Netflix's 'Heeramandi' and the death of the Bollywood heroine

From the moment the very first trailer for Sanjay Leela Bhansali's 'Heeramandi' hit Netflix, it's become increasingly difficult to ignore that a certain type of Indian actress is on the verge of extinction .

Since the dawn of Indian cinema, music and dance have been an integral part of the cinematic experience, with a particular focus on the 'heroine' – a leading actress who could not only carry an entire film as a actor, but also captivate the audience. as a graceful and expressive dancer. Think of Hollywood corollaries like Judy Garland, Ginger Rogers, Doris Day – but if they worked well into the late 20th and even 21st century. This is intrinsically linked to the history of folk dance in India, which is always present during festivals or celebrations; and classical dance, which requires extensive training and is often a precursor to entering beauty pageants and the film industry. Heroines like Sridevi, Waheeda Rehman, Madhubala and many others paved the way even before Bhansali's directorial career began.

“Heeramandi” – from an author like Bhansali, hailed for his depictions of women over the years – feels like the final death of this classic Bollywood heroine. The central ensemble of the Netflix series East all-female: the relentless Mallikajaan (Manisha Koirala), the fierce Fareedan (Sonakshi Sinha), the resilient Bibbo (Aditi Rao Hydari), the wide-eyed Alamzeb (Sharmin Segal), the tragic Lajjo (Richa Chaddha) and the underrated Waheeda (Sanjeeda Sheikh) . All six feature imposingly on the show's poster, decked out in extravagant clothing and jewelry, but the reality is that none of these characters or performers stand out in the finished product.

The fascinating expressions, the ethereal grace – these long-standing characteristics are gone. The classic heroine is missing, and has been for some time…her absence perhaps mitigated by the overall growth of Hindi cinema.

To trace this decline, one need only look further than Bhansali's extensive filmography. He worked with Koirala in her first feature film “Khamoshi: The Musical”, before several films starring Aishwarya Rai, then one of India's most famous faces as a model, film star and Miss World . From 2013 to 2018, Bhansali's films featured superstar Deepika Padukone, usually alongside her partner Ranveer Singh.

Most of these films were known for their stunning musical numbers with dazzling visuals, with the soundtracks and choreography being ingrained in Indian pop culture until – well, until now. Before 'Heeramandi', Bhansali surprised the audience with 'Gangubai Kathiawadi', which significantly toned down the music and dance sequences to emphasize star Alia Bhatt's strong acting.

As the Indian film industry faced the swirling wave of modernization and westernization in the 21st century, the heroine began to look different: slimmer, more beautiful, probably from famous parents and born into the film industry . As always, there are exceptions, and no film industry has ever been free from the temptation to prioritize physical appearance over talent – ​​but as the years go by, only one of these facets should stand the test of time.

Countless actresses have been “launched” in Hindi cinema, especially those who fit the 2000s mold, but only a handful of them have proven themselves as performers or are still working today. It has never helped that the average Bollywood heroine has a tragically short lifespan, nor has it helped that women in the entertainment industry in general are constantly scrutinized and often exploited. The rise of social media and smartphones has also given rise to the influencer and the way people now behave in front of close-up cameras and lip syncs, in relation to the different visual demands of the stage or the movie.

Unlike their predecessors, today's heroines must be able to speak impeccable English, be savvy on social media, dance in heels and be comfortable with varying levels of on-screen intimacy. They must strike deals with brands, navigate the minefield of theatrical releases, streaming and the blurry overlap between television and cinema.

Yet every few months a clip will appear on social media of Rai or Rekha or Madhuri Dixit-Nene or Helen – captioned with a version of “No one does it like that anymore”. The closest proxy would be Padukone or Priyanka Chopra Jonas, both of whom starred in Bhansali's 2015 “Bajirao Mastani” — but even before the film's release, audiences compared their rendition of the song “Pinga” to Rai and Dixit-Nene in 2002. Dola Re Dola”, concluding that it was a pale imitation. Something – whether it was performance, direction, or just the inconvenience of comparison – wasn't working and hasn't been fixed. And if a filmmaker like Bhansali can't capture it, can anyone?

Interestingly, the decline of heroin gave rise to a new type of hero, largely attributed to Singh. The modern Hindi film “hero” spends every waking moment at the gym, knows how to dance as well, if not better, than his co-star, and feels comfortable being an object of desire at a level that once was reserved for women. The “item number” – a film song devoted to moving female dance performances, often as guests – is now as much a domain for men as for women, and female iterations are more about empowerment than satisfaction of the male gaze.

The trade-off is that there are apparently more successful women actors in India than ever before. For every airbrushed face sent to the defunct Heroine Factory, there is a Konkona Sen, a Radhika Apte, a Bhumi Pednekar or a Sanya Malhotra. Sinha, fresh from Prime Video's brilliant 'Dahaad', delivers some of the best acting in 'Heeramandi'. Bhatt is a mainstream superstar and a highly skilled actor, while Koirala, Tabu and Kareena Kapoor (the latter two recently starring in “Crew”) defy the dusty old norms that saw actresses retire after the age of 35 , relegated to matronly roles or to life. a farm in the north of the state. Chopra Jonas and Padukone have become household names and global powers, entrepreneurs, ambassadors and much more. Filmmakers like “Crew” director Rhea Kapoor are bringing stories of trailblazing women to the mainstream, and Kiran Rao's “Laapataa Ladies” is one of the best Hindi films of the century.

But it seems that the heroine who won over Indian audiences (and ultimately the entire world), the very one who inspired Bhansali's portrayals in “Heeramandi,” is no more. Perhaps she will reappear – thanks to projects that feature her appropriately – but the chemical combination of time, place, filmmaker, film and artistic sensibility that once produced such magnanimous characters has taken end in the foreseeable future.