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The Hunt: The Rajiv Gandhi Assassination Case OTT Review: Facts, Drama and Pacing

The Hunt turns the Rajiv Gandhi assassination investigation into a seven-episode chase drama, with strong performances and period detail but some repetitive stretches. Treat it as an adaptation, not a complete historical record.
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The Hunt: The Rajiv Gandhi Assassination Case is worth considering for viewers drawn to investigative detail and ensemble performances, but it is best approached as a dramatized reconstruction rather than a definitive account of the case. Its seven-episode pursuit gives the investigation room to build tension; that same serial structure can make parts of the chase feel repetitive.

What is The Hunt about?

SonyLIV describes the 2025 crime series as a story of the 90-day manhunt after former Indian prime minister Rajiv Gandhi’s assassination. It is based on Anirudhya Mitra’s book Ninety Days: The True Story of the Hunt for Rajiv Gandhi’s Assassins. The Indian Express identifies Nagesh Kukunoor as director and describes the seven episodes as moving along parallel tracks: the investigators and the people they pursue. India Today reported that the series was released on July 4, 2025.

That structure makes the investigation the engine of the drama. Rather than treating the case only as a sequence of discoveries, the show shifts between the pursuit and those being pursued, a choice that can widen the viewer’s perspective while sustaining suspense. The Indian Express also notes the use of archival documentary footage, which places another kind of material alongside the scripted reconstruction.

How well do the performances and investigative detail work?

Both reviews consulted for this assessment find substantial strengths in the performances and the show’s attention to its subject. Shubhra Gupta’s review in The Indian Express praises the cast and the largely restrained handling of disturbing events. Anurag Singh Bohra’s India Today review likewise highlights the performances and the investigative-thriller construction, as well as period detail in costumes and sets.

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For a documentary-minded viewer, the detail helps make a complicated pursuit legible as television: leads and investigative movement give the episodes a clear dramatic shape, while period recreation supports the sense of a specific historical setting. Those qualities are not the same as documentary verification, however. A convincing set, a plausible exchange, or an effective performance cannot by itself establish that a scene happened exactly as shown.

Where does the pacing falter?

The two reviews also identify a shared weakness: some stretches of investigation and pursuit run long or repeat beats. Gupta describes parts of the chase as repetitive and criticizes recurring smoking and drinking disclaimers, along with examples of censorship. Bohra also finds some investigation and conspiracy sequences extended or redundant. The result, as a matter of viewing experience, is a series whose procedural texture can build immersion but sometimes slows the momentum it is meant to create.

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The Indian Express rated the series 3.5 out of 5. That is Gupta’s critical judgment, not an audience score or a consensus measure. Taken together, the two reviews point to a recognizable trade-off: performance and detail carry the drama, while repetition limits the efficiency of the chase.

Is the series a true story or a complete historical account?

It is marketed as based on true events and adapted from Mitra’s book, but those descriptions do not certify every scene, dialogue, or character beat as historical fact. The listings and reviews establish the broad subject and the series’ focus on the investigation; they are not primary records of the assassination or the inquiry.

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The Indian Express review recounts the May 21, 1991 bombing at Sriperumbudur and describes a camera found at the site as part of the investigators’ trail. That account is the reviewer’s synopsis, not a substitute for official or judicial records. Viewers should distinguish established events from dramatic choices unless a scene is independently supported by primary historical documentation. The series can be approached as an adaptation that interprets a documented investigation for serial drama, not as a complete evidentiary history.

Where can you watch it, and what versions are listed?

SonyLIV’s listing identifies the series as a seven-episode crime title with a U/A 13+ rating and says it is available in “7 languages,” without specifying them in the inspected listing. Apple TV India lists Hindi as the original audio and English, Hindi, Bangla, Malayalam, Tamil, and Telugu audio, and includes violence and mild-language advisories. These are platform listings checked on October 8, 2026; catalog details and regional availability can change, and the platforms’ language metadata is not identical in specificity.

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Who is likely to enjoy The Hunt?

  • Consider it if you like procedural crime dramas, ensemble performances, and a period reconstruction built around an investigation.
  • Temper expectations if you want brisk pacing throughout; both reviewed assessments flag passages that feel prolonged or repetitive.
  • Keep the distinction clear if you are watching for historical understanding: this is an adaptation of Mitra’s book, not a documentary or a scene-by-scene verification of the record.

For the source material behind the adaptation, look to Anirudhya Mitra’s Ninety Days: The True Story of the Hunt for Rajiv Gandhi’s Assassins, which SonyLIV and The Indian Express identify as the book on which the series is based.

Product prices and availability are accurate as of the date/time indicated and are subject to change. Any price and availability information displayed on Amazon at the time of purchase will apply.

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