In one word, I can describe Heeramandi as mesmerising. Bhansali knows how to bring out the hidden talents of his artistes by pairing them with the most suitable opposites. He has the ability to discover and promote new faces like his niece Sharmin Segal and Taha as Tajdar. I was spellbound by the series and watched it in just two sittings. Manisha Koirala, Sonakshi Sinha, Richa Chadha, Sanjeeda Sheikh, Aditi Rao Hydari and Taha Shah Badussha, along with other actors, shone with their performances and delivered with dedication.
Kudos to the whole team and Bhansali for setting a new benchmark for Indian OTT series creativity. (What did you like and not like about Heeramandi... May 3)
Sandeep Kr Agarwal
Just like every ball picked up by Messi does not deceive the goalkeeper, similarly, every creation of Bhansali cannot be a masterpiece of filmmaking. Yet I liked the way he handled the complicated state of affairs that marked pre-Independence Indian politics under British rule, with multiple states owned by multiple Nawabs.
Love, lust, infatuation, hunger for power, coupled with trading beauty in exchange for personal gain made the script too complicated to handle even for such an excellent director like Bhansali. He tried to retain his signature style throughout this eight-hour series. His delicate way of handling so many actors in this series was praiseworthy. The music was also befitting of the ambience.
What I did not like is the way the story kept dragging its feet repeatedly. The set design also left a lot to be desired.
Bhola Nath Das
Sanjay Leela Bhansali’s maiden release on OTT had Bhansali fanatics like us expectant and eager. The man never disappoints, at least not when it comes to his signature grandeur and opulence. Like most of his previous outings, Heeramandi too turned out to be a visual treat, generously sprinkled with soul-stirring music.
But the series leaves us wanting in terms of storytelling and acting. Though Manisha Koirala’s Mallikajaan and Sonakshi’s Fareedan emerge as able contenders, their battle to retain and gain Khwabgah could have been notched up. Their transition from being sworn enemies to true patriots seemed a tad abrupt.
A film on tawaifs is usually marked with some stellar dance performances. Here, too, the series was lacking as the characters seemed to not have the adaa (style) and one is reminded of the seamless movements of Rekha, Madhuri Dixit and Aishwarya Bachchan enacting such roles. Taha Shah deserves praise for his portrayal of Tajdar but Sharmin Segal as Alamzeb does not match up to the maturity required to communicate the pain, angst, love, loss and betrayal she faces in her life.
All said and done, Heeramandi rightfully deserves a watch even though we have seen the Bhansali diamond dazzling more brilliantly in earlier counts.
Roshni Mukherjee
Heeramandi, the Netflix series directed by Sanjay Leela Bhansali, is a riveting dive into the intricate tapestry of the red-light district in pre-Independence India. Bhansali, known for his opulent storytelling, brings his signature flair, weaving together an almost imaginary and enjoyable narrative of love, betrayal and survival. Bhansali’s direction, coupled with the exquisite cinematography by the talented Sudeep Chatterjee, Mahesh Limaye, Huenstang Mohapatra and Ragul Dharuman, creates a visually stunning narrative that transports viewers to a bygone era. Every frame is meticulously crafted, capturing the essence of the era in exquisite detail. From the bustling streets of Heeramandi to the intimate moments shared between characters, their work helps Bhansali to create his own canvas and elevates the visual experience to new heights.
Monisha Koirala (Mallikajaan) delivers a tour de force performance as the enigmatic Madam of Heeramandi. With a commanding presence and emotional depth, Koirala brings her character to life with nuance and intensity. Aditi Rao Hydari (Bibbojaan) shines as well, bringing depth and vulnerability to her character, enriching the narrative with her nuanced portrayal. The dialogues in Heeramandi are poetic and profound, adding depth to each interaction. They weave a rich tapestry of emotions, enhancing the authenticity of the characters and their struggles. Additionally, the dignity and body language of the characters further enrich the narrative, adding a layer of beauty to the portrayal of life in Heeramandi.
The flat acting of two central characters, Sharmin Segal (Alamzeb) and Taha Shah Badussha (Tajdar) detracts from the overall impact of the series. Their lack of depth and emotional range make it challenging for viewers to fully invest in their characters’ journey, creating a disconnect in an otherwise engaging narrative.
Heeramandi’s story glorified the role of courtesans in our society and country. The story justifies their cruelty and thinking process. The director creates an imaginary world that is not free of specks but is enjoyable.
Sarbani Banerjee
The design of this series impressed me. Sonakshi Sinha’s performance was very good. Every song touched my heart. Every moment of Heeramandi is vintage Bhansali. It was enchanting to see chandeliers, pearls, chiffons, gossamer and glamour, shimmer and shine throughout Heeramandi.
