Mallikajaan, the Diamond Bazaar’s leader, watches over the courtesans in the neighborhood during pre-Independence India. She is informed that her daughter, Bibbojaan, has been captured by the British Army for supporting Indian freedom fighters. “For so long, we were only known as tawaifs [courtesans], but today we stand as patriots of our country,” she declares with tears in her eyes.
Sanjay Leela Bhansali, the acclaimed Indian filmmaker, expressed his desire to recreate the lives of the courtesans from Lahore, now part of Pakistan, during the mid-1900s struggle for independence from British rule. He refers to these women as the “unsung heroes” of India’s fight for freedom, emphasizing that their true stories are often overlooked despite being seen as mere entertainers adorned in jewelry. According to Bhansali, their eyes hold untold tales waiting to be shared.
Sanjay Leela Bhansali, a highly acclaimed filmmaker in Indian cinema, has been known for his extravagant and lavish style in the industry for over thirty years. His films such as Devdas, which made its debut at the 2002 Cannes Film Festival, and the recent 2022 hit Gangubai, featuring Alia Bhatt and delving into the world of Mumbai’s historical red light district, have captivated audiences worldwide. Bhansali’s works often highlight the importance of female characters, showcasing their strength, independence, and vulnerabilities. “I aim to portray women with dignity, a quality that is sometimes overlooked in our society,” expresses Bhansali.
Heeramandi also explores these themes. Taking place in the 1920s, the central focus of the narrative is the intense rivalry between the influential Mallikajaan and Fareedan (portrayed by Sonakshi Sinha), the daughter of Mallikajaan’s former enemy, whom she had killed years earlier. Upon returning to Heeramandi, Fareedan seeks vengeance for her mother, with a plan to overthrow the queen. Meanwhile, the other courtesans—Mallikajaan’s daughters, siblings, and friends—struggle with their own aspirations and quest for self-discovery and liberation.
The idea was initially developed by Indian writer Moin Beg, who presented it to Bhansali almost two decades ago. However, the director held onto the concept, patiently waiting for the perfect moment to bring his vision to life.
Bhansali is stepping out of his comfort zone by bringing his signature maximalist style to the small screen with the upcoming eight-episode series on Netflix, “Heeramandi.” Unlike his previous works, which typically focused on one or two strong female leads, this series will feature six powerful women described by Bhansali as the “queens of Lahore.” Alongside these main characters, there is a diverse ensemble cast with their own unique personalities and stories to contribute. Bhansali acknowledges the challenge of maintaining the narrative momentum over eight episodes but believes that this format is the perfect platform to fully explore the richness of the subject matter and the multitude of characters involved.
India has emerged as the fastest-growing market for Netflix globally, prompting the streaming giant to allocate a significant portion of its $17 billion budget towards Indian content this year. This move allowed director Bhansali to undertake a well-funded production, enabling him to meticulously recreate the world of courtesans on an unprecedented scale. Over a period of seven months, he oversaw 700 craftsmen in Mumbai’s Film City to construct an elaborate set. Renowned for his meticulous attention to detail, Bhansali even traveled to Delhi to personally select intricate fabrics from garment warehouses with the costume designer to dress his characters. He acknowledges the collaborative effort of numerous talented individuals involved in bringing his creative vision to life, including art directors, costume designers, makeup artists, and creators of the set decorations.
The elaborate costume and production design in Heeramandi are dedicated to providing a window into the historical world of tawaifs, or courtesans, who played a significant role in Indian music, culture, and heritage during the Mughal era. Heera Mandi, a neighborhood in Lahore that still exists today, was once a bustling hub of commerce, arts, and entertainment before transforming into a red-light district. Courtesans were highly respected for their expertise in classical music and dance, as well as their influence in elite Indian society due to their refined manners, etiquette, and royal connections. They followed a matrilineal system of inheritance, passing down their profession to their daughters, and enjoyed educational and financial opportunities that were uncommon for most women in Indian society. Similar to Japan’s geishas, their presence at special events symbolized class and wealth among the aristocratic families of pre-independence India.
Heeramandi, inspired by the stories of courtesans passed down through history, honors their bravery in fighting for India’s independence and their significant role in the country’s economy during that era. Bibbojaan, the daughter of Mallikajaan, embodies the spirit of Azizan Bai, a courtesan from Kanpur who supported the 1857 national uprising against the British East India Company. Courtesans like Bibbojaan provided shelter to Indian rebels during anti-colonial revolts in the 19th century. Bhansali notes, “Even if their stories are not widely told, they have left their mark on history and ultimately found their own freedom,” alluding to the choices they made post-1947 independence.
India’s social structure underwent significant changes over time, initially influenced by Western education and Victorian values during British colonial rule, and later by Hindu reformist principles emphasizing chastity. This transformation resulted in a decline in the social status of courtesans, leading to the evolution of their neighborhoods into red light districts and their transition to working in dance bars. Consequently, the distinction between courtesans and sex workers became blurred in contemporary Indian society. Manish Gaekwad, in his book The Last Courtesan: Writing My Mother’s Memoir, explores this shift in societal perceptions. While some courtesans, such as the renowned Gauhar Jaan, managed to carve out successful careers as artists, singers, and even as pioneers in the Indian film industry, others faced a less fortunate fate.
The narrative presented in Bhansali’s production concludes prior to the transformation of the courtesans’ lives in contemporary Indian society. Despite this, he expresses his desire for viewers of Heeramandi to witness these women in their entirety, encompassing their “sometimes wicked, sometimes charming” characteristics. Through Netflix’s extensive global audience, people can appreciate the opulent jewelry and attire of India, while also engaging with the various aspects of its history, society, and culture.
“We have observed these women for their performances, yet we have not truly seen them,” he remarks. However, if Heeramandi achieves its intended purpose, “we will genuinely see them.”
