Best of Bollywood web series 2024: A good mix of fresh stories and continuation of old seasons

Like the last few years, 2024 has also seen numerous filmmakers and production houses enter the OTT space.

A solid example of this is Sanjay Leela Bhansali’s Heeramandi— a powerful women-led story focusing on the contribution of Tawaifs in India’s freedom struggle. The web show had plenty of Bhansali’s grandeur and his usual empathy for the Tawaifs.

Mulk (2018) and Article 15 (2019) director Anubhav Sinha also made an impactful OTT debut with the hijack drama IC 814: The Kandahar Hijack. The web series revisited a hugely agonizing period when three Pakistani terrorists had hijacked a flight going from Delhi to Katmandu.

Karan Johar’s Dharmatic Entertainment a sub-wing of Dharma Productions produced two shows of diverse genres. The first one was the taunt investigative thriller/drama Gyraah Gyaarah. The series directed by Umesh Bhist kept the viewers intrigued with the additional concept of time travel, a cop in 2016 finding a walkie-talkie connecting him to a policeman from the past. Kill fame Raghav Juyal showcased his versatility with a wonderful portrayal of an impulsive cop.

The other was Collin D’ Cunha’s Call Me Bae, a breezy coming-of-age story with a strong sense of sisterhood. Ananya Pandey as Bella aka Bae delivered a winsome act nailing both Bella’s quirks and the emotional scenes too.

Continuation of series

In 2024, many popular series returned with new seasons. Among them, Panchayat Season 3, directed by Deepak Kumar Mishra, stood out.

The highlight of Panchayat Season 3 was its portrayal of grassroots politics, with intense scenes of political rivalry. The earthy humour from the previous seasons was also maintained, making it both engaging and entertaining.

Maharani Season 3, directed by Saurabh Bhave, was a gripping tale of politics and revenge. Loosely inspired by 1990s Bihar, the series continued its strong socio-political commentary. Bhave captured the illegal liquor trade despite the official ban and effectively depicted the power struggles and ruthless political world. Huma Qureshi once again delivered a powerful performance in the lead role.

Following are some more details of the most impactful Hindi web series this year

Heeramandi

Manisha Koirala in Heeramandi
Manisha Koirala in ‘Heeramandi’. (X)

Sanjay Leela’s Heeramandi features a complex storyline with numerous characters and backstories. It takes time for viewers to understand the direction of the plot but soon captivates with powerful moments and performances.

The best aspect of Heeramandi is how Sanjay Leela Bhansali blends the internal politics of Tawaifs with the Indian freedom struggle, showing how they played a crucial role. The series also delivers hard-hitting dialogues, revealing that not only the British but also Indian nawabs, were fighting for supremacy through a divide-and-rule strategy.

A particularly poignant moment occurs when the Tawaifs march toward a prison wall at night. The background score, combined with Bhansali’s song “Azadi”, gives the audience goosebumps.

The performances, led by Manisha Koirala and Sonakshi Sinha, were outstanding. Among the male leads, Taha Shah made the strongest impact, capturing the internal struggle of a young man torn between love and responsibility.

Freedom At Midnight

A still from the series Freedom At Midnight
A still from the series ‘Freedom At Midnight’. (Instagram)

Nikhil Advani’s adaptation of the sprawling novel by the same name was a brilliant exploration of the events leading up to partition. The director along with his writers skilfully captured the political turmoil of those times without blaming a particular political party.

The series had many goosebumps moments, particularly the portions of riot-torn neighbourhoods. The scenes of communal strife resulting from religious discord have a certain contemporariness as the religious divide remains a major issue today.

The acting performances led by Sidanth Gupta as Jawaharlal Nehru and Chirag Vohra as Mahatma Gandhi further enhanced the solid writing. Ashutosh Pataka’s music was also poignant enhancing the plot at various junctures. The tunes had a haunting quality.

Killer Soup

Konkona Sen Sharma in Killer Soup
Konkona Sen Sharma in ‘Killer Soup’. (X)

Abhishek Chaubey’s Killer Soup is a delightful mix, blending influences from William Shakespeare and Virginia Woolf. The series is based on real-life incidents from Telangana.

Konkona Sen Sharma plays Swati, a housewife who dreams of owning a restaurant but lacks support from her husband, Prabhu. At the end of the first episode, Prabhu catches Swati with her lover, Umesh, leading to a major twist. Manoj Bajpayee is seen in a double role as both husband and illicit lover.

