The highly anticipated third season of ‘The Family Man’ has finally arrived, following a four-year hiatus that built considerable excitement among fans. While the series maintains its signature charm and introduces an expanded scale, its conclusion ultimately leaves viewers with a sense of frustration rather than satisfaction. Creators Raj Nidimoru and Krishna D.K. have delivered a season brimming with strong performances and impressive technical artistry, yet its narrative choices ultimately feel like a disservice, prioritizing future setups over current season closure.
Manoj Bajpayee returns as Srikant Tiwari, demonstrating his characteristic charisma in both comedic and serious moments. His chemistry with Sharib Hashmi, who plays JK, remains a highlight, consistently providing entertaining interactions. The duo’s dynamic is as strong as ever, reminding audiences why they are a beloved on-screen pair.
This season, however, Jaideep Ahlawat emerges as the standout performer. His portrayal of Ruhma allows him to seamlessly switch between different facets of his character, delivering dialogue with impactful precision and commanding attention even in silence. Ahlawat’s performance is so compelling that it hints at a significantly larger role in a potential fourth season, a strategic move by the makers. Priyamani also delivers a powerful performance as always, while Nimrat Kaur effectively embodies her new character, integrating well into the ensemble. The entire cast demonstrates exceptional skill, with no weak links among them.
The plot for ‘The Family Man 3’ weaves together several complex threads. It explores Srikant’s evolving personal life, delves into drug trafficking operations in Northeast Nagaland, specifically Kohima, introduces Jaideep Ahlawat’s intricate character arc, incorporates Nimrat Kaur’s fresh perspective, and touches upon national politics. This ambitious scope, while promising, results in a narrative that is both tightly constructed in moments and frustratingly loose in others.
Early on, the series benefits from the family’s discovery of Srikant’s secret profession, which creates engaging scenarios. However, this storyline eventually veers into melodramatic territory, testing the audience’s patience. The directors often interject Srikant and JK’s humorous banter to alleviate narrative lulls. Despite these efforts, the season’s storytelling feels uneven, culminating in an ending that disappoints profoundly. Viewers may feel that six hours have been spent without a clear resolution or satisfying conclusion.
Raj and D.K.’s direction showcases remarkable effort in cinematography, especially in capturing the beauty of the Northeast. Many scenes are well-executed and entertaining. The core issue lies with their narrative approach. The season presents extensive detail across multiple storylines but concludes without providing adequate answers or closure. This strategy of reserving plot points and “masala” for a subsequent season leaves the current one feeling incomplete and unfulfilling, a disservice to an invested audience. Viewers begin with enthusiasm only to finish with a sense of dismay.
Technically, ‘The Family Man’ series has consistently excelled, and this season is no exception. The cinematography is outstanding, building on the innovative one-take attack scene from the first season and the dark aesthetics of the second. The action sequences in the third season are particularly well-shot. Furthermore, the background music effectively establishes and sustains the series’ intense atmosphere.
For long-time fans of ‘The Family Man,’ the latest season has likely already been consumed. For those considering it, Manoj Bajpayee’s performance alone makes it watchable, as he never disappoints. However, be prepared for an ending that feels abrupt and emotionally unfulfilling, likely intended to fuel anticipation for what comes next. The series receives a rating of 3.5 out of 5 stars.