Masoom Review: Well-Intentioned But Uneven Adaptation Of Psychological Thriller Blood


Masoom Review: Principally a dad little girl show, it relies on Boman Irani’s unfussy, unshowy execution.

Project: Boman Irani, Samara Tijori, Upasana Singh, Manjari Fadnnis, Veer Rajwant Singh, Manu Rishi Chaddha, Akashdeep Arora, Sarika Singh, Sukhpal Singh, Nikhil Nair
Chief: Mihir Desai

Rating: 2.5 stars (out of 5)

Adjusted from Blood, an Irish suspenseful thrill ride made by British screenwriter by Sophie Petzal, Masoom, a Hotstar Specials series, utilizes quieted techniques to recount the narrative of a useless family and the untruths that its individuals tell each other to their own drawn out impediment.

This most recent expansion to the consistently developing rundown of British shows adjusted for India moves the plot to a lethargic town in Punjab, where a veteran specialist and his three adult kids should manage the repercussions of the unplanned passing of the previous’ feeble spouse.

The series focuses in on the dead lady’s most youthful girl, who has had an uncomfortable relationship with her family and has been away from home for quite a long time. She gets back to the town of Falauli, where her dad, Dr. Balraj Kapoor (Boman Irani in his web series debut), runs a nursing home named after his companion.

The memory of an upsetting episode that she saw as a youngster torment Sana Kapoor (Samara Tijori). It lies at the base of her sneaking doubt that a bogus story is being twirled around her mom’s passing, which she immovably accepts was a homicide and not a mishap.

Sana gambles with her binds with her dad, which has been unsound in the most ideal circumstances, and her two more seasoned kin as she strongly pursues what she sees as reality.

The six-episode series makes a fair showing of confining the story and considering in mental and social hints that appear to be only ideal for the tale of an overbearing dad and his diktats. Yet, as far as speed, it is generally aimless.

With a patriarch posing a potential threat over the family, a tradition of untruths looms over the Kapoors of Falauli, with every individual from the family concealing something from the others. Sana is severe, her sister Sanjana (Manjari Fadnnis) is befuddled, and sibling Sanjeev (Veer Rajwant Singh) is torn between two equally bad situations bothered by his failure to come clean regarding what his identity is.

A patriarch’s desires and inconveniences, the waiting consequences of a youth injury, a demise by self destruction a while back and a marriage steer into the rocks are among the story components that have gone into the Masoom plot. While a portion of the strands get it done, a couple of others succumb to tedium.

The show begins areas of strength for very arouses our curiosity as mysteries tumble out of the family storeroom. It supports the force until about the midway imprint and afterward starts to hit a wall irreversibly. It tries to infuse gravitas into the show by utilizing Punjabi verse and tune (most certainly not of the dance-floor assortment). Some of it fills the planned need.

Masoom, in any case, doesn’t convey the moment sensational and close to home highs of Disney+Hotstar’s other Hindi British series variations – Out of Love, Criminal Justice and Rudra: The Edge of Darkness.


Shows on other streaming stages (Mithya and the new The Broken News for example) additionally strike a chord as one watches Masoom and considers what may miss here. Variations definitely exhibit both the conceivable outcomes and entanglements of moving stories starting with one market then onto the next. The stunt clearly lies in getting the story subtleties and plot changes right with regards to genuineness and absorption.

That is where Masoom struggles a smidgen. Its natural assets – the acting is the chief one; how the exchange of feelings is dovetailed into social and familial happenings comes in a nearby second – give the series legs that are firm and consistent enough to spike it forward until the approach the finale. The wobbles throw in when it decides to unravel the last details of the secret and permitting not exactly persuading elaborate components slip into the situation.

In the initial arrangement of Masoom, Sana is en route to the town. Her vehicle has a punctured tire. She keeps on driving in any case. A police constable (Manu Rishi Chadha) stops her and undermines activity against her. However, when he understands that the young lady is Dr Balraj Kapoor’s girl, he shifts his perspective and escorts her home, uninformed about the justification for her re-visitation of Falauli.

The cop accordingly manifests at incessant spans particularly in light of the fact that Sana is frantic to make quick work of reality and goes to him for help.

In one flashback grouping late in the show, the young lady’s mom Gunwant (Upasana Singh, on whom falls the onus of laying out the Punjabi ethos of the family) tells Sana: “Sacchai agar dawa hai toh zaher bhi hai (The fact of the matter is both panacea and toxin).” But that doesn’t prevent the young lady from stating to her father: I need reality.

The fact of the matter is sketchy for Dr Kapoor on the grounds that he is going to dive into discretionary legislative issues. He can’t bear the cost of an embarrassment of any sort. In any case, Sana isn’t the sort to surrender without going the entire hoard.

Sana’s steady endeavors to figure out what truly occurred on the day her mom kicked the bucket puts her at chances with her father, yet in addition with her two kin, neither of whom has had it any simpler in this family.

Masoom, chief delivered by Gurmmeet Singh (as the showrunner), prearranged by Satyam Tripathi and coordinated by Mihir Desai, is gradual okay, however it doesn’t create a very remarkable consume as far as plot enumerating and character improvement. It follows a reasonable bend but appears to float on occasion.

The grave, downplayed opening arrangements are unquestionably not without merit. A large number of the key scenes are taken care of with some expertise and compassion. It is the last episode, which is committed to illuminating the conditions that have destroyed father and girl, that is a setback since it wanders into mush.

Masoom is mainly a dad little girl show a neither a decent about a man father nor an especially trustworthy spouse. It depends on Irani’s unfussy, unshowy execution that raises a ruckus around town of notes in a sketchy series. His is a real turn in an ordinary show.


Samara Tijori stands her ground, conveying a strong record of herself as a young lady tortured by her own family in manners that she, in her honesty, can scarcely fathom, not to mention counter. The best snapshots of the good natured however lopsided Masoom ride on the two vital exhibitions.


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