A standout element of Killer Soup is how Chaubey infuses Shakespearean touches into the story. One example is a private detective ghost who helps a cop, played by Nassar. The ghost, visible only to Nassar, offers him advice whenever he’s in a bind.

These moments have a touch of magical realism. While the situations may seem absurd, they are equally fun to watch. Chaubey’s tribute to Virginia Woolf shines in how he humanizes Swati’s character. Swati’s determination to open her own restaurant and her desperate need for respect are portrayed poignantly.

Konkona Sen Sharma flawlessly portrays Swati’s shifting moods, moving from loving to intense without missing a beat. Manoj Bajpayee is also excellent, especially as the illicit lover, Umesh.

Murder in Mahim

A still from the series Murder in Mahim
A still from the series ‘Murder in Mahim’. (X)

Murder in Mahim, directed by Raj Acharya, is a gripping drama that explores homophobia in depth. The series highlights the challenges faced by the LGBTQIA+ community and how societal acceptance remains slow, despite the removal of Article 377.

Based on a novel by Jerry Pinto, the plot centres around a series of murders targeting the LGBTQIA+ community. Vijay Raaz plays the lead cop, Shivajirao Jende, while Ashutosh Rana portrays Peter Fernandes, a retired crime journalist and Jende’s long-lost friend, who becomes an important ally.

Murder in Mahim balances the murder mystery with a critique of homophobia. Beyond this, the father-son dynamic between Peter and his son adds emotional depth, especially as they hold opposing views on homosexuality. This tension provides some of the series’ most powerful moments.

An important metaphor in the series is the restroom at a Mumbai local station, intended to be a safe space for the LGBTQIA+ community but instead fueling their fears of societal rejection.

Vijay Raaz and Ashutosh Rana are solid performers who don’t need a particular introduction, here too the senior actors did a fantastic job. The surprise package though was the young actress Shivani Raghuvanshi in the role of Firdaus Rabbani, a female police officer and a closeted member of the LGBTQIA+ community, making a lasting impact with her performance.

Maamla Legal Hai

Ravi Kishan in Mamla Legal Hai
Ravi Kishan in ‘Maamla Legal Hai’. (X)

Maamla Legal Hai, directed by Rahul Pandey, is a delightful satire on the legal system. The eight episodes explore eccentric cases inspired by real-life incidents.

At the centre of the show is street-smart advocate VD Tyagi, played brilliantly by Ravi Kishan. Tyagi, who aspires to become the bar association president, is skilled at finding loopholes and winning cases with ease. The series touches on serious issues, like lawyer strikes affecting cases and the connubial rights of prisoners, but presents them in an entertaining way.

One of the most bizarre cases is about a husband wanting to divorce his wife because she didn’t feel shy on their wedding night. While this may seem unbelievable, a newspaper clipping at the end confirms it really happened.

Ravi Kishan shines in his role, but Nidhi Bhist, as fellow lawyer Sujatha, also impresses with her excellent performance, matching Kishan’s brilliance.

IC 814 The Kandahar Hijack

Vijay Varma in IC 814 The Kandahar Hijack
Vijay Varma in ‘IC 814 The Kandahar Hijack’. (X)

Anubhav Sinha’s IC 814: The Kandahar Hijack is a refreshing hijack thriller/drama in many ways. It subverts the trope of a larger-than-life hero and offers a nuanced portrayal of terrorists, making them feel like complex characters. For example, there’s a scene where the terrorists play Antyakshari with the passengers, and one comforts an air hostess when she vomits from the stench.

Even in the case of Captain Sharan Dev, played by Vijay Varma, he is vulnerable like the other passengers, but his strong determination shines through. The web series is also refreshing in how it avoids over-the-top nationalism.

The series blends real-life events with dramatized moments, using a voiceover alongside archival footage. Merging these two elements is difficult, but Sinha does an excellent job.

Vijay Varma delivers a terrific performance, and Manoj Pahwa also makes a strong impact as the aggressive official. Pahwa commands attention, whether negotiating with the hijackers or conversing with the suave Aravind Swamy.

Call Me Bae

Ananya Pandey in Call Me Bae
Ananya Pandey in ‘Call Me Bae’. (X)

Collin D Cunha’s Call Me Bae is a breezy coming-of-age story. Ananya Pandey plays Bella, a rich housewife, who is kicked out of her in-laws’ house after being caught getting cosy with her gym trainer, played by Varun Sood. Left to fend for herself, Bella’s mother also distances herself.

