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How Kausar Munir approached writing for Jubilee
Director Vikramaditya Motwane approached Munir to write for Jubilee. She said the script was locked and Motwane had a clear vision, while giving her complete autonomy. Its retro setting appealed to her as someone who loved that world as a writer and as a consumer of books, films and music.
Munir said she had grown up listening to the Hindi film music of the 1950s and 1960s. She did not formally research ghazal or poetic-ballad structures for the series; instead, she followed the melody and the script. That is her account of her process, not a claim that the songs offer an exhaustive historical reconstruction.
The creative challenge, as she described it, was to evoke a period while making the songs feel appealing to contemporary listeners, including through the choice of singers. She also wanted to avoid lyrics that make a woman’s worth depend on a man deciding she is worthy of love.
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Three older songs that shaped the soundtrack’s references
Munir said three musical reference points were already present in the Jubilee script, giving her a starting point for reimagining that musical space:
- “Saare Ke Saare Akele” nods to “Dekhi Zamaane Ki Yaari” from Kaagaz Ke Phool.
- “Babuji Bhole Bhaale” draws on the club-song space of “Babuji Dheere Chalna” from Aar Paar.
- “Dariyacha Raja” refers to “Ramaiya Vastavaiya” from Shree 420.
These are specific reference points Munir identified, rather than evidence that the songs simply reproduce the style of the earlier films.
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Why Munir says lyrics matter to a memorable melody
Munir put her view directly: “For a song to become really memorable, the lyrics matter.” She added, “People remember the melody because of the lyrics.” Both statements are her perspective as a lyricist, expressed in an interview—not the result of a listening study or statistical finding.
She contrasted what she sees as the more inward, reflective quality of older film lyrics—including love songs that could also reflect on society—with a current market appetite for clever idioms, catchphrases and hooks. In her view, that emphasis can come at the expense of poetry. This is her critique of a trend, not a measured description of every Hindi film song or listener.
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Are Hindi films moving away from songs?
Munir’s answer was that filmmaking and the use of songs have changed, not that songs are disappearing. She cited “Kesariya” from Brahmāstra and “Jhoome Jo Pathaan” from Pathaan as recent examples whose success made her happy. Her summary was: “Songs will always be around, the form and usage will change.”
Munir’s writing methods: conversation, character and open endings
Munir said many of her songs take the form of a conversation between characters or a list of reasons one person likes another. Her interest in question-and-answer exchanges connects, she said, to her father’s appreciation of Majrooh Sultanpuri’s lyrics. Presenting large ideas simply is an instinct for her, rather than a consciously applied technique.
She pointed to “Pareshaan” from Ishaqzaade as an example of a young woman’s monologue about being in love. Munir also said she tries to get involved with scripts early: a song has to work in its dramatic situation and have a life beyond the scene.
She values the possibility of leaving some things unresolved, describing openness as part of life and literature. Asked about younger audiences, she said one cannot become young on demand, but rejected the idea of dismissing younger listeners from a position of superiority.
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Read the full interview
Nandini Ramnath’s interview with Kausar Munir was published by Scroll.in on April 11, 2023, ahead of the release of the final five episodes of Jubilee: Kausar Munir: “For a song to become really memorable, the lyrics matter”.
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