Heeramandi: The Diamond Bazaar review- A diamond in the rough

Updated On: 03 May, 2024 07:37 AM IST | Mumbai | Mohar Basu

Sanjay Leela Bhansali’s Heeramandi: The Diamond Bazaar is both overwhelming and sumptuous. It’s a lot of things, mostly a slew of sub-plots. Depending on who you are, one of the many stories here will stay with you

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Heeramandi The Diamond Bazaar

Heeramandi: The Diamond Bazaar
On: Netflix
Dir: Sanjay Leela Bhansali
Cast: Manisha Koirala, Sonakshi Sinha, Richa Chadha, Aditi Rao Hydari
Rating: 3/5

Sanjay Leela Bhansali’s Heeramandi: The Diamond Bazaar is both overwhelming and sumptuous. It’s a lot of things, mostly a slew of sub-plots. Depending on who you are, one of the many stories here will stay with you. The one I enjoyed the most was the rivalry of Mallikajaan and Fareedan—the aunt and niece—deliciously played by Manisha Koirala and Sonakshi Sinha. Theirs is a classic succession piece where the morally dubious women duel it out for power and dominance. There is a scene where Mallikajaan’s sahib, Nawab Zulfikar, played by Shekhar Suman, lays bare Fareedan’s misdeeds from the past—a murder, an arson, amongst others. Mallikajaan is shocked at what her audacious niece has pulled off.

The nawab signs off, saying Fareedan won’t be easy to pull down. But Mallikajaan is in awe of her by then. She wickedly quips, “It’s a shame my daughters don’t have her grit.” Much later in the series, Mallikajaan announces to Fareedan that she sees her as the rightful heir of her Shahi Mahal and the future ruler of Heeramandi. Mallikajaan says, “Humare baad agar kisi me ye saazish, fareb, aur kameenapan hai, toh sirf aap mein.” She replies, “Sharafat ke liye shareefzaadiyan hai na!” Fareedan doesn’t accept the keys of the Shahi Mahal, saying she would much rather snatch them from Mallikajaan.

This sharp banter between these two conniving and villainous women, who are perhaps cut from the same cloth, is the highlight of the series. As long as the show remains focused on them and the other morally corrupt, unapologetic, somewhat unhinged, and unpredictable women, it is a delight to watch. The rest of it is frankly incoherent in some parts and simplistic in others. Of course, a story as sprawling (and crowded) as Heeramandi is bound to have highs and lows. In his trademark style, Bhansali glosses over the flaws with gold, ghararas, and garish sets.

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