Home turmoil clashes with political rivals in the second season of Amazon Prime Video’s The Family Man – a series, but a slow sequel to the gruesome 2019 season.
Manoj Bajpayee is returning as Srikant Tiwari, who is struggling to cope with the stressful life-style of companies. Saving the world, as his friend JK tells him in the first place, is no longer his job. But when his marriage begins to fall apart, Srikant pulls only a protective blanket over him from his emotional closet – his old gig as a secret person in a secret state-owned company.
But in this case, the poles are personal. Sirikant has been caught in the crossfire as a group of Sri Lankan Tamil rebels plotted to assassinate the Indian prime minister, and used his teenage daughter as a trap to get him out of the way.
In the second period, the creators Raj Nidimoru and Krishna DK continued their admirable battle to watch both domestic and domestic conflicts through the human lens. In the midst of this ordeal Raji – a trained rebel soldier assigned to the task of killing. Who knew it would take Samantha Akkineni’s gun to revive the long-awaited second season of the Family, but that’s where you have it.
Raji is an interesting character, played with great confidence by Samantha of cast-against-type. Admittedly, he was slapped with a brown face, but the actor relied on Raji to have many traditional tools, such as names and faces. Notice the change in her body language as she transforms from a young woman into a murderous killer, in a matter of minutes.
Reliable and trustworthy as Bajpayee – and she is so awesome, using almost all the active bones in her body – Samantha is more than self-conscious as the show’s main opponent. And what makes his journey so difficult is what makes the Family Man so compelling as a whole – the characters in the show are not motivated by the needs of the plot, but rather by their intentions. In this regard, Raji is a ‘villain’. He is as pure in mind as possible, driven primarily by a desire to make amends for the mistakes of his past – it is a good idea of righteousness, but as they say, the worst evils are heroes in their minds.
And one man’s freedom fighter was another man’s terrorism. Srikant understands this as he roams into another complex political situation, armed, as usual, believing that governments are coming and going; emotions change, but people are human. This is the view adopted by the game in the first season, as he boldly pointed out that domestic terrorism is probably as dangerous as foreign enemies.
It is probably given at this point that every general series made in India will invite some kind of retreat or another, though in my life, I cannot say what the controversy is at the moment. But while Tandav was blaming itself for the madness that followed its release – this show wouldn’t be smart enough to slide over the heads of low IQ trolls – The Family Man has wit and intelligence to spare. “If you lock yourself in and do your job, you’ll win a medal,” said Srikant, aware of the mistake, before dropping the punchline: “If you express your opinion, you’ll go to hell.”
In this regard, the Man of the Family is a criminal with equal opportunities – he wants to emphasize that terrorism is not limited to one society, but seems to resist the temptation to place anti-Muslim Muslims in opposing positions.
But what makes The Family Man different from the many popular broadcast series, is the playing voice brought by Raj and DK to the party. Who would not enjoy the devastation of JK, who after a memorable chase asked his co-worker with some ointment on his back. Or another scene, where Sikant’s daughter is emotionally disturbed for a moment to ask the meaning of the Hindi word.
Fans will also be pleased to know that Raj and DK’s interest in single take pieces remains unchanged even in the second season. And while they share administrative duties with Suparn Varma in this regard, they are the ones behind the two biggest action scenes of the year. The first is the sequence of breaks where the camera is held as it climbs the stairs up and down, in and out of the hallways; smooth as it combines gunshots, and jittery as it comes in handy. But the clip resists the shooting and chase that follows at the end of the ninth episode. The less I reveal about it the better. It is interestingly designed that you will gladly enjoy some obvious shortcomings in the CGI department.
But that is true of the show itself – The second season of The Family Man does not replace the wheel as it did the Sacred Games during its study period, but it also lacks self-confidence. It’s moving at a fast pace, it’s done flawlessly, and it’s not well defined. Maybe this time they should keep fans satisfied with JK’s spinoff while we wait for the third season.