Some stories don’t belong to the past. No matter how many years pass, they continue to haunt the collective memory. The horrifying kidnapping and murder of siblings Geeta and Sanjay Chopra in Delhi in 1978
is one such story. Nearly five decades later, the case still evokes shock, grief and anger. It wasn’t just the brutality of the crime that shook the nation but also the haunting realisation that two children, on their way to participate in a radio programme, never made it home.
Prime Video’s Raakh draws inspiration from that tragedy, but instead of merely recreating a crime that made headlines, it attempts something far more difficult. It tries to understand the human cost of such an unimaginable loss. The result is an emotionally devastating crime drama that lingers long after the final episode ends.
The eight-part series begins with what appears to be an ordinary day. A brother and sister leave home with dreams, plans and a future waiting for them. Their parents expect to see them again in a few hours. Viewers already know something terrible is coming, yet Raakh still manages to make those opening moments incredibly affecting. The makers understand that before Geeta and Sanjay became names in newspaper reports, they were children. They laughed, argued, teased each other and had ambitions. That humanity becomes the emotional backbone of the series.
What immediately stands out about Raakh is its refusal to treat the tragedy as a true-crime spectacle. The crime itself is horrifying, but the series never loses sight of the victims and the family left behind. Every clue, every investigation breakthrough and every chase carries emotional weight because viewers are constantly reminded of what has been lost.
The writing by Anusha Nandakumar and Sandeep Saket is among the show’s greatest strengths. The narrative functions as a gripping police procedural, but beneath that lies a deeply moving story about grief, guilt and justice. Even when the focus shifts to suspects and evidence, the emotional scars remain visible. The series constantly returns to the question that makes the tragedy so painful: what happens to a family after the worst day of their lives?
Directors Prosit Roy, Anusha Nandakumar and Sandeep Saket deserve enormous credit for the show’s sensitive handling of difficult material. A lesser series could have become obsessed with violence and shock value. Raakh instead chooses empathy. It understands that the true horror lies not only in the crime but in the futures that were stolen. The directors create an atmosphere of dread throughout, yet they never allow the darkness to overwhelm the story’s humanity.
Ali Fazal delivers one of the finest performances of his career as investigating officer Jay Prakash. Known for playing intense and often larger-than-life characters, Fazal surprises with his restraint here. He portrays a policeman who is not driven by heroism but by genuine empathy. His frustration, determination and emotional exhaustion feel authentic. Jay Prakash isn’t presented as an invincible saviour. He is simply a man desperate to deliver justice, and Fazal makes every moment believable.
The emotional heart of Raakh, however, belongs to Sonali Bendre and Aamir Bashir. Bendre is extraordinary as the grieving mother whose world collapses overnight. Her performance is filled with heartbreaking silences, lingering looks and moments of denial that feel painfully real. There are scenes where she barely speaks, yet audiences can feel every ounce of her pain. It is undoubtedly one of the strongest performances of her career.
Aamir Bashir is equally compelling as a father struggling to balance grief with responsibility. His portrayal avoids melodrama and instead embraces quiet devastation. Together, Bashir and Bendre create some of the most emotionally powerful moments in the series.
Rakesh Bedi brings warmth and humanity as Jay Prakash’s father, offering brief moments of comfort in an otherwise bleak narrative. Anshul Chauhan impresses as journalist Nisar.
Then come Akash Makhija and Ramandeep Yadav as the men responsible for the horror. Both actors deliver chilling performances. What makes them particularly effective is that they never play their characters as cartoonish villains. Instead, they create an unsettling sense of unpredictability that makes every appearance deeply uncomfortable. Their performances are disturbing because they feel frighteningly plausible.
Visually, Raakh is exceptional. The cinematography beautifully recreates Delhi of the late 1970s, transporting viewers into another era without drawing attention to the effort behind it. From old cars and crowded streets to dimly lit government offices and smoky neighbourhoods, every frame feels authentic. The production design is meticulous, while the background score quietly amplifies both tension and heartbreak.
What makes Raakh particularly effective is that it isn’t really about solving a crime. The audience knows justice will eventually arrive. The real story lies in the journey towards that justice and the emotional wreckage left behind. The series understands that convictions and punishments cannot erase grief. Some wounds never fully heal.
Its final moments are among the most moving seen on Indian streaming in recent years. Instead of ending on a note of triumph, the series chooses something far more heartbreaking. It reminds viewers of the lives that could have been lived, the dreams that could have been fulfilled and the futures that were stolen forever.
At a time when many true-crime dramas are more interested in sensationalism than sensitivity, Raakh stands apart. It is gripping, beautifully performed, emotionally rich and deeply humane. Most importantly, it ensures that viewers remember the victims rather than the crime alone.
Heartbreaking, haunting and brilliantly executed, Raakh is easily one of the year’s finest web series and a powerful tribute to a tragedy India should never forget.
Rating: 4.5/5
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