Pakistanis question Bhansali’s take on Lahore’s Heeramandi | The Express Tribune

One of the most celebrated filmmakers in Hindi cinema, Sanjay Leela Bhansali, has created masterpieces that hold the power to transport its viewers into realms of fantasy. Bhansali has adopted a grandiose persona within his field of work, which shines through his creations. His films celebrate history and are driven by emotions and tragedies which are executed in a dramatic fashion.

And his latest venture is yet another testimony to his greatness. Bhansali’s take on courtesans of Lahore’s Red Light District is being presented as his maiden OTT project, Heeramandi. The series, which has been making news for several years now, has finally unveiled its first look, putting speculations to rest.

Even with extravagant sets and elaborate costumes, Bhansali’s choice of subject has raised some eyebrows. His art direction is an experiment on its own, his frames have been compared to paintings on many occasions, allowing for a sense of nostalgia for the grandeur of South Asia’s past.

As one would expect, Heeramandi‘s first look was just as majestic. With his courtesans dressed in beautiful costumes and draped in jewellery, Bhansali managed to wow some of his recalling of South Asian stories, legends and history.

However, many took to social media and went on to question whether the story itself is India’s to tell. A user penned, “Indian producers use Pakistani stories that Pakistanis themselves should have told the world. Sigh.”

One more shared, “Why Heera Mandi why not Chowk, Lucknow instead was known for its courtesan culture? This increasing obsession with Pakistan is hazardous to health. Also, none of these women can pass off as being a Lahori. Innko khana khilana parega, thoos thoos ke (they’d need to be fed).”

Another tweep added, “One good thing about Netflix’s Heeramandi is that the series will thankfully normalise the use of the word ‘Heeramandi’ which is otherwise used as a slur in Pakistan.”

However, many shared that even if filmmakers make series such as Heeramandi, it won’t be cleared by the censor board. “Pakistanis won’t let our directors release their films based on our local stories but will complain that India took our stories for their benefit,” shared a user.

Another user added, “Heeramandi could have been made in Pakistan and been a blockbuster.” How? Sab se pehle ban hoti, aur yeh statement share karne waley us ban ko support karte under the guise of morality. (It would have been banned and people who are sharing such statements would be the first ones to support the said ban under the guise of morality). Be for real for once in life.”

One more commented, “I’m crying people think Pakistan can make a Heeramandi series.”

One shared, “Some questions about Heeramandi after Twitter discourse. Heera mandi existed in sub-continental Lahore. Why are we upset that it’s a Pakistani thing SLB stole? Royal kids were sent to Courtesans to learn mannerisms.”

She went on to jibe, “Why are we upset that these women might not have accents? How many fact-based documentaries have SLB made that we’re upset about factual inaccuracies in HM? Have you ever seen an Indian movie previously? Is this your first exposure to it? Is that why you’re treating it like a thesis?”

One responded, “Also Pakistan has made plenty of Dramas on tawaifs and kothas and none of them have ever been hit because strong narratives are not allowed here. Why not see Heeramandi through the lens of Sanjay Leela Bhansali and see what he comes up with?”

Sanjay Leela Bhansali on Heeramandi

As per Hindustan Times, Bhansali shared that a certain finesse goes into working on period dramas.”When you’re making a historical in our country, you need to be careful,” he shared while speaking to a panel. “So yes, you need to get your facts right. And that is where my research ends because most of it is imagination, and most of it is how I see the period. It’s done but it’s not done so much detail because I find research very boring. I, as a filmmaker, am not set out to make a documentary that I want to be exact. I want my impressions, child-like impressions, grown-up impressions, heartbroken lovers’ impressions… I want all that come to the film rather than documented research.”

The filmmaker revealed that this was the biggest project he had worked on. He added, “It’s so huge in scale. I had to do something special… [Sarandos] had commissioned this to me and therefore we had to do something special to make him proud.”

Talking about his quality films, Bhansali went on to add that research is imperative. “Because if it is there in real then people have seen it in a documentary or in a series, but this is what they have not seen. So what is Devdas like? Obviously, he is a literary character, but what are Bajirao or Mastani like? People have not seen Bajirao Mastani so I can take the liberty to do what I want.”

He went on to comment, “Nobody has seen them because it happened 300 to 400 years ago. So, what do I give them that makes them feel that they are seeing a film they connect to today? Fifty years ago it would have been a different film if we made Bajirao or Gangubai.”

Bhansali relayed that there is a certain modern approach to the way you make a film and how the audience has to connect to it. “They have to relate to this historical or a period piece. Even Gangubai, I think was a film set in the 40s and the 50s. I have lived next to the brothels for thirty years of my life, one lane away from the brothels,” he remarked. “I knew in and out what those lanes looked like, smelt like, what are the faces like. So I had my research and the rest was imagination. You can’t keep going and copying, make notes, making notes bore me completely.”

The series stars Manisha Koirala, Sonakshi Sinha, Aditi Rao Hydari, Richa Chadha, Sanjeeda Ali and Sharmin Segal in pivotal roles.

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