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movie: amazon webseries review


The Family Man review: Funny, slick, and surprisingly relevant, Amazon Prime delivers its best original series since Made in Heaven. Manoj Bajpayee is, as always, in excellent form.


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The Family Man
Directors - Raj & DK
Cast - Manoj Bajpayee, Priyamani, Sharib Hashmi, Gul Panag, Shreya Dhanwanthary 


Without ever parodying the genre, The Family Man succeeds at being a surprisingly funny spy series; equally capable of snappy one-liners as it is of slick thrills. Like its street-smart protagonist, the new Amazon show is wily, adaptable, and intelligent; but most noticeably, it is a necessary foil to the painfully drab Bard of Blood, which will arrive, with all its similarities, on Netflix in seven days.

The resemblance is so uncanny, that I couldn’t help but imagine notes being exchanged between the two productions, via secret tunnels and across secure phone lines. Both shows feature a protagonist who is plucked from a life of domesticity, a rookie female tag-along, and a curious obsession with Balochistani politics. But beyond that, in tone, texture and taste, they’re thankfully quite different.


While the disappointingly deluded Bard of Blood believes it has the gravity of a Jason Bourne story, The Family Man walks a delicate tonal tightrope, successfully shrouding its lofty ideas under the middle class sensibilities of its hero, Srikant, played by an in-on-the-joke Manoj Bajpayee. Jankarimy.com


We meet Sri in the middle of an argument with his long-suffering wife, Suchi (played by Priyamani). She wants him to take the kids to school, and not shirk his responsibilities as a dad. It seems as if it’s an argument they have regularly, going by the expressions on the faces of their two kids, who are distractedly eating idlis and playing with their phones, vaguely aware of how situations like this play out. Sri, much to the disappointment of his family, has settled into his government job, despite their sustained suggestion that he find a more lucrative profession.

But while this may be partially accurate — Sri is an underpaid government employee — it is far from the whole truth. In reality, while his family believes he is rotting away as some paper-pusher behind a desk, Sri is an agent at a top-secret intelligence facility named TASC, a mysterious offshoot of RAW. Their job is to conduct mass surveillance in an effort to spot patterns and prevent terrorist attacks. As Sri’s best mate explains to a rookie agent in the first episode, surrounded by large screens and state-of-the-art tech, “Privacy is myth, just like democracy.”



Effectively a workplace comedy in scenes likes this, and a domestic sitcom when Sri is at home, The Family Man is deceptively relevant as well. Although the manner in which it goes about dissecting subcontinental geo-politics and themes of homegrown terrorism are... murky. While it’s all fun and games as long as Sri is using high-tech surveillance software to hack into his daughter’s phone to see if she has any boyfriends, the matter takes a grave turn when similar methods are employed to spy on a bunch of Muslim college students suspected of fuelling an uprising.


I don't realize which is more regrettable — that The Family Man demands depicting Kashmiri adolescents as fear based oppressors, or that it invests a lot of energy in acculturating said psychological militants, maybe to mellow the blow of this gross speculation. I call this an imperfect methodology on the grounds that, obviously, few out of every odd Muslim is a psychological oppressor, and few out of every odd fear monger — surely not one established as a general rule — has the right to be adapted.


An excessive number of shows and movies have taken the simple course and pinned radicalisation on programming, yet by offering significant socio-political setting, The Family Man quickly transcends such reductive thinking. Muslim understudies are shown being gathered together by the cops; they are badgering and embarrassed, for reasons unknown other than the way that they are Muslim. Recordings of crowd lynchings are flowed among similar understudies at their school — an unmistakable substitute for JNU, whose understudies, as one careless person says, are all 'enemies of nationals'.


In such manner, maybe The Family Man needs to have its samosa and eat it as well. By playing into libertarian convictions — paying little mind to how evident they might be — makers Raj and DK try not to defy the more disputable parts of Indian illegal intimidation; the way that it's anything but confined to one religion. It's anything but an indication of disarray, however dread — in their endeavor to affront neither side, they sadly wind up harming both; also their show too.


In any case, I feel that they've introduced a topic that is once in a while tended to in standard Indian diversion. There's a motivation behind why even the Americans are reluctant about calling mass shooters 'local psychological oppressors'. This occupies from their leader's position that most dangers are outside. Most enemies in The Family Man — from the Keralites who set the plot into movement to the understudies who grab the implement from their hands — are Indian. And keeping in mind that charges of Islamophobia are squandered on Bard of Blood, whose caricaturist portrayal of psychological militants scarcely justifies a doubt, on account of The Family Man, a show that establishes these characters in an unmistakable reality, these are substantial reactions.


Also, despite the fact that it handles this component of the story with the common sense of a been given an unfastened youngster projectile, The Family Man is more agreeable when it is tackling more quick issues. I was satisfied at how Priyamani's person isn't confined to being a pestering spouse, and is displayed to have her very own battles. While her better half keeps on having a twofold existence, she takes complex choices of her own.


The Family Man is a reliably captivating show, in any event, when you end up contradicting it. The activity, especially a ghetto shootout made to show up as though it has been shot in a solitary take, is stunningly arranged; Manoj Bajpayee is, as he as a rule will in general be, easily great; and Raj and DK, finally, appear to be back in the game. Three scenes were accommodated review, and I can hardly wait to bounce back in. jankarimy.com


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