Heeramandi Shines with Visual Splendor but Falters in Storytelling Depth: A Review of Bhansalis Latest Netflix Venture

Sanjay Leela Bhansali has established a reputation for opulent visuals, with his latest Netflix original series, Heeramandi: The Diamond Bazaar, exemplifying his distinctive approach that emphasizes spectacle and elegance—though in this instance, it seems to overshadow the narrative and character development. The abundance of stunning jewels, elaborate structures, and exquisitely crafted costumes is evident, yet a solid storyline, well-rounded characters, and captivating plots are noticeably absent.

This eight-part series features a star-studded cast, including Manisha Koirala, Sonakshi Sinha, Aditi Rao Hydari, Sanjeeda Sheikh, Sharmin Segal, Adhyayan Suman, and Fardeen Khan. The plot revolves around powerful courtesans (tawaifs) in Lahore before independence, where the pleasure district was not merely a luxurious brothel but a hub of art and culture, training the elite in manners and sophistication. Bhansali’s series does capture the complex social reality and emotional struggles of these women effectively.

In this depiction of an elite red-light district, viewers encounter diverse tawaifs: calculating, clever, generous, heartbroken, delusional, crafty, spiteful, poetic, and rebellious. While each tawaif boasts a unique identity and a poignant past, they collectively share the sorrow of being trapped in a “golden cage,” their lives pursued by society’s elite yet scorned publicly. Even the most formidable among them harbors an emptiness and feels that “only death can grant them freedom,” including Koirala’s character, Mallikajaan, who is the most influential of the lot, running an extravagant brothel named Shahi Mahal (royal palace).

Manisha Koirala portrays a dominant tawaif managing a lavish brothel in Heeramandi

Mallikajaan is often inebriated and doesn’t hesitate to sell someone off at the drop of a hat to cover the cost of a pearl. She commands the nawabs, is unafraid of the British, and wields significant political influence. Each appearance by Koirala adds an unsettling vibe, keeping viewers on edge. Although her character may initially resemble Gangubai Kathiawadi, Mallikajaan is far from kind-hearted and openly acknowledges her less admirable traits.

As her «empire» appears invincible, a twist occurs when her equally formidable and cunning niece Fareedan (Sonakshi Sinha), sold by Mallikajaan at nine, returns to Heeramandi consumed by thoughts of revenge. The series builds a compelling confrontation between these two strong women.

Several other narratives intertwine: a brothel-born Alamzeb (Sharmin Segal) aspires to be a poet instead of a tawaif, the gifted Bibbojaan (Aditi Rao Hydari) secretly collaborates with rebels opposing the British Raj, a narcotics-dependent Lajjo (Richa Chadha) is hopelessly enamored with a dubious nawab, a nawab named Tajdar (Taha Shah Badussha), who recently returned from London, despises Heeramandi but finds himself attracted to a tawaif, vengeful Waheedajaan (Sanjeeda Sheikh) longs to be a huzoor, and the bold Shama (Pratibha Ranta) confronts her mother who envies her beauty and youth.

Sharmin Segal plays the daughter of a tawaif aspiring to be a poetess rather than a courtesan in Heeramandi

Despite the multitude of characters, the script possesses strength and emotional depth, indicative of potential future seasons. Departing from standard commercial films, there are no purely good or evil characters; even the antagonists are presented with nuanced grey areas of human feelings. The darkest of figures are explored to reveal glimmers of emotion buried deep within. One notable scene involves Sinha’s character, Fareedan, adorning a stunning nose pin on Ustaad Ji (Indresh Malik), the comical homosexual pimp of Heeramandi, resulting in a powerful silence filled with emotion. This moment is impactful and conveys profound meaning without dialogue.

Similarly, a candid exchange between two maids mocking their youthful ambitions to be the leading tawaif is refreshing. The nuanced portrayal of these supporting characters is noteworthy.

Additionally, the stark contrast between the vibrant, jewel-encrusted courtrooms of tawaifs and the harsh realities imposed by the British outside their opulent confines is compelling. While slogans from the Quit India Movement can be heard beyond, the nawabs indulge in merriment within these royal brothels, which are home to several patriotic tawaifs who have significantly contributed to the freedom struggle.

While the courtesans may not have received recognition in selective historical accounts for their contributions to the movement, the series delves into this aspect. It portrays how some tawaifs subtly glean vital information from nawabs or assist rebels in concealing arms, as exemplified by Hydari’s Bibbojaan, who excels in her role.

Sanjeeda Sheikh features in Heeramandi

However, it is disheartening that Bhansali appears to have struggled with effectively adapting the screenplay for the screen. While the breathtaking sets are commendable, the series lacks the captivating quality that would compel viewers to stay invested.

Having mulled over the concept for over a decade, the outcome falls short of expectations. There are moments of exceptional scenes and poignant dialogues, yet the overall momentum falters with sluggish and extended fillers interspersed. The show would benefit from omitting certain superfluous sequences.

Heeramandi also faces pacing issues, particularly towards the conclusion. Although the finale is substantial, the shift from the seventh to the eighth episode feels jarring and rushed. Performance-wise, the cast offers a mixed bag. Bhansali’s decision to cast his niece Sharmin Segal as Alamzeb, Mallikajaan’s younger daughter and aspiring poet, detracts from the series. It raises the question of how a character crafted so beautifully could be undermined. Segal occasionally appears more like a disoriented individual under the influence rather than a romantic figure; her chemistry with Tajdar lacks authenticity and seems forced. This choice, tinged with nepotism, negatively impacts one of the series’ pivotal characters.

Fardeen Khan portrays a nawab, appearing briefly with limited dialogue

Richa Chadha also seems ill-suited for the role of Lajjo. The challenge here lies not necessarily with Chadha, who makes a concerted effort to embody a heartbroken woman who has lost her senses due to betrayal, but rather in her ongoing typecasting as the mischievous Bholi Punjaban from Fukrey. Audience members familiar with Chadha’s prior roles may struggle to reconcile her with such a distressed and powerless character.

Aditi Rao Hydari’s Bibbojaan is a composed courtesan aiding the rebels against British rule

One standout character for me was Sanjeeda Sheikh’s portrayal of Waheeda. Kudos to Sheikh for delivering a remarkable performance as Mallikajaan’s emotionally damaged sister. Her expressions, body language, and dialogue delivery are stellar, capturing the essence of wounded femininity with finesse. I was pleasantly surprised by Sheikh’s impressive performance, as she surpasses expectations this time. It wouldn’t be an exaggeration to suggest that her complex character could easily warrant its own spin-off.

Despite numerous powerful performances throughout, the overall tone of the series tends to fluctuate. A more concise version with tighter editing could have improved the experience. While the production design and themes are commendable, Heeramandi falls short of maintaining its opulence beyond the surface.

All eight episodes of Heeramandi are now available for streaming on Netflix.

Rating: 5.5/10