Heeramandi Review: Manisha Koirala, Sonakshi Sinha Deliver Career-Best Performances in Sanjay Leela Bhansali's Grandiose But Drawn-Out Netflix Series (LatestLY Exclusive)

Heeramandi Review: Sanjay Leela Bhansali makes his debut on OTT with the Netflix series Heeramandi: The Diamond Bazaar, an eight-episode series helmed by the prolific filmmaker alongside Mitakshara Kumar. It encompasses everything you'd expect from a Sanjay Leela Bhansali production—except, of course, the presence of Ranveer Singh, Deepika Padukone, or Alia Bhatt. It boasts grandiose settings, commendable performances, breathtaking frames and shots, dialogues reminiscent of couplets, and a melodious score. However, Bhansali's films often draw criticism for the director's tendency towards overindulgence, particularly in terms of narrative pacing. When spread across eight episodes as seen in Heeramandi, this inclination leads to a sense of tedium, despite the captivating imagery and stellar performances delivered by Manisha Koirala, Sonakshi Sinha, and Aditi Rao Hydari. Salman Khan, Alia Bhatt, Rekha and Other Celebs Pose With Sanjay Leela Bhansali at Heeramandi Screening (See Inside Pics).

After a brief prelude that's set in the 1920s, the majority of Heeramandi is set near the end of the Quit India Movement, with of course, the infamous red light area of Lahore being the main setting. The uncrowned queen of Heeramandi is Mallikajaan (Manisha Koirala), the mistress of Shahi Mahal, the most famous kotha in the city, which looks nothing less than a palace. The alcoholic, haughty Mallikajaan rules Shahi Mahal with an iron fist, making hard decisions for all the tawaifs in her mansion. Her elder daughter Bibbojaan (Aditi Rao Hydari) is already a nautch girl who finds favour with a nawab Wali Mohammed (Fardeen Khan). Mallikajaan's younger sister Waheeda (Sanjeeda Sheikh) hates her for her betrayals and insults and yet is too emotionally damaged to do anything about it.

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Mallikajaan plans to make her younger daughter Alam (Sharmin Segal) a tawaif, too, as well as the next madam of the kotha, but the poetry-loving lass has no such plans. She falls for a London-returned Tajdar (Taaha Shah), who has no inkling that she is the daughter of a tawaif. Meanwhile, Mallikajaan's old scars return in the form of her niece Fareedan (Sonakshi Sinha), who wants to settle a vengeful old score with her with the help of a British officer (Jason Shah).

Where SLB Magic Works

Heeramandi is a show that brings out Bhansali's best and worst traits as a filmmaker, and unfortunately, it is the latter that leaves a bigger impact on the show. Undeniably, it's visually stunning, as Bhansali's penchant for grandiose set designs and breathtaking costumes provides the necessary aesthetic allure to immerse you in the era depicted. The meticulous attention to detail within each frame and the splendid extravagance beckon you to yearn for a day within those sets, especially during Bhansali's exquisitely choreographed musical sequences. Particularly, the director's artistic flair shines through most prominently in the songs, notably the three standout pieces: "Sakal Ban" (which achieves near-perfect harmony between melody and visuals), "Tilasmi Bahein" (where Sonakshi's performance surprises admirably), and the poignant and powerful closing number, "Azadi". Heeramandi Song 'Azadi': Manisha Koirala, Sonakshi Sinha and Others Demand Freedom in This Powerful Track From Sanjay Leela Bhansali's Series (Watch Video).

Furthermore, Bhansali extracts exceptional performances from some of his lead actors, with Manisha Koirala and Sonakshi Sinha standing out among the ensemble. Koirala embodies the necessary intensity in her portrayal of the supercilious Mallikajaan, a character capable of evoking both disdain and occasional sympathy. Her standout moment occurs during the fountain scene in the seventh episode, where a shattered yet resilient Mallikajaan reveals her enduring strength to her minions.