Bella’s struggles are presented in a light, sanitized way. She isn’t shown sleeping on footpaths or hustling in local trains. The show uses tongue-in-cheek humour to portray Bella, and once viewers adjust to the tone, there’s a lot to enjoy.

The best part of Call Me Bae is the camaraderie between Ananya Pandey’s Bae and Muskkaan Jaferi’s Saira Ali. Muskkaan’s character enters at a critical point and quickly becomes a pillar of support for Bella. Her witty one-liners add much to the show, and through her performance, Muskkaan makes viewers wish for a strong friend like Saira.

The show also features two other important women, played by Niharika Lyra Dutt and Lisa Mishra, who play key roles in Bella’s life. Vir Das adds spice as an arrogant journalist, with his confrontation scenes with Ananya being a major highlight.

Ananya Pandey excels in the title role, skillfully portraying Bella’s transformation.

Yeh Kaali Kaali Ankhein Season 2

A still from the series Yeh Kaali Kaali Ankhein Season 2
A still from the series ‘Yeh Kaali Kaali Ankhein Season 2’. (X)

Yeh Kaali Kaali Ankhein Season 2 is a pulpy sequel with engaging twists and a strong Shakespearean touch. The famous Shakespeare quote, “The course of true love never did run smooth,” perfectly describes the twisted love story of Vikrant, played by Tahir Raj Bhasin.

Like the first season, the second benefits from the layered characterization of Vikrant. By the end of season one, he had become morally ambivalent. In this season, his grey shades are even more pronounced. Much like Sushmita Sen’s Aarya, Vikrant is forced to confront his inner demon due to certain circumstances.

Tahir does a terrific job portraying Vikrant’s emotional turmoil, especially when he realizes that Shikha (played by Shweta Tripathi) is no longer his. He is devastated when Shikha marries someone else and confronts her. In response, Shikha points out that he too married Purva (Aanchal Singh), bowing to circumstances. Tahir’s portrayal of Vikrant’s broken ego is exemplary.

Aside from Tahir, the season delves deeper into Purva’s character, revealing how she became an extremely possessive person. There is a powerful scene where Saurabh Shukla’s Akheraj Awasthi apologizes to Vikrant, saying he should have raised her better. Aanchal Singh does an excellent job humanizing her role as an obsessive lover.

(Edited by Sumavarsha)

OTT opens new doors for female actors

With the advent of OTT, the likes of Shefali Shah, Sushmita Sen, Manisha Koirala, and Sonakshi Sinha got their due.

The advent of OTT platforms has led to a significant change in more ways than one. One of the major changes has been to the narrative style.

Thanks to the longer runtime and long-form format, web shows have more scope for sustained storytelling.

Another major positive change is the space OTT has created for female actors to challenge themselves in mainstream and middle-of-the-road cinema.

With the longer runtime in web series, the actors have more time to build their characters and delve deeper into the nuances, which is often not possible in mainstream films with a limited run time.

They are also breaking the stereotypes of age and conventional roles.

Many female actors, despite talent, have been limited to supporting roles, with minimal scope of showing their acting prowess.

Of course, there have been phases where women-centric films have garnered both critical acclaim and commercial success. Some of these include The Dirty Picture (2011), Kahaani (2012), Queen (2014), Neerja (2016), Raazi (2018), etc.

However, the format of a web series offers more scope for the portrayal of powerful characters.

With the advent of OTT space, female actors got their due, especially in the case of Shefali Shah and Manisha Koirala, who have shone in Delhi Crime (2019 and 2022) and Heeramandi (2024) respectively.

Careers of Shefali Shah & Sushmita Sen revived

Shefali Shah in ‘Delhi Crime’. (X)

Among the firsts is the web series Delhi Crime (2019 and 2022), which revived the career of Shefali Shah.

She played the role of a DCP in the Delhi police. DCP Varthika helms the team which investigates the Nirbhaya case and also handles the public anger owing to the heinous crime.

She is a strong-willed officer who is also dealing with a rebellious daughter. The audiences had not seen Shefali previously in this kind of role and she surprised one and all with a rock-solid performance. Shefali Shah further surprised the spectators with her negative role in Human (2021).

Another similar example is Sushmita Sen, known for her glamorous roles, including that of lecturer Miss Chandini in Farah Khan’s masala potboiler Main Hoon Na (2004). While she was presented glamorously, the actor in Sushmita has mostly taken a backseat on the big screen.

Then comes Aarya (2020, 2021, 2023, and 2024) and Taali (2023)—the perfect examples of why Sushmita deserves better roles in mainstream cinema.

