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One of the most enduring childhood myths I remember was the story that astronaut Neil Armstrong converted to Islam after hearing the azaan upon landing on the moon. This narrative, though unfounded, was a point of pride for many Muslims, representing a spiritual validation by a Western figure. Yet, the fascination with this tale overshadowed more critical inquiries about space exploration itself. Similarly, Sanjay Leela Bhansali’s Heeramandi brings to mind this childhood story. His depiction of Heera Mandi is akin to someone who knows only the myth of Armstrong hearing the azaan and then making a biopic on his life based solely on that narrative.
Exhibition Tour
Heeramandi had the potential to provide a rich, nuanced portrayal of the lives, culture, and struggles of the people in Heera Mandi. It could have addressed historical misconceptions and societal challenges, offering a deep dive into their rise and fall. Instead, the series falls into familiar Bollywood tropes, failing to foster empathy or understanding for its characters. It feels more like a tour of an extravagant exhibition, showcasing grandiose settings and lavish costumes rather than offering genuine insights.
The most perplexing element of the series is its disclaimer stating that “any resemblance will be coincidental.” This statement is unnecessary because the series is far removed from historical accuracy. The architecture, language, costumes, and portrayal of Nawabi culture are disconnected from Lahore’s historical and cultural context. The series inaccurately depicts tawaifs as Muslim women speaking in Lucknavi Urdu, regardless of their actual backgrounds, while lower-income individuals speak Punjabi and are shown laughing at their own jokes. This portrayal perpetuates a colonial mindset, reducing Punjabi culture to mere caricature and reinforcing outdated stereotypes.
Lusty, Greedy Stereotypes
Historically, artists had designated spaces for both residence and performance, akin to modern art spaces. Figures like Ustaad Daman and Allama Iqbal resided in such areas. However, instead of depicting the intellectual and artistic richness of these communities, Heeramandi reduces them to lustful and greedy stereotypes. This tendency to simplify complex cultural narratives is not unique to India; it mirrors the sensationalism found in Zaheer Ahmed Babar’s Parliament Se Bazaar-e-Husn (2000), which focused on scandalous tales rather than addressing broader socio-political issues.
Heera Mandi’s Other Images
Heera Mandi’s ruins are a testament to Lahore’s historical and cultural tapestry. Beyond its notorious reputation, the area is celebrated for its culinary heritage, epitomized by Phajja’s iconic shop. The modern food street and artisanal shops highlight the area’s continued allure. However, despite its charm, Heera Mandi lags in development, with narrow, cluttered streets and traffic congestion. Yet, its historical and architectural beauty persists amid the disorder.
As a teenager, I envisioned Heera Mandi through stories of women hanging out of windows and street-side hustlers. However, my perspective changed when I encountered Iqbal Hussain’s paintings, which offered a raw, poignant depiction of life in Heera Mandi. Hussain’s work—characterized by rough strokes and unconventional color palettes—provided a deeper connection to the area’s reality. The images of a young girl with coins and a woman’s death with children standing by offered a more authentic portrayal than the sensationalized versions often depicted.
I wish Bhansali and his team had explored genuine literature and art to present the tawaif’s perspective. While Bhansali is celebrated for his work in wedding photography and event planning, true understanding of relationships and communities cannot be captured through superficial portrayals. The depth of human connections is not revealed by merely observing wedding albums or surface-level depictions.
Adeel Afzal is a co-writer of the recently aired Pakistani TV serial Standup Girl and has acted in the drama serial Parizad and the film Zindagi Tamasha.
