Blood, an Irish psychological thriller written by a British screenwriter, was used as the basis for the Hotstar Specials series Masoom, which uses subtle techniques to depict a dysfunctional family and the falsehoods they tell each other.
An elderly doctor and his three grown-up children must deal with the consequences of his wife’s accidental death in this newest addition to the ever-growing roster of British series adapted for Indian audiences.
The story focuses on the dead woman’s youngest daughter, who has had a strained connection with her family and has been living away from home for several years. A nursing facility named for Dr. Balraj Kapoor (Boman Irani in his web series debut) runs in her father’s hamlet of Falauli, where she returns to see her father, the doctor (Boman Irani).
An unpleasant occurrence Sana Kapoor witnessed as a child still haunts her (Samara Tijori). Because she believes her mother’s death was not an accident but a murder, she has a feeling that someone is fabricating the facts.
Sana puts her father’s troubled relationship with her and her two older siblings in danger as she pursues what she believes to be the truth in her search for justice.
The six-episode series does an adequate job of localizing the subject. It incorporates psychological and cultural nuances that fit the story of a controlling father perfectly. In terms of speed, though, it is somewhat sluggish.
There is a long history of deceit in the Kapoor family of Falauli, with the grandfather looming large over the others of the clan. With her sister Sanjana (Manjari Phadnis) and her brother Sanjeev (Veer Rajwant Singh) struggling to come to terms with their identities, Sana (Aishwarya Rai) finds herself on the edge of a precarious predicament.
Some of the Masoom plot’s narrative themes include the enduring effects of a childhood tragedy, a suicide attempt more than 10 years earlier, and a bad marriage. Some threads are interesting, but others become boring after a while.
The show gets off to a terrific start and keeps us interested as long-kept family secrets come to light. It maintains its momentum until roughly the midway point, after which it loses steam for good. Punjabi poetry and music are intended to heighten the drama’s emotional impact (definitely not of the dance-floor variety). Some of it accomplishes what it set out to do.
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In contrast to Out of Love, Criminal Justice, and Rudra: The Edge of Darkness, none of Disney+Hotstar’s other Hindi-language British series adaptations, Masoom doesn’t give the same kind of immediate dramatic and emotional highs.
One wonders what might be lacking from Masoom while one watches shows on other streaming services (Mithya, for example). Adaptations show the advantages and disadvantages of moving stories from one market to the next. The key is to nail the story’s intricacies and plot twists to feel genuine and make sense to the audience.
Masoom stumbles a little bit here. Wobbles begin as it tries to unravel the mystery’s loose ends and introduces aesthetic elements that are less than convincing. Aside from the performances and how social and familial affairs are intertwined, the show’s intrinsic strengths give it legs that are sturdy and steady enough to keep going till the last episode.
Sana’s journey to the village is depicted in the opening scene of Masoom. Her car’s tire is flat. Regardless, she continues to drive. She is stopped by a police officer (Manu Rishi Chadha) who threatens her with legal action. But when he learns that the child is Dr. Balraj Kapoor’s daughter, he changes his mind and takes her home, not realizing why she has returned to Falauli.
There are two standout performances in Masoom’s well-intentioned but unbalanced film. When it comes to father-daughter relationships in Masoom, the film focuses on a man who isn’t an ideal parent or husband. In later episodes, the cop regularly reappears because Sana is so determined to find out the truth that she goes to him for assistance.
It all comes down to Irani’s understated performance in a disjointed series. In a mediocre production, he does a commendable job. As a child, Samara Tijori is tormented by her own family in ways she can’t grasp, much less oppose.