BOTTOM LINE
Same Old Story
PLATFORM
AMAZON MX PLAYER
RUNTIME
3 hours (5 episodes)
What Is the Film About?
Baba Nirala, a manipulative godman, frames and imprisons his former follower, Pammi, only to re-trap her in his Aashraam. Their dangerous dynamic unfolds as Pammi initiates an affair with Bhopa, Nirala’s right-hand man, driving a wedge between them and gathering evidence of Nirala’s corrupt past. With external support, Pammi reopens her case, leading to Nirala’s trial.
Performances
Bobby Deol sleepwalks through a role that doesn’t have many layers of complexity – what he does efficiently is to capture the enigma of his deceptive persona, though we know much of it in the previous instalments. Aaditi Pohankar’s urgency to fight back stands out in particular though it is Chandan Roy Sanyal, who’s the true show stealer and captivates you with his performance.
The other cast – comprising Tridha Choudhury, Darshan Kumar, Sachin Shroff, Anurita Jha and others – make their presence felt in brief roles, though not all of them are particularly well-etched.
Analysis
Nearly three years after the first part of the third season, the controversial Ek Badnaam Aashraam returns, stripping the veneer off a revered godman. The story, a stark conflict between a predatory baba and his abused disciple, exposes an empire built on manipulation and influence. With the drama and sensationalism of a B movie, the show is a twisted amalgam of sex, power, politics and betrayal.
In terms of the story’s progress, nothing breathtakingly new unfolds in this instalment while tackling the power politics within an ashram. Pammi is committed to settling scores with Nirala and tackles him and Bhopa in a way she knows best. In addition, the show sheds light on the straining equation between the godman and his loyalist and the altering contours of the political landscape.
The show – more than its storytelling merit – continues to thrive on voyeurism/sexual exploitation to sustain the interest of a viewer. Even those who aren’t aware of the protagonist Pammi’s past, wouldn’t miss much. There’s enough context to establish that she is the victim and is forced to engage in sexual acts beyond her will. This season, she fights back and is determined to not give up.
Surprisingly, the most captivating segment of the season gets minimal footage – where it looks back at Nirala a.k.a Monty Singh’s past, who gradually takes advantage of a genuine godman Mansukh baba’s trust and dismantles his throne, to rise in stature. While showcasing the rift between Nirala and Bhopa, you truly get to know the circumstances under which they forged a bond in the first place.
Despite its issues, Ek Badnaam Aashraam is effective in providing a faint window into a godman’s psyche. The power and influence grow on Nirala so much that he utters statements like – ‘I am God and beyond law,’ ‘the shackles that I’m bound by, are your love.’ The events of this season remind him he’s as human as the others. His past catches up with him, leading to the rise of a new head.
Though the twists and turns in the show are reasonably captivating, its intentions don’t come off as honest – and contribute to the debate on the responsible use of creative freedom in the digital space. It harps on the same point time and again, focusing on the notorious inner workings of an empire and how it wields influence on the judiciary, police force and bureaucrats.
The choice to not ensure poetic justice in the story marks an interesting deviation from the norms – the Aashraam continues to be a hellhole where exploitation thrives with a different face. It’s time to call curtains on a show (which remains unlikely given its viewership) that stays in the news for all the wrong reasons and perhaps rewatch – Sirf Ek Bandaa Kaafi Hai – that deals with a similar theme with a sense of responsibility towards the viewer and the victim.
With someone of Prakash Jha’s standards at the helm – Ek Badnaam Aashraam is exploitative and manipulative, even though partially engaging.
Music and Other Departments?
The music score, by Advait Nemlekar, strikes a firm balance between drama and tension, exploring the intricacies of its holier-than-thou exterior and the protagonist’s trauma. Priyanka Mundada’s costumes, Udai Prakash Singh’s opulent set design add up to its appeal and come to life stylishly through Chandan Kowli’s lens.
Highlights?
Interesting in parts
Exhaustively captures the life of a godman’s Aashraam
Decent performances
Drawbacks?
Nothing new in comparison to previous seasons
Relies too much on shock value, voyeurism
Largely predictable
Did I Enjoy It?
Very briefly
Will You Recommend It?
Not exactly – watch Sirf Ek Bandaa Kaafi Hai instead
Ek Badnaam Aashraam Season 3 Part 2 Series Review by M9
