‘Heeramandi: The Diamond Bazaar’ Intricately Weaves Together Themes of Love, Ambition, Rivalry, Sacrifice, and Courage
- Sanjay Leela Bhansali's Netflix offering promises to enchant audiences worldwide with its opulence, offering a poignant reflection on a bygone era.
In Sanjay Leela Bhansali’s “Heeramandi: The Diamond Bazaar” a tender romance blossoms between the shy Alamzeb (Sharmin Segal), daughter of the renowned courtesan Mallikajan of Shahi Maahal in Heeramandi, and Tajdar (Taha Shah Badussha), the England-educated son of a wealthy Nawab in Lahore. Their first encounter at a mushaira, followed by a delightful rendezvous at a bookstore where Alamzeb’s love for poetry shines, seals their fates in a tragic love story.
Bhansali’s choice of Sharmin and Taha for these roles is masterful; their innocence amidst the surrounding politics is captivating. Their unexpected connection evokes memories of my father’s tales of pre-partition Lahore, from whom I inherited a love for poetry, literature, and a distinct culture. Though he could never return to Lahore, my father’s eyes welled up every time he spoke of his birthplace.
Having immersed myself in books, articles, and movies centered on Lahore, Bhansali’s announcement of “Heeramandi” sparked my curiosity. Set against the backdrop of the notorious Red Light district which was once called Hira Singh ki Mandi and was a grain market, I anticipated a narrative shimmering with the poetry of Mir, Faiz, Zok, and Ghalib in the mujras and dialogues. I was not disappointed.
Bhansali’s meticulous attention to detail is evident in “Heeramandi,” transforming Moin Beg’s 14-page story into a binge-worthy 8-episode series. His signature obsession with lighting, textures, fabrics, and the allure of uncut diamonds and beautiful women bedazzles the viewer.
Koirala took the role like fish to water and gave a larger than life rendition as a “harder than diamonds” “huzoor” of the Shahi Mahal who shows no mercy to sisters, nieces or daughters in face of survival.
The women of Heeramandi, adorned with “sixteen decorations” (solah shringar from jhoomars, to jhumkas, to payzeb) and dressed in the finest shararas, ghararas, and dupattas in spring hues, exude a deceptive innocence that belies their inner strength.
The stellar cast of female actors brings to life the multifaceted tale of courtesans ensnared in the luxurious salons aka “kothas.” Although we have met a strong courtesan in Bhansali’s “Gangubai Kathiawadi,” to meet the soft-spoken Manisha Koirala who left a mark in her performance in”1942: A Love Story,” “Mann” and “Dil Se” to Bhansali’s “Mallikajaan” was admirable.
Koirala took the role like fish to water and gave a larger-than-life rendition as a “harder than diamonds” “huzoor” of the Shahi Mahal who shows no mercy to sisters, nieces, or daughters in the face of survival. Her eyes, dialogue delivery, expressions and gestures are remarkable.
Koirala finds a formidable opponent in Sonakshi Sinha in a dual role as Rehana and Faridan who is the embodiment of trickery, rivalry, spite and a siren who can wrap any man around her pinky finger from nawabs, to pimps to police officers. Her dance number in a sequined saree “Tilasmee bahein” is going viral!
Richa Chadha’s poignant portrayal of Lajjo, the deluded and addicted courtesan who is jilted by her two-faced lover is heart-wrenching. Aditi Rao Hydari’s is scintillating in her sensuous good looks and a lovely dance to Amir Khusro’s “Sakal Ban Phool Rahi Sarson, but Bibbo Jaan will go down in history not as a mere “tawaif.”
Waheeda’s (Sanjeeda Sheikh) conflicted character trying to align herself between the two sparring courtesans for a chance to get a foothold in her “khwabgaah” — palace of dreams — is honestly portrayed.
Punjabi spouting, loyal maids Satto and Fatto, the baghi driver Iqbal Singh or Balli, the self-serving, decadent nawabs, the passionate freedom fighters or inqualabi’s and the barbaric British build the twists and turns in the narrative. Farida Jalal as the soft-spoken Quidsia Begum was reassuring.
“Heeramandi” promises to enchant audiences worldwide with its opulence, offering a poignant reflection on a bygone era. As delicate chandeliers are lowered, raised and illuminated and young girls dance in fountains, we mourn the loss of Lahori culture at the hands of British colonizers. For families like mine who witnessed the horrors of India’s partition, “Heeramandi” serves as a reminder not to take freedom for granted and to be prepared to sacrifice for its sake.
With one foot in Huntsville, Alabama, the other in her birth home India, and a heart steeped in humanity, writing is a contemplative practice for Monita Soni. She has published hundreds of poems, movie reviews, book critiques, and essays and contributed to combined literary works. Her two books are My Light Reflections and Flow through My Heart. You can hear her commentaries on Sundial Writers Corner WLRH 89.3FM.