In Aarya— a crime thriller, she goes from being a single mother to eventually being sucked into the world of crime.

Taali, on the other hand, was a biopic of the transgender activist Shreegauri Sawant. In both these series, Sushmita was absolutely brilliant.

A realistic portrayal by Huma Qureshi

Huma Qureshi in ‘Maharani’. (X)

Huma Qureshi reinvented herself with the web series Maharani.

She has always been a competent actor starting from the Gangs of Wasseypur (2012) movies. She played important roles in movies like Badlapur (2015) but has never carried a film on her shoulders.

However, in the three seasons of Maharani, Huma showcased her larger bandwidth to play with. Her role of Rani Bharati (based on Rabri Devi) starts as a simple woman who is happy in her domestic life.

She is a school dropout much like the other women in her village. However, her life undergoes a huge change when her husband who is also the Bihar chief minister gets severely injured in a shootout.

From feeling like a fish out of water to becoming a fierce administrator, there is a huge canvas that Huma Qureshi got to play with and the actor absolutely nailed it.

In all three seasons, she got the nuances of the role spot on. She also did a good job of getting her dialect right.

Sonakshi Sinha & her acting prowess

Sonakshi Sinha in ‘Dahaad’. (X)

Then comes Sonakshi Sinha, who has shown that she is here to stay with Dahaad (2023) and Heeramandi (2024).

For a large part of her movie career, Sonakshi has played roles where she is restricted to just a song and dance routine, and being a damsel in distress waiting to be rescued.

These include Rowdy Rathore (2012), R Rajkumar (2013), the Dabbang films (2010, 2012, and 2019) and even the last theatrical release Bade Miyan Chote Miyan.

Yes, some of these movies have turned out to be money spinners but a sense of repetitiveness crept in.

However, the two-web series—Dahaad and Heeramandi—showed the actor in a very different light.

In Dahaad, Sonakshi Sinha was seen as a Dalit police officer (Anjali Bhaati).

On more than one occasion, she is insulted because of her gender and caste.

Sonakshi was adequately fierce and managed to capture the grittiness of a determined police officer well.

In Heeramandi, Sonakshi played an archrival to Manisha Koirala’s Mallikajaan; Sonakshi’s Fareedan is as ruthless and emotional as Mallikajaan.

Sonakshi Sinha chewed the scenery and more than held her own opposite the more accomplished Manisha Koirala. Fareedan was an absolute firebrand and Sonakshi did complete justice to her part.

A powerful comeback for Manisha Koirala

Manisha Koirala in ‘Heeramandi’. (X)

Heeramandi has also given a fresh lease of life to Manisha Koirala’s career.

In the films post her cancer recovery, the actor played a mother to heroes Ranbir Kapoor and Kartik Aryan respectively. There is a little depth in these characters for Manisha to chew into.

However, Heeramandi is a show that will give a major impetus to her second innings.

The role of Mallikajaan is far removed from all her previous roles; she never played a terrifying matriarch before. The body language along with dark shades is a completely new territory.

It is something that the viewers don’t expect from Manish Koirala, but the actor surprised everyone.

She portrayed both dark shades and emotional vulnerability with finesse.

Konkana Sen & Karishma Tanna

Konkona Sen, an actor par excellence, proved her talent over and over again in many shows and films. However, with Killer Soup (2024), the versatile actor proved she could play a negative character with equal finesse.

Konkona did play a negative role in Ek Thi Daayan (2013), but in that movie, she was just one of the three heroines. The Abhishek Chaubey directorial, though, had her as a major pivot.

Karishma Tanna in ‘Scoop’. (X)

In the Killer Soup web series, Konkona Sen played a housewife named Swati Shetty.

Swati dreams of opening a restaurant so she can have an identity of her own. But all she gets in the name of support from her husband are empty promises.

The role of Swati goes from a loving wife to a plotting woman. Konkona pulled off the different moods without fumbles.

Finally coming to the splendid performance of Karishma Tanna in Scoop (2023). The actor, too, has been part of known movies like Grand Masti (2013) and Sanju (2018). In these films, she was a mere glam doll.

But Scoop turned out to be a big game changer as the role was author-backed and Karishma made complete use of it.

In this web show, she played a journalist named Jagruti, who was falsely implicated in the murder of a fellow investigative journalist.

The role comes with many shades, starting as a confident woman who later becomes dejected yet maintains a fighting spirit in the harsh jail atmosphere.

Karishma Tanna was immensely successful in making the viewers root for Jagruti.