Heeramandi marks a career-best performance for Sonakshi Sinha, rivalling her work in Lootera. Much like Koirala's character, Sonakshi's Fareedan is complex, displaying shades of grey, and Sonakshi exhibits an unprecedented depth in her portrayal of the bisexual avenger. The pinnacle of Heeramandi lies in the psychological and political duels between Fareedan and Mallikajaan, where the narrative truly shines. Aditi Rao Hydari shines brightly as the compassionate Bibbojaan with a revolutionary heart, while Sanjeeda Sheikh delivers a poignant portrayal of an emotionally and facially wounded Waheeda. 

Where It Doesn't

Now that I've pinpointed where SLB's magic worked for Heeramandi, it's time for me to delve into the unfortunate instances where the magic went overboard. The storytelling in recent Bhansali films often tests our patience, primarily due to the extended three-hour runtime. However, we often forgive them due to his mastery of visual narration and the compelling performances he draws from his stars. Yet, when stretched across eight episodes, it strains our tolerance for melodramatic storytelling. Bhansali often injects 'thahraav' into scenes to evoke a poetic quality, but when overused, even in casual conversation, it feels tedious. Moreover, it creates a barrier between the viewer and the characters, leaving them on an ethereal plane without fostering empathy.

Heeramandi juggles multiple storylines and a plethora of characters, but only a couple are thoroughly developed, while the rest are shortchanged. For instance, there's a subplot involving Waheeda's jealousy towards her daughter Shama, portrayed by Pratibha Ranta of Laapataa Ladies fame. However, it becomes entangled and lost amidst the series' myriad threads so much I keep having to remind who Shama is. Similarly, the tragic tale of a despondent Lajjo (Richa Chadha) is emotionally charged yet too brief. It also intertwines with Mallikajaan's lost child subplot, but loses its significance as new storylines emerge. Also the conclusion to Lajjo's track bears close semblance to a similar scene in Bhansali's own Gangubai Kathiawadi, which had a better impact there. Heeramandi – The Diamond Bazaar: Sanjay Leela Bhansali's Netflix Series Premieres At The Egyptian Theatre In Los Angeles, USA (View Pics).

The love story between Alam and Tajdar receives considerable focus, and given Bhansali's love for tragic romances, its trajectory is predictable. It briefly nods to BR Chopra's Tawaif and I adored Farida Jalal's comeback to the screen as Tajdar's grandmother, yet ultimately feels clichéd. It also doesn't help that compared to the veterans' performance, Sharmin Segal (who also happens to be SLB's niece) doesn't bring the gravitas needed especially in the intense scenes.

The only subplot that occasionally resonates is Fareedan's manoeuvres against Mallikajaan, but even this loses its potency when intertwined with the freedom struggle narrative. Fareedan's sudden change of heart after Mallikajaan's ordeal at the police station feels unconvincing, and she's given little opportunity to convincingly justify this shift thereafter. Most disappointing is the finale. Despite the rousing "Azadi" song, the series concludes on a weak and rushed note, a strange paradox for a show that often felt drawn out until then.

PS: When it comes to the male actors, the one who shines the most is Indresh Malik as the meddlesome Ustaad. Taaha Shah delivers a decent performance. Shekhar Suman and his son Adhyayan Suman fail to make an impact. I find myself wondering why Fardeen Khan chose to make a comeback with Heeramandi portraying a character that doesn't seem worthy of that effort. Unfortunately, this sentiment is reflected in his performance as well.

Final Thoughts on Heeramandi

Sanjay Leela Bhansali brings his grand-scale vision and visual storytelling to the small screen with Heeramandi, extracting some fine performances from his veteran cast. However, the show lacks a strong, compelling narration to feel emotionally invested (nepotism doesn't work in his favour, either), and the melodramatic presentation often induces a sense of tedium across its eight episodes. Heeramandi: The Diamond Bazaar is now streaming on Netflix.

(The above story first appeared on LatestLY on May 01, 2024 12:38 PM IST. For more news and updates on politics, world, sports, entertainment and lifestyle, log on to our website latestly.com).