Wah Taj, from close quarters

Mona

Having spent the first two decades of his life in Lucknow, Pushpendra Nath Misra has not forgotten the feel of the ‘City of Nawabs’. And, its architecture, mannerisms, unique sensibility is for everyone to see and admire in Netflix series Taj Mahal 1989. Brilliant writing and deft direction, it sure takes the viewers back to the 80s and 90s. Credit is due to Misra’s years at the National Institute of Design, where he wrote and directed plays, as well as his experience of ad-direction in Mumbai.

“Writing has been my love but, trust me, in the world of advertising there are such talents that you needn’t write. Every few weeks giving birth to a new story consumes me fully; I love that process,” says Misra, who is making his web series debut with Taj Mahal 1989. Internet opened ways for many like him and as his story, written years ago, was green-lit, he found huge support from his advertising network to present it in the way he envisaged.

Of life & struggles

So was born this story with multiple characters, each embroiled in one’s struggles; their lives intersecting at different points. “The beauty of the web medium is that one is not restricted to two hours or hero-heroine plots. We are all hero or heroine of our lives and what makes each story special is all those around us — our chacha, mama, bua, friends — and that we could bring to Taj Mahal.”

Creating that nostalgia is what Misra doesn’t take credit for! “It all lies with production designer Sonali Bhatia, also from Lucknow and NID, who likes to go into details. If the series breathes and lives Lucknow of the late 80s, it’s her attention to detail that garnishes it,” says Misra, who shares how they didn’t shoot a single scene till they were satisfied with the look of the set.

Lucknow connect

This attention to detail that Sonali has, or even Misra, comes from the Lucknow connect. Says Misra, “Aap Lucknow mein kissi ki samose mein kaju khila ke dikhaye; it’s a city of finicky people. Dahi vade khane hain ghantaghar ke samne to vo hi two ghante main jaana hoga. It’s not like he will extend his time to serve 4,000 people who show up. He will sell whatever he has made and go back; that’s what the city is like.” Also, Misra extends gratitude to his associate Will Humphris, who handled cinematography, as well as celebrated composer Amar Mangrulkar for the music.

So, is there any autobiographical element in the story? “No, these are observed stories, a sabji ki dukan, a person I saw; characters who lived in that era.” To see a prostitute and tailor with a gold medal in philosophy discuss middle-class life, how did he conceive all this? He brushes it off lightly, “I actually saw and observed life around me; it’s the reality of Lucknow.”

Impressive narration

A character speaking to the camera is a technique that impresses, “That is one device I picked up from my theatre stint. I have ensured it is not over-the-top, but just where needed.” Is the story a comment on the current times then? “No. The story was penned years ago, when such harmony existed and I would like to believe it would be the same now.”

While not making ads or writing, Misra reads extensively and is currently going through T’ta Professor by Manohar Shyam Joshi. Heartened by the love that the series has received, he says, “I have lots of stories to tell; now I am finding a way to bring to them to life.”

mona@tribunemail.com