Entertainment
What Sanjay Leela Bhansalis films have that other Bollywood films don't have
There's a joke in the 1944 film Mr Skeffington that Sanjay Leela Bhansali might appreciate. Bette Davis, playing a woman named Fanny Trellis, is told by Claude Rains, who plays the titular Skeffington, that a woman is beautiful when she is loved and only then. Pat just replied: That's absurd, a woman is beautiful if she sleeps eight hours and goes to the beauty salon every day. And bone structure also has a lot to do with it. The unspoken punchline here, which all women would identify with, is that far from being the sublime attribute men might believe, feminine beauty is created through practical steps of rest, hydration, exfoliation , makeup, among other things for practical reasons. the reasons. Bhansali understands this. His women, always beautifully presented and photographed in the most flattering settings, are not just beautiful. They wear their beauty with determination, like armor to deflect the slings and arrows of a cruel world.
In his new series Heeramandi: The Diamond Bazaar, as in all his films, Bhansali has paid special attention to the appearance of his women, their beautiful brocades, the curls that cascade down their backs and the way they never seem to walk, but to slide. But the purpose of such extravagant beauty, as Bhansali well understands, is to present a stark contrast to the ugliness and pain that lies beneath. The women of Heeramandi lie, plot, steal and betray each other; they also heal broken hearts and frustrated ambitions, they thirst for independence and respect.
For years, Bhansali has been accused of exploiting women's pain and sorrow by aestheticizing tears that don't ruin makeup, hair is artfully tousled, while clothes remain impeccable. From young Ganga of Gangubai Kathiawadi to Kashibai of Bajirao Mastani, they suffer their humiliations with dignity. Even in their moments of depression, Bhansali frames his suffering women as works of art. The improbably long pallu flies behind Paro, in slow motion, as she runs towards the dying Devdas, the light reflecting on Nandini's face as she unsuccessfully attempts suicide. a pool of water (Hum Dil De Chuke Sanam). All of this might seem like exploitation, were it not for the fact that Bhansali women don't just suffer. Annie (Khamoshi), Nandini, Mastani and Gangubai push back the limits that the men in their world impose on them. Even when they are not in the foreground, like Anupama in Hum Dil De Chuke Sanam, they are the ones who unleash the forces that create tension and move the plot forward.
This type of narrative space has rarely been given to women by mainstream Hindi filmmakers (with the exception of Vishal Bhardwaj and perhaps Yash Chopra, whose heroines are also strong-willed and dynamic personalities). Bhansalis' feminized films, where women's egos, desires and traumas are prioritized, stand in stark contrast to the male star-led vehicles that still make up the overwhelming majority of films released in Bollywood. Here, a Bhool Bhulaiya 2, despite the central role played by Tabu, is known as a Kartik Aaryan film, and an Animal, deeply invested in the growth of its man-child protagonist, becomes a success despite misogynistic overtones. At a time when discussions about pay parity have begun in Bollywood, it is no small thing that the audience gets to decide the ultimate fate of the stars, but it is the filmmakers who actually construct these larger-than-life characters. And the difference between Bhansali and his peers in this regard is evident from something as simple as the paisa vasool moment of the star entry: Consider Sonakshi Sinhas Fareedan's dramatic intro in Heeramandi, the beautifully shot song Man Mohini from Hum Dil De Chuke Sanam. which establishes Nandini's stubborn and irrepressible personality and the chase scene in Padmavat which shows that the princess of Singhal, played by Deepika Padukone, is a combination of beauty, intelligence and courage.
One of the axioms of Bollywood is that heroine-centric films make no financial sense and only a hero can guarantee respectable box office returns. This has been repeatedly refuted, notably by Bhansali whose films, even when a major male star plays one of the lead roles, are directed by women. Indeed, Gangubai Kathiawadi was propelled entirely by Alia Bhatt's performance, with no male stars of similar stature required to make it a success, and Heeramandi is also headlined by women. If the first step towards empowerment is representation, then Bhansali has achieved more with a more consistent record in this regard than her colleagues in the industry.
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