Vivek Agnihotri slams Sanjay Leela Bhansali's 'Heeramandi', praises Pakistani netizen for criticising it

'The Kashmir Files' director Vivek Ranjan Agnihotri recently took a dig at Sanjay Leela Bhansali's 'Heeramandi: The Dimaond Bazaar'. The filmmaker, taking to X, also praised a Pakistani doctor who slammed SLB's show for its perceived inauthentic portrayal of the historical period and location.

Pakistani viewer slams SLB's show

The viewer, who goes by the username of Hamd Nawaz, criticised 'Heermanadi' for its false depiction of events, locations and costumes. Saying it has everything but 'Heermandi in it', the netizen on X argued that the show does not accurately represent 1940s Lahore.

"Just watched Heeramandi. Found everything but heermandi in it. I mean either you don’t set your story in 1940’s Lahore, or if you do- you don’t set it in Agra’s landscape, Delhi’s Urdu, Lakhnavi dresses and 1840’s vibe. My not-so-sorry Lahori self can’t really let it go (sic)," the user wrote.

In another tweet, Nawaz expressed dismay over the representation of set, soundtrack, dialogues and casting. "To begin with, where exactly is it set? Lake Como? Amalfi Coast? The most evident landmark still visible from every building in today’s remnants of Heera Mandi is the Shahi Qilla-Grand Mosque’s doom and minarets skyline. If you call it Lahore, show Lahore (sic)," she wrote.

Further, she pointed out the error in language and diction by writing,"And Language. Bhansali entire mental logic flows like -hmm>>>Heeramandi>>>Lahore>>>Muslims>>>Urdu>>>Garhi Urdu>>>Mughal-e-Azam/Mizra Ghalib Tier Urdu>>>cast Urdu actors?>>>Na, let’s force the language. The catch is, 1940’s average Lahori didn’t even converse in Urdu, but Punjabi (sic)."

What Vivek said:

Retweeting Hamd Nawaz's tweets, Vivek wrote, "A brilliant critique by @_SophieSchol. I haven’t seen the show, but I have visited Heeramandi in Lahore a few times. Bollywood has this tendency to romanticize courtesans and brothels. It’s a sad commentary because brothels have never been places of opulence, glamour or beauty. These are monuments of human injustice, pain and suffering. Those unfamiliar with this should watch Shyam Benegal’s Mandi."

"Also, a question we must ask: Does creativity give us the freedom to glamorise human suffering? Is it okay to make a film where slum life is depicted as a life of abundance? Is it okay to portray slum dwellers wearing clothes as if they are attending an Ambani wedding? Pl discuss," he added.

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