The idea behind the new TV series Naamkarann is interesting for two reasons. Firstly, it’s a fresh change from the largely regressive and never-ending sagas that we’re currently suffering. But the second reason is what really got me curious enough to watch it. The show isn’t Zakhm reloaded (thankfully!). It’s a story with a brand new, and a rather rare perspective, that takes off from where the Mahesh Bhatt classic, inspired by his complicated upbringing, left us.
The Drama Of Indian TV
In terms of portraying ‘family complications’, Indian TV has unfortunately been limited to chhoti bahu vs badi bahu, an illegitimate child seeking hateful vengeance, and senseless deaths and rebirths of characters, purely driven by production logistics in reality. But neither the characters, nor the plot lines have managed to tell sensitive stories, that bring out the inherent discomforts that these relationships are all about.
Why would I make a Janam or a Zakhm again. I have done that. The story starts where Zakhm ends. But we cannot create Zakhm in today’s era, things have changed since then. The narrative unfolds from the perspective of a 10-year-old girl who asks the question - why is it necessary for a woman to be identified by her father or husband’s name, why can’t she be a force in herself? She lives in a single parent’s home and wonders why the parents and the people around us do not live the truth they often state.Mahesh Bhatt, Filmmaker
It might have been easy for a film like Zakhm to address that effectively, but it’s encouraging to see TV rising up to the challenge with Naamkarann.
It’s All About The Characters
Arsheen Naamdaar plays Avni, the show’s 10 year old protagonist. She’s growing up to be a woman that girls today can relate to. She doesn’t take no for an answer and has a curious mind. But the way she portrays a child who desperately wants her parents to rebel against society to be together, is quite mature. Her eyes reflect the uncomfortable situation she’s in, despite having loving parents. She’s angry, adorable and sad in the most endearing way.
Barkha Bisht Sengupta who play’s Ashudi, Avni’s half Muslim half Hindu mother, fits her parts rather well. Though she’s not be a patch on Zakhm’s Pooja Bhatt, and the writers could have given her character more strength and angst, rather than making her the docile half-wife that she seems to be.
It’s hard not to compare Viraf Patel’s character with Chiranjivi’s performance in Zakhm. As the filmmaker father Ashish Mehta, torn between his own controlling mother and his secret family of 11 years, the actor lacks depth and detailing.
It’s a delight to see Reema Lagoo play the overbearing matriarch. She’s forceful as Ashish’s mother, but has been kept in the dark about his wife and child for more than a decade. Though even after three episodes the reason for her disapproval of Ashish and Asha’s marriage hasn’t been established yet. Even though Asha is a practicing Muslim, she’s equally Hindu for the world. But as a viewer I’m dreading their confrontation. That’s how good Reema Laggoo is. She’s no more Sooraj Barjatya’s best-mummy-ever, but Mahesh Bhatt’s fiercely hated Ba.
Sluggish, But Sensitive
What I love about the show despite it’s slow pace is the fact that in every episode, characters leave a lot unsaid. That’s the bipolar opposite of what we see in most daily soaps. Unfinished sentences, pauses, and silence work wonders, unlike being able to hear every scheming thought that crosses a character’s mind.
Ashish and Ashudi have been married for 11 years, have a 10 year old Avni and another child on the way. But Ashish’s mother has no clue. Neither does the world in which he is a celebrated filmmaker. Asha is so scared of losing her world that she doesn’t let Ashish risk telling his mother. His mother on the other hand is vulnerable health wise and never misses a chance to remind her sons that they owe her their lives.
Mahesh Bhatt is overseeing all aspects of the show and keeping it real so far. The story’s autobiographical elements make it intense, emotional and powerful. Even though it’s a daily and infinite so far in terms of the number of episodes, as a viewer I hope that the quality of its writing and its sensibilities remains consistent.
Whenever society degenerates to its lowest, the quantum leap happens. In the darkest night, the light begins. We have all kinds of content. There is enough bandwidth to accommodate all kinds of content. It’s a business of entertainment. It will always look at optimising reach.Mahesh Bhatt
Naamkarann Must Avoid The Daily Soap Trap
Subtle yet direct, Naamkarann brings up vital questions about our society and a woman’s identity. And Arijit Singh’s version of Aaj Jaane Ki Zid Na Karo is quite a gem too.
What remains to be seen is if Naamkarann too will fall into the same soapy waters eventually, or whether it will manage to push Indian television out of stinky stagnation, towards original thought and sensitive storytelling.
For those of you who might not be familiar with Naamkarann’s starting point, here’s a powerful scene from Mahesh Bhatt’s Zakhm that’ll bring you right up to speed.
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