Writer-filmmaker Abhinandan Gupta articulates his unique position, stating, “I am too filmy for my art house friends and too art house for my filmy friends,” as he reflects on his appreciation for films featuring elaborate musical numbers. We convene to discuss his latest project, Freedom At Midnight (FAM). This project represents two distinct realms, does it not? With extensive training on the sets of Sanjay Leela Bhansali, Gupta, alongside Nikkhil Advani and SonyLIV, has delivered one of the finest streaming series in the country, centered on the narrative of India’s partition. Available on SonyLIV, the series has garnered significant attention and is deemed worthy of viewing, having already been renewed for a second season. In an exclusive interview, Abhinandan shares insights into his inspirations, motivations, aspirations for future projects, and, intriguingly, hints at Freedom At Midnight Season 2.

As we settled into a bustling coffee shop in Mumbai, I initiated our discussion by highlighting the remarkable opening scene of Freedom At Midnight, which features key historical figures such as Sardar Vallabhbhai Patel, Jawaharlal Nehru, and Mohammad Ali Jinnah in an elevator. This scene showcases them engaging in banter, presenting them as relatable individuals rather than the revered figures we are accustomed to seeing in portraits. Gupta, who is credited with adapting the narrative, explained, “Our research indicated that these individuals had been colleagues for many years. For instance, Mohammad Ali Jinnah was part of the Congress from 1913 to 1928. In the early 1920s, Gandhiji also joined the Congress, meaning they had been colleagues for nearly 30 to 40 years.”

“By 1946, when the series commences, my intention was to depict a sense of familiarity among them, highlighting their long-standing relationships as colleagues. Many scenes unfold in boardrooms or during formal meetings, such as Congress committee gatherings or Muslim League discussions, where the atmosphere is quite formal.”

Abhinandan Gupta elaborated on the fact that the book by Larry Collins and Dominique Lapierre, which serves as the foundation for "Freedom At Midnight," is a work of non-fiction. The events are presented in a chronological sequence. He remarked, “We envisioned a scenario where the two individuals unexpectedly encounter each other in an elevator. The discomfort of waiting for an elevator is a situation we have all experienced at some point, finding ourselves in close quarters with people we would rather not engage with or with whom we have little to discuss.”

The pivotal inquiry arose: how can one construct a narrative that is politically charged while avoiding the endorsement of any particular viewpoint?

Abhinandan Gupta: “We have been quite explicit in our portrayal of the partition as a tragedy, which is evident throughout the narrative. Thus, we are indeed taking a stance that views this event as a politically significant tragedy. However, our aim was not to assign blame or to categorize individuals as either heroes or villains. When the British departed from India after two centuries, a power vacuum emerged, leading to a contest over who would assume control. In this metaphorical Game of Thrones, there were both victors and vanquished, and the populace bore the repercussions of the choices made by these leaders. These were exceptional circumstances involving remarkable individuals. While we assert that the partition was a tragedy, we also strive to approach the decisions made by these figures with empathy, rather than judgment.”

Regarding the parallels between Freedom At Midnight and The Crown, did the series created by Peter Morgan serve as an inspiration?

Abhinandan Gupta: “The Crown is a biographical narrative focused on the life of one individual, specifically Queen Elizabeth, detailing her maturation, marriage, and her journey to becoming Britain’s longest-reigning monarch. In contrast, Freedom At Midnight is more of an ensemble piece. Additionally, this series is finite; Season 2 will be released soon. The events depicted range from Mountbatten's arrival in India in early 1946 to Gandhi's assassination in January 1948, covering a defined period of two significant years in Indian history. This differs from The Crown, which spans approximately 60 to 70 years. While both series are historical in nature, the inspiration behind our writing leans more towards the works of Aaron Sorkin, such as The West Wing and The Trial of the Chicago 7.”

Much of the tension unfolds through legal disputes, courtroom scenes, or within the confines of the White House. Nevertheless, the narrative remains highly captivating, primarily revolving around dialogue. The exchanges, while seemingly mundane, possess a dramatic quality. The challenge lies in transforming this dialogue-driven content, which lacks overt visual or action-oriented elements, into something that is both engaging and entertaining. Aaron Sorkin serves as a notable influence, particularly with his signature style of rapid, intense, and exhilarating dialogue.

When discussing the dialogue-centric interactions between characters, which he likens to a game of ping-pong, I was compelled to inquire how a young individual who has worked with Sanjay Leela Bhansali, Shaad Ali, and Abhishek Kapoor came to write Freedom At Midnight. (Abhinandan has contributed to films such as Bajirao Mastani, Padmaavat, Kill Dill, and Chandigarh Kare Aashiqui.)

Abhinandan Gupta: “Mr. Bhansali has been a significant mentor and guide for me. From him, I have gleaned insights into the essence of drama. What constitutes drama? I believe the specific genre—be it romance, political intrigue, or science fiction—is secondary. Audiences are fundamentally drawn to characters and their relationships, as well as the complexities of human nature and experience. Therefore, the genre itself is not of paramount importance. It may surprise you that the filmmakers you mentioned are enthusiastic film enthusiasts, often enjoying films that differ from their own creations. While the tone of Freedom At Midnight may diverge from my previous projects, this exploration is simply part of my journey in discovering my unique voice. This evolution is entirely acceptable as I continue to develop my craft.”

