Masoom Review: Family Skeletons Are Exposed In This Absorbing Yet Murky Drama 
Masoom Review: Family Skeletons Are Exposed In This Absorbing Yet Murky Drama 

Masoom, Sana (Samara Tijori), the black sheep of the Kapoor family, returns home from Delhi to find her mother Gunwant (Upasana Singh) dead under mysterious circumstances. The young woman, who has never agreed with her family, suspects her domineering father Balraj (Boman Irani) is to blame.

Disney+ Masoom (2022), an official adaptation of the Irish TV series Blood (2018), is set in Falauli, a Punjab village where the Kapoor family is well-known. Balraj works as a doctor at Gunwant Nursing Home. But his wife’s death couldn’t have come at a worse time for Balraj, who is about to run in local elections and is also in financial trouble.

Sana creates a hornet’s nest as the family prepares for Gunwant’s final rites. Why is money missing from the Kapoor residence’s safe? What did Balraj try to get rid of in the middle of the night, and what is his relationship with nurse Romi (Sarika Singh) at the nursing home?

Sana’s elder siblings have their own problems. Sanjana (Manjari Fadnis), the oldest daughter, is estranged from her husband, while her brother Sanjeev aka Kittu (Veer Rajwant Singh), who is gay, wishes to leave the country for a better life. They both chastise Sana for not letting sleeping dogs lie.

Masoom also interweaves fragments of Sana’s past memories, which may or may not be reliable. Is she telling the truth or not? Satyam Tripathy’s six-episode series frequently shifts between the two eras, which are inextricably linked.

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The drama is dismal and dark like the skeletons in the closets of most dysfunctional families, but while the milieu is fitting for this retelling, there are a few gaps in the narration. After introducing Romi, Balraj’s mistress, the show is at a loss for what to do with her in the second half. The same can be said for the frightening uncle Manraj, whose inclusion seems strange in the first place.

Irani, as the strong-willed patriarch, is all dread and evil, bringing ambiguity to his character since we frequently see him through Sana’s biassed eyes. The Kapoor children are flawed by their upbringing, and Tijori, Fadnis, and Veer do an excellent job of highlighting their continual fears. You just hope this family would communicate with one another correctly once and for all.

Upasana Singh is remembered for her portrayal of the late adored mother whose illness overshadowed their daily existence. Manu Rishi Chadha also stands out as Ranjit Singh, a local cop who is trying to make sense of the Kapoor family’s business.

Director Mihir Desai keeps the action moving in each half-hour episode, and the 40-minute finale ties up all loose ends and clarifies most misunderstandings. Despite the intriguing strands it raises, Masoom, like the memories it shows as flashbacks in the series, is more murky than gratifying.


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