What Is the Story About?
After years of struggle, the idea of an independent India doesn’t seem a distant dream. The British looks ready to hand over the reins to the country by 1946, but at what cost? Nehru is at odds with Gandhi’s ideals and the interests of the Congress party, while Patel prefers to be the bad cop. A bitter and ailing Jinnah is desperate for the formation of Pakistan. Who has the last laugh?
Performances?
While the performances in the show are generally satisfying, the casting choices are rather puzzling. Sidhant Gupta presents Nehru’s dilemmas with aching sincerity, but you’re often distracted by the unimaginative styling and makeup. The idea of casting a young actor to play an ageing Nehru works against the show’s interests in a handful of situations.
The issue remains significantly similar to Chirag Vohra’s portrayal of Gandhi – an added bonus is also the strange dialogue delivery. However, the true standout performances come from the under-appreciated Rajendra Chawla (as Sardar Vallabhai Patel) and Arif Zikaria (as Jinnah). Luke McGibney, Cordelia Bugeja, KC Shankar and Ira Dubey, among others, hold the fort admirably well.
Analysis
While mainstream cinema, media, and the digital medium find ways to exploit the soaring Indo-Pak tensions in the garb of patriotism, it takes a sane mind to look back into the past to get nuanced yet uncomfortable answers. Freedom at Midnight may deal with the politics surrounding the partition of India into two, but it is more about the wounds that are yet to heal.
Freedom at Midnight, an adaptation of Dominique Lapierre and Larry Collins’ popular book, deals with a precarious phase of pre-independence history, where the dream of a free India is well within sight. Yet, the country is more fragmented than ever before. The series mirrors the many moral, and philosophical dilemmas of leaders who were forced to make harsh decisions with a pinch of salt.
Nehru is torn between his party’s interests and Gandhian ideals. The newly appointed Viceroy Louis Mountbatten is aware that he has blood on his hands. Gandhi is gradually distancing himself from the Congress. Patel tries to be a tactful politician, even if his heart says otherwise. Beneath its political outlook, the show looks at one’s love for the land significantly from an emotional tangent.
The show suggests that pre-independence politics was indeed a muddy affair. As a viewer, you’re offered a humanistic take on the imperialists and made aware of the political stance of leaders like Gandhi, Jinnah, Nehru and Patel in a decisive hour. There are consistent throwbacks to the past, adequate documentation of the common man’s plight, riots and hints of the unrest among the maharajahs.
Nikkhil Advani, aided by his historical understanding and factual evidence from the dense material, crafts a sensitive, well-adapted saga for the screen, exploring imperialist politics in all its nuance. At times, it gets too self-aware, and sentimental with its subjects – which is quite understandable, given the theme – but is still earnest in capturing the complexities of the country’s socio-political situation.
The creator’s strength lies in his sincere exploration of the interpersonal relationships – like Gandhi’s altering ties with Nehru and Patel, the controversial friendship between Nehru and Edwina, the tension between Gandhi and Jinnah, the equation between the Mountbatten couple. The occasionally non-linear storytelling helps one understand their deep-rooted beliefs, and psyche better.
While you expectedly get a saintly portrait of a politically reluctant Gandhi, the characterisation of Nehru, Patel and Jinnah, who are forced to confront their inner demons, warrants more interest. Although minimal, the effort to document the significance of Sarojini Naidu, VP Menon in the freedom struggle brings more credibility and inclusivity to the storytelling.
In a war-torn world, Freedom at Midnight is a plea for peace, that engages, informs and educates. Although the release timing could’ve been smarter, the relevance of the show is undeniable, matched by sharp filmmaking, affecting performances and sincere writing.
Music and Other Departments?
Ashutosh Phatak uses eclectic orchestration – an interesting Indo-Western mix – to heighten the moral dilemmas of its iconic characters, however, one feels the opportunity to tap into the musical potential of the material wasn’t utilised to the fullest. The score doesn’t create an emotional impact to the extent one expects it to.
Ayesha Dasgupta’s fantastic costume design and the production design (Priya Suhas, Surabhi Verma, Vijay Ghodke) play a huge role in lending authenticity to the ambience, which is brought alive masterfully through Malay Prakash’s lens. The writing could’ve been worked with more urgency at times though.
Highlights?
Well-researched, neat writing
Impressive performances
Attention to detail on the technical front
Drawbacks?
Patchy makeup, styling
Unusual casting decisions
Slow at times
Did I Enjoy It?
Yes
Will You Recommend It?
Certainly – a treat for the history and political buffs
Freedom At Midnight Series Review by Binged Bureau