What do Kaun Paneki have in common with Shikarvati, Tripanga (2021), Family Man, Buckleight (2021), Kehriyan, Ramprasad Ki Dervi (2019) and Meenakshi Sundareswar (2021)? They are realistic family plays about dysfunctional families. While there are some genres that captivate the audience, some real entertainment pieces are derived from conflict-driven drama. Stories of dysfunctional families are not only relevant, but connect with audiences around the world.
Inactive families reflect the reality of families portrayed in drama, thriller, comedy or crime or other genre. Interestingly, comedies like Gullock, Shits Creek, Mind the Malhotras and Metro Park or plays like Mirzapur the Crown, Heir, Thandav and Human find their way into stories in almost every genre. Despite the type of show / program being drama, crime, thriller, romance, sitcom, Broken Family adds a nice touch to the show. Some shows and movies lean towards one part of life therapy while others go with the commercial treatment of subjects. If so, what is it about them that makes it ‘compelling’ in most stories?
Gullock fame actor Jameel Khan, recently saw a complicated story about heir, complex families. He says, “There is no relationship in the world without conflicts. But how one uses the differences in the characters is important. Many stories begin to fail, but often reach a unified goal.
Backlight director Umesh Beast enjoyed the story of the family of musician Bandish Bandits on the OTT show, which “expressed family issues uniquely”, “I feel as Indians, we are so close to our families. Representation of a true Indian family is a universe, which is why our stories are relevant Many of us who write now spend a lot of time in large families, so stories about family equations continue to grow into subplots or mainstream characters. It leads them to absorb it.
Renuka Shahane wrote and directed Tripanga, which is about a mother-daughter broken relationship and their unusual choices. The OTT film was well received. Many shared their personal experiences and wrote to her, which she feels is “a privilege”.
He says, “There is no such thing as a normal family anymore. The things that make the stories interesting show the flaws. Also, we are taught not to talk about our problems and troubles. The natural state of a family shown in The Great Indian Kitchen (2021) amazed me. One saw the family structure that had been passed down from generation to generation and the rigor of repeating the feminine things in the home. So when we see conflicts in imaginary form, you relate to it, it’s like a catharsis. That’s why dysfunctional family stories pop up in most genres. When we show a life journey in a few hours, choosing something in addition to the features of a normal life gives it a special touch. The audience feels that this is happening to everyone.
Vipul A. Shah, the man’s director and filmmaker, enriches the content by adding layers to the characters when conflicts, fights and relationship issues are well portrayed. “A dysfunctional family angle is mainly used in subplots because it helps to add extra drama to a character’s journey. It works because it’s so relevant. We represent some reality in any show or film. It gives a reason why they behave in a certain way, ”says Shaw.
According to Shaw, sometimes, when the characters are not brave, showing their roots helps to explain their personality behavior. He adds, “Everyone’s life is determined by their childhood and the family plays a big role in what one becomes. In man, we explained why a well-intentioned, classic physician feels the need to lie. The way Closet handles homosexuality and her parents adds a dimension to the character. Then there was the passive family of the character of Shefali (Shah) and Ram (Kapoor) and how she was oppressed as a poor child, which turned her into a devil. Relationships in the family are not only driven by love, but also by ambition and sadness.
Conn says, “I feel that OTT clients are primarily urban and modern families in cities, and as our society becomes more corrupt, the gap between the haves and the have-nots shows such contradictions in OTT content work. Nothing is black and white anymore, everything is gray because our community is like that, so is our content.