This story revolves around Mallikajaan (Manisha Koirala), known as Huzoor, for her firm rule over the prestigious Shahi Mahal. While facing challenges from her defiant daughter, Alamzeb (Sharmin Segal), who refuses to follow the path of a courtesan, her kingdom is endangered by the arrival of a harbinger of destruction and revenge, Fareedan (Sonakshi Sinha). The series spans eight episodes, depicting their rivalry and the repercussions it brings, involving Mallikajaan’s eldest daughter, Bibbo (Aditi Rao Hydari), her younger sister Waheeda (Sanjeeda Sheikh), and Alam’s romantic interest, Tajdar (Taha Shah Badussha). The story’s backdrop is set against India’s fight for independence and the fading tradition of tawaifs.
Manisha Koirala’s portrayal of Mallikajaan is genuinely remarkable, showcasing her versatility as she transitions between different facets of her character. Her beauty is captivating, yet she also embodies a sense of menace and monstrosity when needed. Alongside Sonakshi Sinha, the two actresses shine as bitter rivals, displaying strength and grace equally. Sanjeeda Sheikh’s performance is moving, and her emotional depth is evident throughout. Sharmin Segal adds a touch of innocence that contrasts with the harshness of other characters. Taha Shah Badussha impresses as a passionate lover and revolutionary. Richa Chadha’s impactful performance lingers in the minds of viewers. Aditi Rao Hydari exudes ethereal beauty while delivering a powerful performance, contributing to the show’s strong ensemble cast.
The supporting cast also delivers outstanding performances. Fardeen Khan’s portrayal of Nawab Wali Mohammad is impactful, while Shekhar Suman and Adhyayan Suman excel as the menacing and spoiled nawabs. Farida Jalal brings warmth to her role as Begum Qudsia, and Jayati Bhatia impresses as Mallikajaan’s loyal servant.
Bhansali bestows honor upon tawaifs, and he says they rightfully deserve it, granting them agency and highlighting their crucial role in India’s struggle for independence. Moreover, he accomplishes this by incorporating a familiar theme – star-crossed lovers. However, the show’s true standout is the cinematic and visually opulent setting, which is characteristic of Bhansali’s style. The abundance of lavish curtains, intricately designed costumes adorned with jewels, and the elegance of tawaifs gracefully dancing in warmly illuminated kothas – all captured in sweeping long shots – transports the audience to the majestic world of 1920s Lahore. The cinematography by Sudeep Chatterjee, Mahesh Limaye, and Huentsang Mohapatra truly shines in this aspect. Bhansali’s expertise in music direction is also evident, as he presents the most melodious yet melancholic thumris and ghazals. Though the technical brilliance amazes audiences, the series’ content falls short of the expectations. While the initial episode starts with intrigue, the series gets a bit slow in the middle episodes and only finds its essence in the final episodes.
Although almost all the actors’ performances were good, Heeramandi, Manisha Koirala, Sonakshi Sinha, and Aditi Rao Hydari stand out with their exceptional acting. A few powerful dialogues/scenes in which the lives of courtesans explained and the spirit of them fighting for their respect were good. The final episodes provide the emotional impact that most of the part was missing.
Despite its visually striking elements, Heeramandi struggles with its pacing. The hour-long episodes tend to drag on until the last episodes because of the extensive cast and multiple interconnected storylines. With a narrative that occasionally becomes confusing, viewers might find it challenging to stay engaged. While the show possesses the sophistication, style, drama, and aesthetic that characterizes every Bhansali production, the storytelling and screenplay (credited to Bhansali and Divy Nidhi Sharma) could have been more refined and captivating.