This is just a brief peek into how OTT has opened new doors for female actors. Many more women actors from mainstream and middle-of-the-road cinema are likely to join this list in the future.

Heeramandi: A riveting spectacle that sheds light on a significant chapter of India’s freedom struggle through the lens of tawaifs

The dense plot with many characters and backstories takes time to get used to. But the series is a must-watch for its grandness and impactful storytelling
Heeramandi: The Diamond Bazaar (Hindi), 01-05-2024, Period Drama, 8 episodes A, OTT
  • Main Cast: Manisha Koirala, Sonakshi Sinha, Aditi Rao Hydari, Richa Chaddha, Sanjeeda Sheikh, Sharmin Segal, Farida Jalal, Fardeen Khan, Taha Shah, Adhyayan Suman, and Shekhar Suman
  • Director: Sanjay Leela Bhansali
  • Producer: Sanjay Leela Bhansali and Prerna Singh
  • Music Director: Sanjay Leela Bhansali
  • Cinematography: Sudeep Chatterjee, Mahesh Limaye, Huenstang Mohapatra, and Ragul Dharuman
  • Rating: 4/5
  • Published in: Southfirst

Sanjay Leela Bhansali’s empathy for sex workers or the fallen woman is a separate genre in itself. He presents them not only in a larger-than-life manner but also makes them take a stand for an important cause.

Much before Gangubai Kathiawadi (2022) happened, there were Devadas (2002) and Saawariya (2007) that had Madhuri Dixit Nene and Rani Mukherjee respectively playing sex workers in the respective movies.

In both movies, there is a visible sensitivity in the way he writes these women.

Gangubai Kathiawadi, based on a heart-touching real-life story, further highlighted Bhansali’s empathetic approach. In the film, he combined the elements of grandeur and masala storytelling while making some important points.

In his digital debut, Heeramandi: The Diamond Bazaar, Sanjay Leela Bhansali has once again touched upon women in the sex trade with a strong undercurrent of socio-political aspects.

Synopsis

Manisha Koiralain ‘Heeramandi: The Diamond Bazaar’. (X)

The story of Heeramandi is set at the peak of India’s freedom struggle.

Mallikajaan (a ferocious Manisha Koirala) is the reigning queen of a powerful palatial house in pre-independent Lahore. She is surrounded by an army of gorgeous women like the elder daughter Biboo (a radiant Aditi Rao Hydari) and Lajjo (Richa Chaddha).

Lajjo is a daughter-like figure to Mallikajaan. She was sold to her at an early age.

Mallikajaan’s younger sister is Waheeda (Sanjeeda Shaikh).

There is also Alamzeb, Bhansali’s niece Sharmin Segal, who plays the second daughter of Mallikajaan. Alamzeb has no interest in following her mother’s footsteps and instead wants to become a poetess.

Mallikajaan’s hold over the area takes a severe beating with the arrival of Fareedan (Sonakshi Sinha in a career-defining performance). Fareedan is hell-bent on taking revenge, she has a history with Mallikajaan and has qualities which are similar to the latter.

As the plot progresses, the internal strife and politics of the brothel along with the freedom struggle run by side eventually leads to the trio of women playing an important part in India’s freedom struggle.

Inspiring execution by Bhansali

Richa Chaddha and Sanjay Leela Bhansali. (X)

The beginning episodes of Heeramandi can be difficult to follow with the multiple plots.

For example, the double role of Sonakshi and why Fareedan is hell-bent on bringing down the pride of Mallikajaan and the anguish of Waheeda who feels let down by Mallikajaan. However, once the story settles down the proceedings keep you thoroughly intrigued.

The way Fareedan takes on Mallikajaan and the scenes of them trying to outdo each other are a delight to watch. They both come across as equals with all guns blazing.

There is a generational trauma that begins with the death of an important person that cannot be revealed here.

One of my favourite scenes in the web show is the portion where Mallikajaan praises Fareedan by saying that neither Biboo nor Alamzeb has inherited her qualities.

Heeramandi also has a wonderful love story in the form of Alamzeb and Tajdar (Taha Shah Badussha). Tajdar is Oxford-educated and dashingly handsome. He is the rebel son, while the father is a Nawab who is completely pro-establishment.

The father doesn’t approve of neither Tajdar’s love nor his being a part of the revolution.

Tajdar does not know that Alamzeb is the daughter of Mallikajaan for a long time. There is a playfulness in their romance that brings a smile to the viewer’s face.

