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Zoya Akhtar Made in Heaven a binge-worthy bauble

Zoya Akhtar’s Made in Heaven is eminently binge-worthy.

Published: 20th March 2019 10:57 AM  |   Last Updated: 20th March 2019 10:57 AM   |  A+A-

Made in Heaven.

Express News Service

Zoya Akhtar’s Made in Heaven is eminently binge-worthy. It is designed specifically for the streaming audience and moves seamlessly across episodes with the ease of someone flush with cash navigating urban India.

It tackles the kind of first world problems we have come to associate Zoya with and does that with spunk. A lot has already been written about Arjun Mathur who plays Karan Mehra with great poise and brings the role the kind of gravitas it needs without ever taking itself too seriously.

Mathur plays a gay who gets caught with the police while making out in a car, in a throwback to a similar scene in the 2010 Onir film I Am (which is also currently streaming on Netflix). 

WATCH MADE IN HEAVEN TRAILER:

The series also stars a gorgeous Sobhita Dhulipala who plays Tara Khanna, a social climber, who’s ‘made’ her way up from the middle class to the world of the super-rich by marrying Jim Sarbh’s Adil. Her anxieties and insecurities about being judged, about not being born into riches, make her extremely accessible despite Tara’s ice-cold demeanour.

A screengrab from Made in Heaven. (Photo | Screengrab)

The chemistry between Tara and Karan, who run a wedding planning firm together, is well written and never falls into the western TV clichés of the gay best friend.

Karan in many ways is a far superiorly written role than Tara’s. Kalki Koechlin, Zoya’s own Meena Kumari is lovelorn and is also from this mega-rich world. She is also apparently Tara’s best friend... and has an affair with Adil behind Tara’s back.

ALSO READ | Kalki Koechlin, Jim Sarbh and Sobhita Dhulipala look classy in Amazon Prime's 'Made in Heaven' poster

What I liked about Made in Heaven was the fact that it made no effort to make its women characters likable. They are as they are – complex, hiding their cards and with slightly questionable ethics. No one is a saint all the time and we all make mistakes, sometimes knowingly too. Their clients too are all interesting and anybody who’s been in the vicinity of planning an actual wedding, especially in our country will tell you how close most weddings do come to being called off.

Tempers fly, caste, class, and patriarchy that are all seemingly invisible in urban elite India dance stark naked exposed to all and sundry. The irony that two people who seem to never really believe in that love is sacred, and marriages are made in heaven and all is pure in love are organising these weddings.

What I didn’t really like was how clueless the writers were when it came to navigating the arcs for characters who are ‘low class’ as Adil refers to his wife in one scene. In their bid to show how Shivani Raghuvanshi’s Jazz comes from a different milieu, they end up showing the lower middle class as a class of people you have to pity. Tara too comes from a somewhat similar household.

Characters Faiza and Tara. (Photo | Twitter)

I cannot imagine the contempt they may have had if god forbid a spunky graduate from the real ‘gullies’ had arrogated their space? Both Jazz and Tara are shown as social climbers whose ambition leads them down the ‘wrong’ side of morality and they end up losing a chance at romantic bliss with people outside their class. In contrast, is Tara’s sister who’s happily married. It’s as if the authors are punishing the characters for daring to think they can marry outside their class.

The light falls too harshly on the middle-class women who are consumed by guilt and avarice, whereas the rich men and women are let go off with a slap on the wrist for their misadventures.For a production that is so slick, the gyaan given out by Shashank Arora’s Kabir is extremely grating and annoying at the end of each episode. It ruins the illusion of the show.

Things like “only time will tell if she will be accepted, until then welcome to Delhi”, “that’s all it took to shatter centuries of patriarchy” and “India however crazy your families are in the end they are all that matter” were so tailor-made for some western audience. And that the makers didn’t trust the audience enough to ‘get’ the point. This “India” line literally ruins a beautiful moment in the episode where Deepti Naval reunites with her kids on her wedding day on stage.

That despite all this I liked the show and definitely recommend it is a testament to how strong the pull of many of these characters are, how good Zoya’s sensibilities, ability to tell stories are, how much we too love being voyeurs watching the super-rich swish around in their beautiful clothes and their homes, as they complain about the things they can’t have.

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