Anyone who has followed the Indian streaming space in the past few years has probably found tons of amazing content. Everyone talks about Sacred Games and Mirzapur, everyone laughs along with Little Things and Panchayat. But, in 2018, a show came out that changed the face of the OTT landscape and showed just what a powerful medium OTT is. That show was “The Family Man”. The Raj and DK-created series, which stars Manoj Bajpayee in the titular role, was released to rave reviews from critics and audiences and quickly became the most viewed web series on Amazon Prime Video. The second season released just last month after several delays, but it quickly went on to break the mammoth records set by the first season. But what makes the web series so special? Let us find out!
Based on real-life cases, The Family Man follows Srikant Tiwari (Manoj Bajpayee), a regular, middle-class man who lives with his wife Suchitra (Priyamani) and two children. Unbeknownst to his family, Srikant is a high-ranking, undercover officer for the NIA, thwarting terrorist strikes while still trying to make it home in time for dinner with the family.
The thing that stood out to me in The Family Man was the smart use of humor and the emotional depth. Raj and DK tackle this rather heavy subject with a light touch, giving us a few surprising laughs that stick with us throughout the series, while still retaining the emotional core. The writing blossoms because of the complex emotions that are dealt with throughout. You care about Srikant throughout, whether he is dodging bullets from terrorists or difficult questions from his wife. You care about his subordinates who are dealing with PTSD from previous missions. You even care about the villain, who is just an innocent person caught in the wrong place at the wrong time. These emotions allow for greater empathy and relatability, something that is a rarity in the cardboard cutout world of Indian cinema.
The writing by Raj, DK, and Suman Kumar is sublime. The screenplay for each episode is so taut, immersing in Srikant’s two worlds effortlessly and always keeping the tension high. They take high advantage of the long format, cramming in subplots that do not feel unnecessary and defining each emotional high point so well. The dialogues by Sumit Arora (season 1), Manoj Kumar Kalaivanan, and Suparn Verma (season 2) are on point all the time, be it a serious interaction between characters or just a casual talk between friends. Watch out for the throwaway lines, like a joke about Salman Khan’s bracelet, or the misinterpretation of the word “bhadva” by a Tamil-speaking officer. It is exquisite writing and I hope they do stay on for season 3.
The casting by Mukesh Chhabra is bang on, with each actor fitting their role perfectly. Out of the supporting cast, the standouts are Sharib Hashmi and Samantha Akkineni. Sharib Hashmi plays JK, Srikant’s colleague, and best friend. This is a role that could have easily slipped into comical territory, but Hashmi infuses JK with a warmth and sincerity that is rarely seen in Bollywood. Samantha Akkineni (in her Bollywood debut) plays Raji, the main antagonist of the second season, and this is easily her best performance to date. Raji barely has any dialogues but take one look at Samantha’s eyes and you will see the years of anguish and frustration that have built up inside her due to the injustice she has faced. Watch her in a scene where she confronts her chauvinistic boss, and you’ll see what I mean.
But a ship is only as good as its captain, and leading this ensemble is Manoj Bajpayee. Bajpayee has worked in the industry for 27 years and has one of the most varied filmographies of any actor ever, but without a doubt, Srikant Tiwari is his most complexly written character. The character is so multifaceted and heady that, in certain scenes, Bajpayee must balance multiple tonalities at the same time. But, of course, he succeeds with aplomb. The actor is allowed to put a creative spin on the conventional Hindi Film spy, showing both vulnerability and aggression simultaneously. With this tour de force performance, Bajpayee cements himself as one of Bollywood’s greats and adds another precious gem into his filmography.
Another reason the show works so well is its impressive technical elements. The cinematography by Azim Moolan, Nigam Bomzan (season 1), and Cameron Eric Bryson (season 2) is gritty and raw, which instantly immerses you into the action with its naturalistic textures. The editing by Sumeet Kotian is gripping, with minimal jump cuts during the action scenes, which helps to give a sense of sophistication and style to each distinct set piece that is designed. Even though some episodes clock in at nearly an hour, the fluidity remains due to the fast-paced editing style. The action by Ejaz Gulab and Yannick Ben is sublime, with each set piece differing in style and freshness. Watch out for a 13-minute-long action sequence that is filmed to look like one take. It is action direction at its finest, with each minute moving fluidly at a nail-biting pace, showcasing how much can be done with a great technical crew.
Raj and DK, who have previously created gems like Shor in the City, 99, and Go Goa Gone, have made a show which is both gripping and emotional, piercing into our very soul and making us care for each person involved in it. Moreover, they show us just how much potential Bollywood has if they would just hire good writers and stop trying to cater to mass sensibilities. With an excellent central performance, great action, and some truly gut-wrenching emotional scenes, The Family Man is a must-watch for anyone out there, as it caters to so many different demographics. Also, Season 3 was just announced, so if you are planning to binge the show, I suggest starting right away.