Similarly, the audience also feels sad when their love story does not have a happy ending.

A scene that needs to be talked about here is when Tajdar dies in the police cell on the night when he is dressed up as a groom. The father leaks the information to the British officer as he is dead against having a tawaif’s offspring as a daughter-in-law.

The torturous death of Tajdar is a perfect example of state-supported custodian violence.

Makes an impact

Sharmin Segal in ‘Heeramandi: The Diamond Bazaar’. (X)

Through Heeramandi, Sanjay Leela Bhansali has also touched upon how it was not just the British who followed the divide-and-rule policy. Some Indians were also busy fighting among themselves for supremacy and vested interests.

This comes out through the juxtaposition of brothel politics and India’s freedom struggle.

The songs composed by Bhansali also strike a chord. A song that deserves a particular mention is “Azadi“, which plays out in the final episode.

The tawaifs march towards a prison wall at night with a swelling background score. The police try to stop them but this group of determined women do not give up and start hitting back.

Unlike the hugely polarising Jauhar sequence in Padmavaat (2018), this has much more of an emotional impact because it does not come across as a fashion parade.

The weak-hearted would have a tough time holding back their tears, it is impossible to not root for them and applaud their bravery.

In spite of their wealth and social standing, the Nawabs backed away from the fight against the British. These women, on the other hand, decided to fight back and not give in.

The styling and the taking of some shots look like a replica of Sanjay Leela Bhansali’s previous movies. For instance, the crowded lanes. But this is not a major deterrent.

Manisha Koirala & Sonakshi Sinha stand out

Sonakshi Sinha in a working still. (X)

Heeramandi has a sprawling cast but the ones who stand out are Manisha Koirala and Sonakshi Sinha.

Cast against type, both the actors sink their teeth into the respective roles and pass out with flying colours.

Manisha plays the mercurial patriarch with absolute glee. She does a first-rate job portraying both the negative shades and the deep inner agony.

Sonakshi Sinha matches step by step proving that she is highly underrated. She plays the firebrand devil with complete abandon,

Sonakshi has a commanding screen presence and it is difficult to move your eyes away when she is on screen.

Aditi Rao Hydari and Sanjeeda Sheikh also make their presence amply felt.

Richa Chaddha is fiery in the short but impactful role of a heartbroken woman.

Sharmin Segal is successful in portraying the innocence of a young girl but could have done better in some of the emotional scenes, nevertheless, the actor shares a wonderful chemistry with Taha.

Among men, Taha Shah makes the strongest impact. He does a swell job of showing the internal struggle of a young man torn between love and responsibility.

Special mention must be made of Farida Jalal, who makes for an adorable grandmother. The scenes between her and Taha also make for a good watch.

Verdict

Through Heeramandi: The Diamond Bazaar, Sanjay Leela Bhansali has made an impactful debut in the digital format. The web series is a must-watch for those who like Bhansali’s mode of storytelling.

It is streaming on Netflix.

Gangu Comes Alive Through Alia

In her short career so far Alia has done many memorable characters. There have been a few exceptions like Sadak 2 but most of them have hit the mark. Out of all the roles that she has done so far the one which is most recent and most appreciated is that of Gangubai.

The character of Gangubai is in many ways different from what we have seen Alia do earlier. Roles like Highway and Udta Punjab showed the actress playing a young girl but the graph of Gangubai is very different. Here we see the life of Gangubai in three stages. It starts off with her being sold to the brothel house at the age of 16 and goes until the character is in its mid-thirties. Though we don’t see much change in the facial features as it is glamorous throughout still it doesn’t distract you from the viewing experience. The main reason for that is her body language. By body language I mean her walk, voice and eyes. Throughout the film there are many instances where she conveys her various emotions like innocence, sadness, frustration, anger and pain just through her body language. Following are some scenes in the film which bear testimony to this.

Alia is an actress who has become synonymous with her breakdown scenes starting from Highway. There is a general pattern to these, however in this movie we see a very different side to her acting capabilities. There are scenes in the film where you don’t have any breakdown but you still feel her grief. For example in one of the initial scenes where she has to stand in front of a brothel house leaning on a wall calling out to men in whispers. There are no dialogues here but Alia conveys the pain of Ganga superbly just through her eyes. There is a certain emptiness in those eyes.

The song Meri Jaan in the back of the car is also another example of how much she has evolved as an actress. The song starts off as a blossoming romance between Alia and Shantanu’s characters but midway through it takes a different turn. Shantanu’s character tries to get intimate with Alia but she rebukes him, at one point she even gets angry with him. The reason for the anger is that she expects a different relationship with him, not the prostitute-customer relationship. She wants to be cared for, it is an emotion that she has missed for a long time. All this was mostly expressed through her eyes only.

