Here are some blunders in 'Heeramandi' you probably didn't catch
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If you're a fan of 'Heeramandi,' chances are you might have missed some of the mistakes in the series. Let's dive into the unnoticed blunders that occurred and could have slipped past even the most attentive viewers.
Sanjay Leela Bhansali’s Heeramandi is based in the pre-independence era (1920–1940) and deals with the life of tawaifs (courtesans) during that phase.
In one scene, Aditi Rao Hydari was seen in a library, where we spotted the book Pir-e-Kamil, which was released in 2004.
The Paksitani writer Umera Ahmed also takes a dig at the series as a scene features her novel. She stated:
“Is time travel real?”
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Besides this, in another scene, Sonakshi Sinha's character, 'Fareedan', is seen reading an Urdu newspaper, which has two headlines about the Coronavirus pandemic and recent events like the Warangal Municipal Elections and a Youth Congress mask distribution scheme.
The newspaper also featured the latest prints of methods instead of the ones used back in the 1920s.
The internet is buzzing with the original images of Heeramandi, and it in no way seems as grand and lavish as Sanjay Leela Bhansali portrayed it to be. The jewellery and dresses at that time were less extravagant than what SLB made his heroines wear.
Vivek Agnihotri lashes out at Sanjay Leela Bhansali and how he glamourized the brothels and courtesans.
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Vivek Agnihotri commended Pakistani doctor, Hamd Nawaz for his candid discussion about Sanjay Leela Bhansali's Heeramandi, shedding light on the fact that it was not a place of glamour. He pointed out Bollywood's tendency to romanticise courtesans and brothels, which are, in reality, monuments of human injustice, pain, and suffering. His words resonate:
"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 romanticise 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."
