After a series of action-packed collaborations with YRF, director Vijay Krishna Acharya shifts gears to a simpler genre with “The Great Indian Family,” starring Vicky Kaushal, Manushi Chhillar, and veteran actors Manoj Pahwa and Kumud Mishra. While family dramas were once a staple of Bollywood, often drenched in melodrama and tragedy, particularly in the 90s with hits like “Hum Aapke Hain Koun” and “Hum Saath Saath Hain,” the genre has seen a decline in memorable films in recent decades. “The Great Indian Family” attempts to revive this space, taking a modern setting but adhering to traditional melodramatic tropes, yet bravely attempting to weave in a sensitive narrative around religious identity and unity. However, while the film’s concept is commendable for its topical relevance, its execution falters in storytelling and impactful delivery. The core idea of exploring the conflict between biological and assumed religious identity, reminiscent of the social comedy “Dharam Sankat Mein,” holds promise, but “The Great Indian Family” struggles to realize its full potential.
Bhajan Kumar (Vicky Kaushal), the central character, is a celebrated Jagrata singer deeply embedded in the Tripathi Pujari family. He harbors resentment towards his family and their household dynamics stemming from childhood experiences, from forced baldness to his eventual career choice as a Jagrata singer. His backstory unfolds rapidly, setting the stage for his encounter with Jasmeet (Manushi Chhillar), a Sikh woman. Their initial meeting is under less than ideal circumstances, but as Bhajan attempts to reconcile, he finds himself falling in love. Adding a layer of complication, Bhajan’s close friend is also smitten with Jasmeet, leading to predictable friction. The narrative takes a dramatic turn when Bhajan receives a letter revealing he was born a Muslim. This revelation sends shockwaves through his family, prominent Pujaris in their community. Following an emotionally charged family discussion in his father’s absence, Bhajan decides to leave home, believing it to be in their best interest. This departure marks the beginning of Bhajan Kumar’s journey to discover his religious identity and navigate a new way of life, becoming a subject of community gossip and speculation. Will he find the answers he seeks? Will he come to a deeper understanding of family and relationships amidst this personal upheaval?
 Review: A Decent Concept Lost in Melodramatic Chaos
After a string of action-oriented films under the YRF banner, director Vijay Krishna Acharya ventures into a more simplistic zone with “The Great Indian Family” (TGIF). This family drama features Vicky Kaushal, Manushi Chhillar, alongside seasoned actors Manoj Pahwa and Kumud Mishra. Family dramas, once Bollywood’s forte, often leaned heavily into melodrama and tragedies, particularly in the 1990s, delivering blockbusters like “Hum Aapke Hain Koun” and “Hum Saath Saath Hain.” While the 2000s saw a few modern family flicks, the 2010s were largely devoid of memorable contributions to the genre. Harking back to the 60s and 70s, considered the golden era for family dramas that pioneered major conflicts for melodrama, “The Great Indian Family” attempts to modernize this genre. It treads familiar paths of melodrama and tragedy but distinguishes itself with a sensitive handling of religious discord and unity, a welcome twist on traditional stereotypes. Despite its brave subject matter, the film unfortunately stumbles in its storytelling approach, failing to truly shine. The religious conflict at its heart, exploring the tension between biological and assumed identity, echoes themes from Paresh Rawal and Annu Kapoor’s social comedy “Dharam Sankat Mein” (2015), itself a remake of the British film “The Infidel” (2010). The premise of a boy born to a Muslim mother but raised in a Hindu family is intriguing, and TGIF adds the unique dimension of a Pujari family setting. However, Acharya seems to miss the mark in understanding and leveraging the true potential and depth of this sensitive subject.
Bhajan Kumar, portrayed by Vicky Kaushal, is established as a popular Jagrata singer within the esteemed Tripathi Pujari family. From the outset, Bhajan displays a strong dislike for his family and their conventional household norms, a sentiment rooted in childhood experiences. These range from reluctantly undergoing a head-shaving ritual to his eventual embrace of Jagrata singing as a profession. This backstory is established swiftly, paving the way for Bhajan’s encounter with Jasmeet (Manushi Chhillar), a Sikh girl. Their initial interactions are far from ideal, but as Bhajan attempts to make amends, a romantic connection develops. Adding complexity to the narrative, Bhajan’s close friend also develops feelings for Jasmeet, leading to inevitable conflict. A significant turning point arrives when Bhajan receives a letter revealing his Muslim heritage. This revelation creates a major upheaval for his family, who are prominent priests in their town. After a heartfelt, albeit sentimental, discussion with his family members in his father’s absence, Bhajan decides to leave home, believing it will bring them peace. This departure marks the commencement of Bhajan Kumar’s quest to uncover his true religious identity and adapt to a new life, making him and his family the talk of the town. The central questions then become: Will Bhajan discover what he is searching for? And will he gain a deeper understanding of family bonds and relationships amidst this personal journey?