Before the song Dholida there is a scene where Alia makes a trunk call to her father, without knowing that he died already. While her mother is telling her about it the trunk call operator keeps reminding her that there are only thirty seconds left. This frustrates her to no end and not surprisingly Alia expresses her anger in full measure. The summary of what she says is that my father is dead and there are plenty of things to talk, how can you expect me to cover all this in thirty seconds. The loss and pain are superbly brought out by the actor with just her voice.

The Dholida song starts off as a celebration track but soon it moves into a very different zone. In the second part of the song we see the character going into trance and in this again we can see the different emotions that Alia conveys through her body language. The trance state is related to the telephone conversation of the previous scene.

Likewise there are plenty of instances in the film where she conveys emotions through her walk and voice. The tonality of the voice varies in many situations. For example in the school scene she talks in a teasing manner, on the other hand there is an authority that Alia brings to her voice in her scenes with Raziabai (Vijay Raaz). In the Azad Maidan speech we can see Gangubai’s empathy for sex workers. She also makes a strong case for the betterment of the sex workers lives.

In a nutshell Gangubai gives the audiences a whole new Alia.

Gangubai Kathiawadi: A Solid Spectacle With A Beating Heart

Over the years Sanjay Leela Bhansali has become synonymous with telling stories on a larger than life canvas. His last three films Ram Leela, Bajirao Mastani and Padmavat are good examples of that. This larger than life canvas has also backfired in films like Ranbir Kapoor’s Saawariya but there is no denying the artisticness of Bhansali irrespective of whether you agree with his storytelling or not.

In Gangubai the director takes up a gritty real life story and narrates it with his trademark dramatic touch. The result is a largely satisfying film which touches upon a very important topic. He is also aided by the supremely talented cast led by his formidable leading lady. Alia Bhatt sinks her teeth into the role and comes up with the best performance of her career but more on that later.

The story of Gangubai is set in the 60’s and is inspired by a chapter from S Hussain Zaidi’s book Mafia Queens of Mumbai. With the help of the cinematographer Sudeep Chatterjee Bhansali immediately transports you into the area of Kamatipura. The plot is divided into three chapters. First you have Ganga being brought into the streets of Kamathipura and sold by her lover Ramnik. Ganga had aspirations of becoming a Bollywood heroine and Ramnik used that to his advantage and coaxed her to run away from home under false pretences. Seema Pahwa plays the brothel owner Sheela Masi. It is good to see the actress taking a break from her usual mother roles and doing something different, she is delightfully evil.

Much like the other four thousand woman of Kamatipura Ganga has no other option other than to make a living there. She gives up all hope and in a heartbreaking scene we see her standing in the front of a brothel, leaning on its door and seducing men by calling out to them in whispers. From here we see the character transforming into a fire brand go getter who gradually climbs up the ladder. She wears her past proudly on her sleeve, for example there is a scene in the later half where she introduces herself to Jim Sarbh’s character as Gangubai the prostitute. The interactions of Gangu with the supporting characters and how that shapes up her life also form an important part of the story. One of the most important supporting characters is that of Ajay Devgan’s Rahim Lala. He is a Muslim gangster who is a huge pillar of support for Gangu along with being her rakhi brother. Ajay is in smashing form and brings his trademark swagger.

There is a line in a film which says Gangubai wasn’t Mahaan but she wasn’t a devil either. This perfectly sums up the approach that Sanjay Leela Bhansali has taken. Early on in the film we see Gangubai freeing a girl from a prostitute house and sending her back home. This is done with a certain political purpose as we get to know later. There is also a scene where she sets up the marriage of a prostitute daughter with a son of a Muslim Tailor Afshan ( Shantanu Maheshwari); here also there is a reason why she does that. In these scenes we can see the shrewdness that Gangubai has learnt from the harsh circumstances that she has gone through. At the same time there is a genuine empathy that she has for sex workers, there is a reason why she wants to become to become the madam of Kamathipura. The reason is she wants to improve the lives of the sex workers. This comes out perfectly in her stunning speech at Azad Maidaan. Bhansali does a splendid job in bringing out these two shades.

Gangubai’s love story with Afshan also gives the film some of its best moments. Their romance is subtle but yet heartwarming. The two love songs Jab Saiyaan and Meri Jaan have been perfectly used by the director. They don’t come across as speed breakers. Out of the two my favorite one is Meri Jaan. You wish that Gangubai had a happy ending with Afshan.