While "Freedom At Midnight" addresses the violence that occurred during that period, I inquired of Abhinandan regarding his perspective on violence in contemporary cinema.

Abhinandan Gupta: "I do not possess any moral objections to the portrayal of violence on screen. Violence can indeed be quite impactful. It can evoke strong emotions and can be presented in a dramatic and visceral manner. The physical act of violence, when captured on film, can take on an operatic, poetic, and aesthetic quality—similar to the approach taken by Quentin Tarantino. In his work, the color red often serves as a significant visual element.

One method of depicting violence is through explicit representation, while another, as you noted, can involve leaving it to the audience's imagination, which can often be more terrifying. When viewers are allowed to envision the violence, their interpretations can sometimes yield a more profound horror than direct depiction. These are just a few of the various techniques available to filmmakers. Ultimately, it hinges on the context, the narrative, and the specific vision of the film being created.

Filmmakers can opt for graphic violence or choose to omit it entirely, allowing the audience to fill in the gaps. These decisions are subjective, and it is not appropriate to deem one approach as superior to another. It truly depends on the film's nature, its stylistic choices, and the filmmaker's intentions at that moment. I do not hold rigid views on violence; rather, I believe in the multitude of possibilities it presents. Each individual interprets content differently, and no two interpretations will be identical. I maintain a neutral position on the subject of violence."

How does one secure their next opportunity, and is the process similar to what it was a decade ago?

Abhinandan Gupta: "The success of landing your next role largely hinges on the network you cultivate while engaged in a project. Typically, the individuals you collaborate with tend to reach out to you again, as there is a preference for working with a familiar team. Securing the next opportunity is always a challenge, a reality that applies to everyone in the industry. Consider a scenario with six genuine superstars; the question arises: who ultimately receives the compensation? Every actor, writer, cinematographer, and production designer shares the concern of finding their next role. It is an ongoing endeavor. You manage to navigate through it.

In my view, the current landscape is significantly more favorable compared to the experiences shared by our predecessors. They often recount a time when options were limited; today, we have television, streaming platforms, YouTube, social media, films, theatrical releases, and independent projects. In the 1980s and early 1990s, such avenues were virtually nonexistent. The present situation offers a wealth of opportunities. By maintaining focus and dedication to your craft, you will eventually connect with like-minded individuals. Moreover, if your work is well-received, it can lead to further opportunities based on that success."

What has been the most valuable constructive criticism you have received regarding Freedom At Midnight thus far?

Abhinandan Gupta: “The most commendable feedback I encountered was that the work is unbiased and objective, rather than being propaganda—which was the response we were hoping for. We were pleased to know that our message was effectively communicated. Additionally, I find great satisfaction in your opening remark about our ability to humanize these monumental historical figures. This was one of our primary objectives, and as writers, we consider our task accomplished if readers perceive a different aspect of well-known historical personalities or uncover new dimensions of their character. That realization is indeed fulfilling.”

However, what do you say to those who perceive Muhammad Ali Jinnah’s depiction as caricatured?

Abhinandan Gupta: "He is essentially the superhero of our freedom struggle, prominently featured alongside other significant figures in this narrative. In both Season 1 and Season 2, he will receive as much attention as any other key character. Nevertheless, I acknowledge that many viewers believe we have portrayed him in a caricatured manner. In response, I must respectfully disagree, as I believe we have depicted his human qualities—such as his relationship with his sister, his health issues, and moments when he questions his own choices. We have also illustrated his vulnerabilities.

I would argue that this criticism may not be entirely fair. However, it is important to note that he serves as the primary antagonist in our narrative. While we oppose his political views, which we consider shallow, self-serving, and communal, we can still extend empathy and compassion towards him as an individual. This is the delicate balance we have endeavored to maintain. We are unequivocally against his political stance, yet we recognize the humanity within him."

The conclusion of Season 1 of Freedom At Midnight is marked by the statement, “Gandhi will have to pay.” How do you plan to address this moving forward?

Abhinandan Gupta: "You will need to be patient for that! Our approach to Season 2 will maintain the same level of responsibility, objectivity, impartiality, empathy, and compassion that characterized Season 1. That is all I can disclose at this moment. The focus will be on the events that unfold on the streets following the actions taken by bureaucrats behind closed doors. The structure of the two seasons is as follows: Season 1 delves into the political circumstances leading to the partition of the country, while Season 2 will explore the repercussions of that pivotal decision. This thematic framework creates a finite timeline, with both seasons narrating a significant story."

If you had the opportunity to create your own film, what would it entail?

Abhinandan Gupta: "Is it permissible to express a wish as if before Santa Claus? I would be thrilled to collaborate with Ranveer Singh. I have had the pleasure of working with him on three films (Bajirao Mastani, Kill Dill, and Padmaavat). He is an exceptional actor. Deepika (Padukone) possesses a captivating presence; when she is on screen, she draws all attention. Additionally, I find Vicky Kaushal to be a remarkably engaging actor with excellent comedic timing. He is versatile and can excel in any role. And, of course, there is Ranbir Kapoor. This is merely a wishlist!"

You can watch Freedom At Midnight Season 1 on SonyLIV with your OTTplay Premium subscription. There is no release date announced for Season 2 yet. Stay tuned to OTTplay for more information on this and everything else from the world of streaming and films.

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