The vision of an inconsolable Paro running towards a dying Devdas, her white saree train flowing behind as she dashes across her mansion, epitomizes Sanjay Leela Bhansali’s cinematic style. However, “Heeramandi” diverges from this vision, presenting an older, darker, bitterer, sadder, and more oppressed narrative.
Amidst the resplendence and opulence, Bhansali’s “Heeramandi” tells the story of the women who run the Heeramandi empire, particularly the Shahi Mahal. Movie is now streaming on Netflix.
Inspired by Earlier Works
Much of “Heeramandi” draws inspiration from Bhansali’s earlier films like “Devdas” and “Gangubai Kathiawadi”. While “Devdas” focused on two star-crossed lovers and “Gangubai” depicted the rise of a young woman in power, “Heeraamandi” shifts the spotlight entirely to the lives of the women within its story.
Women in Heeramandi
The women in movie are both each other’s fiercest supporters and worst enemies. They are family, confidantes, rivals, and enemies, referring to themselves as the queens of Lahore, perhaps a delusion of grandeur. Men in this world are transactional, not lovers or partners, but merely “sahabs” at best. Men do not occupy the same strata as women because they are simply not on the same level.
However, men are the primary oppressors. The only one worse off than a “tawaif” in “Heeramandi” is the effeminate Ustaadji, a facilitator of alliances whose life, unlike the “tawaifs”, is not the object of desire.
The women speak in soulful dialogues, lamenting their imprisonment. Like many of Bhansali’s works, “Heeramandi” would score high on the Bechdel test. They discuss their misery, abuse, cruelty, daily humiliation, loss of freedom, and petty rivalries. Happiness is rare and comes at a high price, often intertwined with more misery. This relentless saga of misery is one of the show’s biggest drawbacks.
The Cast of Heeramandi
Manisha Koirala as Mallikajaan
Manisha Koirala plays Mallikajaan, the matriarch and chief courtesan, demanding to be referred to as Huzoor. She runs a tight ship, feared, envied, and loathed in equal measure. Koirala, returning to the screen after a long hiatus, delivers a powerful performance with expressive eyes and a commanding presence.
Aditi Rao Hydari as Bibbojaan
Aditi Rao Hydari shines as Bibbojaan, Mallikajaan’s daughter. She is the belle of the ball and she is a rebel. Hydari’s “mujra” performances are mesmerizing, evoking comparisons to Meena Kumari.
Sonakshi Sinha as Rehana
Sonakshi Sinha plays Rehana, a commanding presence alongside her daughter Fareedan. Sinha’s acting prowess, as seen in “Dahaad”, is on full display. She is daring, scheming, petty, powerful, jealous, graceful, and flamboyant.
Sanjeeda Sheikh as Waheeda
Sanjeeda Sheikh portrays Waheeda, Mallikajaan’s younger sister. Her character is hysterical, delusional, greedy, and aspirational, evoking both empathy and disdain.
Richa Chadha as Lajjo
Richa Chadha’s portrayal of Lajjo, a heartbroken and humiliated character, leaves a lasting impact. A scene where Lajjo giggles through her tears after being humiliated by her patron is particularly memorable.
Sharmin Segal as Alamzeb
Sharmin Segal plays Alamzeb, Mallikajaan’s daughter, who dreams of becoming a poetess. Unfortunately, her character comes across as one-dimensional and lacks depth.
Supporting Cast
Farida Jalal, Fardeen Khan, Shekhar Suman, Taha Shah Badussha, Jayati Bhatia, and Indresh Malik provide a strong supporting cast.
Wealth in Heeramandi
The women of “Heeramandi” dress in finery, but their wealth is illusory. They squabble over heirloom jewelry and properties that ultimately belong to men. The men, although mostly invisible on screen, are the true puppeteers, ruling the world outside Heeramandi.
To survive, Heeramandi relies on the patronage of the nawabs. When Fareedan’s debut flops, her prospects dim. Bibbo’s retirement curbs her agency, wealth, and patronage. Mallikajaan meticulously counts every paisa, willing to sell girls for a good deal.
Their wealth is transient, subject to the whims of the men who remind them of their precarious position.
Life in Heeramandi
As viewers progress through the eight 45-minute episodes, the opulence of “Heeramandi” becomes overwhelming. The perfect clothes, jewelry, and dialogues can become tiresome. Bhansali’s vision falters when the camera moves outside Heeramandi to depict the normal world, such as the independence struggle, which appears more like a college protest.
The sets outside Heeramandi lack the same attention to detail, appearing drab and brown-tinged. The endless tragedies and cruelties inflicted on the women become the show’s weakest point, making it a relentless parade of misery.
After a point, viewers might long for the “tawaifs” to find a moment of peace and enjoy each other’s company in the sun.
“Heeramandi”, directed by Sanjay Leela Bhansali, is now streaming on Netflix.