Another track worth mentioning here is the friendship between Gangubai and Kamili played by Indira Tiwari. Their on screen bond is a treat to watch. There is a strong emotional scene between Gangubai and Kamili when the latter is on the verge of dying. It is a scene which is highly moving.

The scenes between Ajay Devgan and Alia are also good to watch but you wish there was little more of Ajay. The same goes to Vijay Raazi’s Rajyabhai. He plays an opponent to Gangu. Their rivalry is fun to watch but Vijay Raaz comes across as underutilized after a point.

As I earlier said Alia sinks her teeth into the role. Since the release of the teaser there has been a certain talk about alternate casting but once you see the film you realize why Sanjay Leela Bhansali stuck to her.

The best thing about Alia’s performance is the authority that she brings in her voice when the character makes the transition from being a helpless prostitute worker to the madam of Kamathipura. Her comic timing in the lighter bits is also too good. In short this is truly an award winning performance. Out of the supporting cast Indira Tiwari and Shantnu stand out the most.

The music of Gangubai mostly works but the one featuring Huma Qureshi could have been done away with. The song Dholida isn’t too high on lyrics but it still highly watchable thanks to Energetic performance of Alia. The second part of the song makes more of an impression.

The one area where the movie falters is its pre-climax and climax, Gangubai’s conversation with Jawaharlal Nehru could have been more impactful, in the sense she should have been talking to him with more humility. Also the climax where a swarm of people are cheering Gangubai stretches a little too much.

Watch Gangubai for its leading lady and the importance of its real life story.

Maara: For The Wanderer Within You

Dhilip Kumar’s Maara is one of those films which need patient viewing. The reasons are – one, the pace, two, the concept of magic realism. It is good that the film is released on Amazon and not in theatres.

Inspired from Dulqer Salman’s Charlie it tells the story of Maara played by Madahavan as discovered by Paaru played by Shraddha Srinath. Paaru is a restoration architect and a relentless romantic. When she goes to Kerala for an assignment she comes across some paintings by a person called Manimaaran/ Maara. Impressed by his art she tries to know more about him. Since he is elusive she tries to know about him through the real characters he drew. What follows is a stunning visual imagery mixed with the charm of Madhavan. Apart from being a painter Maara is also a wanderer who touches people’s lives. However, he is not a wanderer just for the sake of it. There is a larger purpose for it.

The first thing that strikes you about the film is the heavy influence of Imtiaz Ali and also Sanjay Leela Bhansali to an extent. Just like Imtiaz Ali’s films here also you have the concept of finding yourself and also the right atmospherics. You can also see the influence of the poet Rumi who himself is an inspiration to filmmakers like Imtiaz Ali.

Two things stand out most in Maara. One is the fantastic cinematography by Dinesh Krishnan and the art direction by Ajayan Chelissery. The painted roads, the ageing houses and the grass peeping out of the walls are all done well. Everything is aesthetically very good and works well for the camera. The art direction is equally well complimented by Dinesh Krishnan who captures the beauty of the landscapes and the created set designs.

As regards to the main plot it is definitely a ‘Feel Good’ story. Maara is jovial, friendly and empathetic to people irrespective of their status. In short a Good Samaritan. Among his interactions with people my favorite one is that of sex worker Selvi played by Abhirami. It reminds you of Sanjay Leela Bhansali’s Saawariya. The character of Madhavan itself is written well and the actor plays it with his trademark charm. He shines in both the light moments and also the emotional scenes. One of my favorite lines of Maara is “they will only remember the reason why you died and not you.’’ He says this to a girl who tries to commit suicide. The supporting cast also works well. Mouli as Velliya is particularly impressive as the person who brings up Maara. He plays his part with a perfect mixture of cuteness and strictness. His love for Meenakshi and the pre climax scene when he finally meets her leaves you emotionally moved.

The biggest problem with the film is the character of Paaru played by Shraddha Srinath. It is written very loosely and on top of it the actress doesn’t help her cause either. In fact you feel happy that Madhavan has only one scene with her and that too at the end. Her battles with the family have also not been dealt convincingly enough. They are forgotten midway through. Also you don’t see a single scene where Paaru is doing restoration work as she is supposed to do.

The pace of the film is also a major villain. It is only at halfway point that you get a sense of what the director is trying to say, that too only for niche audience. For the rest it will go over their head.