Sanjay Leela Bhansali's 'Heeramandi' is Actually a Glorified Teen High School Drama

A Closer Look at the Parallels Between 'Heeramandi' and Classic High School Stories

When it comes to the work of director Sanjay Leela Bhansali, it's often his unique directorial voice that captivates audiences more than the films themselves. While his movies may not always resonate with me, I'm always intrigued by Bhansali as a person - his films seem to deeply reflect the suffering and pain he has experienced in life. Whether it's the tragic love story of Devdas or the grand historical drama of Padmaavat, Bhansali's characters are constantly grappling with immense suffering. The grander the setting of his films, the more his characters seem to endure. It's as if Bhansali uses his portrayals of these women - from Chandramukhi to Gangubai to the tragic Gulabi of Saawariya - to explore the human experience behind the facade. So when Bhansali's new Netflix series Heeramandi was announced, featuring a stellar ensemble cast including Manisha Koirala, Sonakshi Sinha, and Aditi Rao Hydari, I was intrigued. A show about a group of women whose entire existence revolves around a powerful nawab - it sounded like the perfect canvas for Bhansali to once again delve into the eternal exploration of a courtesan's love and tragedy.

Heeramandi: A Glorified Teen High School Drama

However, as I watched the first few episodes, I couldn't help but notice that Heeramandi has a lot in common with classic teen high school dramas like Mean Girls and Student of the Year. Stripped of all the jewelry, music, dance, and mujra, the core conflict of the series is actually quite simple - who will become the next queen of the royal court, whose nose ring will attract the most attention. Much like the social hierarchies and power dynamics of a high school, the world of Heeramandi operates based on its own set of rules. Just as the students of St. Teresa's in Student of the Year had to follow certain protocols, the denizens of the royal palace in Heeramandi are also bound by the rules of this fictional realm. Losing a patron is the worst thing that can happen to a courtesan, much like how losing a prom date or cheer captain position would be devastating in a high school setting.

The Layered Dialogues and Bhansali's Signature Style

One aspect of Heeramandi that I absolutely loved was the dialogue. The writers have crafted some incredibly layered and impactful lines that capture Bhansali's unique voice as a filmmaker. Phrases like "Until the man doesn't let the woman touch him, the woman remains a slave" and "A courtesan's love is worthless until she is free" pack a powerful punch, delivered with Bhansali's trademark dramatic flair. It takes immense skill to deliver such heavy-hitting dialogues with a straight face in 2024. The Urdu-laced language and poetic sensibilities evoke Bhansali's directorial voice, which I've always found more compelling than his actual films. The way these characters speak about class divides, gender dynamics, and the eternal struggle of the tawaif speaks volumes about the human condition that Bhansali seems so intent on exploring.

The Lavish Sets and Visuals: Bhansali's Trademark Excess

Of course, no Bhansali production would be complete without his signature visual opulence. The attention to detail in the sets, costumes, and camera work is nothing short of astounding. Every fountain, every chandelier, every makeup application - it's clear that no stone has been left unturned in crafting this world. In today's age of CGI-heavy period dramas, creating grand palace sets is no longer a herculean task. But Bhansali manages to imbue even the most lavish of environments with a sense of intentionality. The way the camera tracks Aditi Rao Hydari's character as she prepares for her final mujra, gliding through an ornate water fountain - it's a masterclass in visual storytelling. However, this laser focus on aesthetics does come at the cost of a more compelling narrative foundation. As the series progresses, one can't help but feel that the simple high school-esque plot points are being stretched thin to accommodate Bhansali's grand cinematic vision.

An Unsatisfying Ending That Fails to Elevate the Series

My main issue with Heeramandi lies in the final few episodes. For the first five installments, the show operates as a glorified teen drama, with the central conflict being which courtesan will become the next queen of the royal court. But in the last three episodes, the series suddenly tries to delve into weightier themes of sacrifice and nationalism. Suddenly, the backdrop of the Indian freedom struggle is introduced, and the stories of Malika Jaan, Faridanagar, and their mothers' murders become the central focus. But this transition feels jarring and underdeveloped. As a viewer, I felt cheated - the initial engaging high school-esque plot points were brushed aside in favor of a forced attempt at deeper meaning. I would have been perfectly satisfied if Heeramandi had simply embraced its soapy, superficial nature for the entirety of the season. The story of which courtesan will win the favor of the nawab, and the resulting personal and professional consequences, could have made for a compelling enough narrative on its own. But by trying to shoehorn in a grand backdrop of Indian independence, the series ends up feeling unfocused and unsatisfying. Ultimately, Heeramandi is a mixed bag - it excels in Bhansali's trademark visual grandeur and layered dialogue, but falters when it comes to crafting a cohesive and compelling narrative arc. While the first five episodes had me hooked like a juicy teen drama, the final stretch left me feeling like the show had tried too hard to be "deep," losing sight of what made it engaging in the first place.