First thing first, Jubilee shows you the realism of the Bombay talkies era with an interval by building huge and royal studios, cinema reels, crew chairs, hand painted posters, an ambitious producer with business acumen, smoking pipe, outfits, and so much more. The series in itself is quite symbolic for the purpose of depicting the golden era. Yes, I call it a golden era. I read the show is pretty much inspired by the life of Himanshu Rai and Devika Rani. Let’s kickstart.
Praise worthy angles from the entire series that are responsible for the story:
Blazing journeys of 5 characters Roy, Binod, Jay, Niloufer, Walia
The unparalleled fate of 2 studios Khanna studio and Roy studio
The transformations, transitions, and evolving cinema with a blend of crime, love, conspiracy and fame.
It is commendable to see how the makers combined the most essential attributes of the black and white cinema - Dialogues, Music, Drama and great frames.
The 3 compelling dialogues that summarize Cinema which are crafted beautifully in the film with the scene,
'Power is within this weapon of cinema.'
'Cinema can raise a level by giving the audience a taste of poetry, photography, music and aspirations.'
'Cinema can empower people.'
Let us put the stars on the shoulders of the team. Vikramaditya Motawane, Atul Sabharwal and Soumik Sen are the names. I should say, a gorgeous job on the series by all the teams.
Supposedly it has to be one of the most expensive projects as it costs a fortune to build a city entirely. Especially a city which used to look a certain way but not any more. It is bound to attract criticism, comparisons and judgements. Hence applause for the art department.
Moving to the title, Jubilee. Good one. The word Jubilee was significant in the non-bollywood era. It marked a big success of the film if it reaches Jubilee unlike the crore club where films are less than 2 stars but box office is 200 cr.
Vikramaditya Motawane has created a web series that is uncommon among current subjects. Lots of makers tried to recreate the golden era but most of them went unnoticed. I am fond of Khoya Khoya Chand for the infamous vintage era. However, reaching everybody through OTT through Jubilee with a 10 episode series of 50 minutes is a master thought. That breathing space to judge the success with an olden times ‘interval’ but of a week is outstanding. However, such a big risk.
Mentioning positives of the show to move with. It has a decent Star cast that is not very glittering and glam. Subtle and real. When you cut on the star factor you can actually see through the show and its potential. So I liked the cast to portray that era. Apararshakti Khurana as one of the leads is huge. Names to mention: Wamiqa Gabbi and Prosenjit Chatterjee. I am all praises for Wamiqa Gabbi. Simply Wow. She is a complete package of dance, acting, nakharas, ada and reality. An actress who very clearly takes you to the era of queens like Waheeda Rehman, Mala Sinha, Nutan and the list goes on. She does not imitate anybody. Prosenjit Chatterjee, an innovative and ahead of his time producer who wants to make a mark but probably wishes to stick to what sells on screen with a traditional cinema perspective. The curiosity that both Roy and Niloufer go on building in their own way is really good. Sidhant Gupta’s energy matches the character’s but his acting felt an over-do at times. But when he walks as a star is one act you can’t miss but notice. It shows a mix of stardom and simplicity. Great work there. He is the Guru Dutt effect as a one man show with actor-director qualities. Aditi Rao Hydari is just being herself, a beauty. Ram Kapoor, Shweta Basu are names known for good acting just like that. All the supporting actors have done a celebrated job in their roles. Amazing to watch Arun Govil in a web series. The casting decisions are appreciable. The character Govil plays as a calm father is peaceful for the eyes and ears.
Music is magnificent. Thanks to Amit Trivedi for giving one more album that can be put on loop. The compositions of jubilee prove that even today a melody is possible with sensible ‘Hindi’ lyrics which are louder than the music and each word, chord and instrument is heard and worth a praise. Kudos to Amit Trivedi and Kausar Munir for creating songs that calm people like us can humm. My personal favourites are Voh Tere Mere Ishq, Dariyacha Raja, Na Koi Mera and Saare Ke Saare Akele. Rest you would not like to skip as well. It has the sound of the period it belongs to. The lyrics bear to our usual spoken Hindi language - simple and understood. I can’t put this more straight. Those days were about melody and dialogues that hit the audience.
Dialogues as expected are filled with drama and conviction.
Favourite frame from the series is Jay and Nilo sitting on the road drenched in the rain in front of a theatre under the poster of Baiju Awara. Splendid! You do not have to show intimacy by stripping down and making love. Sometimes it's just the way you sketch love on screen. Quite a romantic frame. Other Mesmerizing frames:
Binod first in front of the fire that also marks the end frame of Roy in front of fire.
Sumitra sitting in front of the mirror in the train.
Roy, sitting in his private screening theatre, calls the man to project the reel.
Jay Khanna in his own studio on the first day against the Taxi cut out.
The last shot of Roy studio with lights dimming symbolizing the fall.
Jay Khanna’s cabin with Taxi Driver Poster of Jay and Nilo.
And the favourite of many, the RK inspired Jay and Niloufer umbrella scene.
I am glad to see one series with no skin show, no kissing at every alternate shot and most importantly close to no violence. Every other show today is either lust or violence with litres of blood flowing. This series is like detox.
Some curiosity creeps in. Was Phone tapping really a thing? Would the show not be as captivating as it was if tapping was not a part of the show? Mysterious.
Coming to an end resembles a Guru Dutt film with a song like Dekhi Zamane ki Yaari. Saare ke Saare Akele went on flipping pages and how heartbreaking every page was!
Looking at Jubilee overall,
What’s remarkable is the tragic ending given to all the characters like most of the yesteryear actors saw. It is not a fictitious act of drama. We have heard stories where either people disappeared from the industry or their demise was not a very pleasant one or some love stories were not as happy as their film’s or their stardom just vanished with a flop. I admire the way fiction was weaved with the inside stories from the film industry. But across 10 episodes we saw a lot of screen time invested in long pauses. Not sure why the typical fame was not shown like ordinary fans gathering around Madan or crowds at the red carpets of premieres. No premieres at all actually. But the pre-independence period, partition and its effect on the cinema industry was precisely connected. The makers very smartly keep awards at bay as filmfare started in 1954 and this story wraps up by 1953. Also, the details that were very well shown were salaried crew, technicians and even actors associated with the studio, the refugee camps, international interventions and the editing on negatives of the reel. What is incredible to see is the grey shade every character gets with situations. It's meticulous writing.
All the characters had a closure but I wonder what happened to Shamsher Walia.
I was waiting for the last ‘The End’ or ‘समाप्त’ after we saw Interval post the 1st batch of 5 episodes. But that did not come. Another season in making? Giving benefit of doubt as the glorious era of cinema has just started in Jubilee. But I must say first is the only first. What follows is to piggyback on the popularity of last success. It loses its charm. I hope the makers continue the legacy if they plan seasons.
To end this I would say Jubilee gives you the pictorial version of the tales and accounts narrated by the legends and insiders. I will not deny that the series seems stretched or sluggish at times but I think establishing the actors and an entire past generation will take its own time.
Jubilee is a must watch for people who believe in the essence of cinema and Hindi film industry of yesterday. It is for obsessed film lovers who have not yet fallen prey to Bollywood’s faux stardom.
