‘Indian Predator: The Diary of a Serial Killer’ review: A chilling, bloody exploration into the mind of a murderer

Let’s say you envy your friend’s intelligence, or social stature, or the power they have over your life. Now, how would you choose to acquire these qualities? Raja Kolander alias Ram Niranjan reportedly believed that he could attain the qualities that he possessed, by putting his mind in a boiling pot and drinking the soup that emanated from it. He reportedly did this to 14 different people until he was arrested in 2000. If reading this makes you nervous, imagine watching it, even if it’s a reenactment. Indian Shikari: The Diary of a Serial Killer Such is the gruesome retelling of the story of serial killer Raja Kolander.

Now, this may seem to be a matter of concern to those who watched the first installment of the Diksha-series, ‘Indian Predator: The Butcher of Delhi’, which was based purely on the gore and brutality of the crimes committed by its subject. This second installment, however, makes a sincere attempt to explore all aspects of a shocking story, despite its chilling portrayal of Gore. The focus of the series never shifts from telling the story of King and who makes him, and a visual attempt to investigate allegations of cannibalism, while not all that heinous about the heinous nature of the act.

Looks like director Dheeraj Jindal and co. Taking note from the overwhelming reception of ‘The Butcher of Delhi’, we find a genuine mental health professional, a social anthropologist, and a social worker with knowledge of King’s community background, dissecting the subject’s psyche. -Saath helps us see the story through socio-economic, socio-political and socio-religious lenses; All of which were absent or reduced in the first installment.

King’s investigation begins with the discovery of a diary that he reveals to be a paranormal killer, in which he notes down the names of his victims. Serial killers like Raja keep a diary to remember and revisit murders, says clinical psychologist Rajat Mishra, who serves as an honorary consultant to law enforcement. Interestingly, Rajat also tells us what exactly makes this serial killer a ‘hunter’: killers like Raja build a fantasy around the victim, imagining that they are fulfilling those fantasies. They then draw up a carefully crafted plan, and passionately pursue it until they achieve it. Its final description. It is wonderful that, in the course of such interviews with experts, the series incorporates scenes from the desolate emptiness of the night and scenes that repeat the details of the murders that King revealed during his confession. Despite bringing out the most ‘shocking’ aspect of the story, such is the intrinsic nature of the story that there are many surprises to wait in the three-episode run.

In a surprising move, the makers also manage to get us an audience with Raja himself. Of course, he challenges the justice system, blames the authorities for his position, and vehemently denies the charges. But before you jump to any conclusions about all the allegations, the series pulls off something remarkable in the second half of the second episode. It turns out that Raja belongs to the tribal community of Kol, a marginalized community that has faced many forms of discrimination, even within the Scheduled Caste category, under which they are mistaken instead of the Scheduled Tribes category. Claims to be kept. All the oppression and struggle arising out of the caste and class divisions that forced him and his people to walk side by side, played an important role in Raja becoming this serial killer – the series has many to support this argument. determines the point.

Also, with the help of Badri Narayan – a social anthropologist with decades of experience in understanding the movements and claims of subaltern communities – and Hansraj Kol – a social activist who works towards the upliftment of tribal society – the series concludes. that the allegations of cannibalism have nothing to do with the king’s tribal identity and, if these allegations are true, are a trait that arose from his criminal self as a strategic tool. it is commendable that Indian hunter Treads such sensitive ropes with caution, and aims to dispel such beliefs which have historically been harmful to such marginalized sections of society. Meanwhile, King dismisses the allegations of cannibalism as a fiction created by the authorities and the media (arguments are also made about the role of the media in the case). These scenes show that the series takes a fair stance when it comes to allegations that are as yet unproven. Such a purposeful stand by not investigating Chandrakant’s allegations of police brutality is something the previous installment did not have.

In the third episode, we see experts continue to use the phrase “imaginary reality” to describe the psychological space in which a psychopathic killer like King operates; how clever is this Indian hunter Gives several examples to explain this. King works on metaphors and symbols generated by this imagined reality in which he believes the entire criminal justice system. This is why he chose the name Raja Kolander for himself, Phoolan Devi for his wife, why he named his children Andolan (Protest), Zamanat (Bail), and Adalat (Adalat), and also why he Chosen Tata Sumo Seize Again, the series explains the many social and psychological factors that might be at play here.

In the end, Indian Shikari: The Diary of a Serial Killer There is a chilling exploration into the darkest corners of the human mind. The place has a strong narrative structure—there’s a reason the series specifically begins and ends with the murder of Dhirendra—and it also resists employing cheap gimmicks to increase drama or fear. Technical aspects like cinematography and editing are used in a more honest and fair manner.

Indian Hunters: Diary of a Serial Killer is currently streaming on Netflix