Sanjoy Banerjee
Sanjay Leela Bhansali’s incursion into OTT with Heeramandi is sure to dazzle our eyes with its extensive lavish sets, grandeur and haute couture clothing. The bedecked courtesans of Shahi Mahal laze about the grandiose interiors, surrounded perpetually by a retinue of servants and basking in opulence, but the irony is that they are mere lifeless puppets dancing to the tunes of their respective Nawabs. Without the patronage of the Nawabs, they are left to rot in the abysmal depths with no chances of redemption within the murky confines of the brothels.
The plight of the tawaifs as projected in the series is sure to weigh us down. Their world is characterised by deception, false promises, backstabbing, despair, betrayal and treachery where freedom can be sought only through death. Despite being trained performers, their artistic skills go unnoticed and unappreciated. An atmosphere of foreboding and eternal gloom hovers over the entire series where every event seems to be the foreshadow of a future disaster. Life outside Shahi Mahal as created by the auteur lacks depth and realism and appear to be crafted in haste without any lively vibes.
Sharmin Segal (as Alamzeb) fails to adequately exploit her character packed with a lot of potential. The master director is more concerned with highlighting the magnificence of Shahi Mahal and the irredeemable predicament of its inmates rather than presenting a coherent world. Mind-blowing performances by Manisha Koirala (as Mallikajaan) and Sonakshi Sinha in a dual role, make the series worth watching. Too much focus on negativity makes it a lopsided affair, likely to leave viewers distraught.
Suparna Ghosh
Heeramandi is a cinematic gem that transcends boundaries and genres. With its compelling narrative, breathtaking visuals and powerhouse performances, it stands as a testament to the transformative power of storytelling. Whether you are a fan of period dramas or simply appreciate finely crafted cinema, Heeramandi is an experience not to be missed.
Debosmita Bose
Heeramandi is an intricately woven tale of love, betrayal, sacrifices and suffering set against the backdrop of pre-Independence India. Featuring a star-studded cast, this eight-episode scintillating series delves into the lives of six elite courtesans, unfolding the agonising truth of their disreputable profession. Powered with impressive dialogues and eye-catching production design, Bhansali’s aesthetics rule supreme, striking with its on-point precision and bringing out his vision from the sheets to the screens marvellously.
Be it the heavy-embroidered costumes or the captivating Urdu poetry, each element added a dash of brilliance to this finely crafted period drama. Out of the star cast, Manisha Koirala not only mesmerised with her unrivalled charisma, imbibing the typical traits of an ambitious chief courtesan, but also helped gloss over the blemishes in the storyline effortlessly.
As a viewer, I believe the creative team should have done better research so that the series could have aptly fitted into its historic backdrop. Having watched period films like Mughal-e-Azam, Pakeezah and Umrao Jaan, I felt Bhansali’s venture falls short of the standards achieved by these aforesaid classics, yet it manages to shine as one of his most memorable works. In a nutshell, it is a series that has a majestic blend of emotions and music worthy of a watch over the weekend.
Aayman Anwar Ali
Underneath the glitz and glamour of the forbidden lanes of Heeramandi lies a wide variety of stories, each woman with a unique story to tell, unique desires, conflicts, aspirations, ambitions — all bound by one thread, that of self-pride (their boon and their curse) and the social disdain that they suffer from. Their identities of ‘queens’ and ‘mallikas’ come with a heavy price.
Bhansali takes time to attain the crescendo and falters in parts in maintaining the pace but when he does get hold of the narration, there is no looking back. He weaves a tapestry with beautifully engaging characters, shayari and soulful songs. His world-building can never be questioned. You just don’t see Heeramandi, you feel its walls and columns, the paintings, the lavish architecture reminiscent of the Mughal era. The vision of Bhansali will transport you to the badnaam mohalla of Lahore. The Sakal ban dance sequence has a dream-like charm about it, as are the lyrics of Amir Khusrau (the court poet of Alauddin Khilji). Even the choice of locations, like Anarkali’s shrine, is admirable as it foretells a tragedy about to unfold.
As is the nature of Bhansali’s films, the actors deliver performances to the best of their abilities. From the minor roles of Nivedita Bhargava, Jayati Gupta and Indresh Malik to the major roles of Manisha Koirala, Sonakshi Sinha, Sanjeeda Sheikh, Sharmin Segal and Aditi Rao Hydari — all shine in their respective roles. Manisha gets the meatiest part of the lot and she inhabits the body and soul of Mallikajaan. The male characters are somewhat generic except that of Taha Shah Badussha. Taha’s Tajdar is the perfect prince that the women of Heeramandi look up to as their knight in shining armour. He has the most screen time among the men and he excels. It would be blasphemy to not mention how pleasing it was to watch the great Farida Jalal on screen after a long time in the role of an affable, empathetic and caring woman from an affluent family.
However, some of the subplots do not get enough time to breathe and get buried under the other parallel subplots. The transition from mujrewaalis to mulqwaalis did not get enough breathing space. The tragedy does hit hard as does a particularly emotionally drowning scene involving Koirala’s Mallikajaan. The freedom struggle needed more episodes.
Indranil Ghosh
