil's acceptance of his imperfections. His name challenges convention. The godwoman advises him to change his name to 'Jatin' for success. The film shows that a person is defined by their actions, not their name; faith is meaningless without agency. Siddiqui's role echoes his character in “Serious Men” (2020), a father who exploits society’s view of underdogs. Jatil is the opposite: a fairytale refusing to become a warning.

“Raat Akeli Hai: The Bansal Murders” takes time to develop, but its structure mirrors the diversions we embrace to reach convenient conclusions. The film argues like a reporter, supporting its views with evidence of a world beyond moral absolutes. The best scenes involve Jatil’s home life and his capacity for change. The film avoids franchise clichés; Jatil's life reflects the nation's contradictions. Jatil investigates a twisted household, probing the elite that drive the majority to the edge. Familyhood is a theme for a series of whodunits, especially when communities co-opt the dynamic to maintain the status quo. The film's distinct style sets it apart from other entries in the genre. The craft supports a story that seeks to be heard from beneath its surface. The craft is the film's politics, a change in an age of outrage. Shooting the messenger is easy because others have protection.