Sanjay Leela Bhansali, the maestro of grandeur and artistic filmmaking, forayed into the OTT space with much anticipation surrounding his high-budget web series, Heeramandi. Renowned for his opulent period dramas like Devdas, Padmaavat, Bajirao Mastani, and Gangubai Kathiawadi, Bhansali has established himself as a director who brings out the best in his actors and captivates audiences with his dramatic narratives.
Heeramandi, set in the pre-independence era, carried the weight of immense expectations. However, the first season fell short of the mark, leaving viewers considerably disappointed.
Despite boasting visually breathtaking sets reminiscent of paintings, with impeccable camerawork, lighting, costumes, choreography, and set design, the series faltered in its core element – the screenplay. Bhansali’s meticulous attention to detail, while commendable, resulted in a sluggish narrative. Audiences who invested over 7 hours in the series found the pacing excruciatingly slow.
While the performances by Manisha Koirala, Aditi Rao Hydari, Sonakshi Sinha, and Richa Chadda were undeniably praiseworthy, the casting of Sharmin Segal, perceived by many as lacking in acting prowess, drew significant criticism.
The overwhelming negativity surrounding the series’ pacing and casting led many to believe that Netflix would swiftly cancel Heeramandi. However, surprising reports claim that the platform has renewed the series for a second season.
The rumored plot of season 2 suggests a geographical shift for the courtesans, with a potential migration from Lahore to Mumbai and Kolkata. This move supposedly involves them transitioning to entertaining producers within the film industry, raising questions about the narrative direction.
Netizens have expressed skepticism regarding the renewal, with many calling the first season an “unbearable” experience they wouldn’t want to repeat. Only time will tell if Bhansali’s vision for Heeramandi and Netflix’s decision to continue the series will resonate with audiences in the upcoming season.
