Gangubai Kathiawadi: The same Old Wine served in a new bottle?
Gangubai Kathiawadi is a 2022, Sanjay Leela Bhansali movie telling the tale of Ganga Harjivandas becoming Gangubai Kothewali. The movie features Alia Bhatt (who recently married Ranbir Kapoor amidst much buzz) in the title role. The film also features Ajay Devgan as Rahim Lala, Shantanu Maheshwari as Afsaan, Vijay Raaz as Razia Bai, Jim Sarbh as a Journalist among others. The movie is inspired by the story of Gangubai Khothewali, whose life was featured in Mafia Queens of Mumbai by S. Hussain Zaidi (I have not read the story and this review-analysis is solely based on the movie).
Sanjay Leela Bhansali is a master moviemaker, there is no questioning that. He has charmed the audience from his first superhit and my personal favourite Devdas (2002) right up to Padmaavat (2018) (not to forget Hum Dil De Chuke Sanam starring Salman Khan and Aishwarya Rai Bachchan which came out in 1999). I am someone who has closely observed Bhansali’s work and ethics in minute detail and I can very well say that this movie is not his best. But that is not to say that he somehow failed in making this movie. However, that is also not to say that this story and movie are unlike his work. Bhansali’s work pattern, or what I like to call, work weather manifests itself precisely in this way. He began his directing career with Khamoshi: The Musical (1996) and then Hum Dil De Chuke Sanam, which brought him initial fame and was proof that he was not a director who would fall flat on his face. But his real fame came with Devdas, the timeless tale of Parvati, Chandramukhi, and Devdas. This became an ‘instant classic’ with top-notch directing augmented by perfect music, choreography, cinematography, dialogue and glitter. This movie became the hallmark of Bhansali’s work, a parameter for every movie he would go on to make in his career.
But then came a ‘phase’ where he delved into a very different genre of movies, somewhat reflecting on the nuances of life. He made Black (2005), Saawariya (2007), and Guzaarish (2010). These movies were almost diametrically opposite from Devdas. These movies were not box-office hits but were a substantial contribution to the theory of cinema and art. These movies were full of tropes that are typical of a Bhansali movie- engaging music, charm for the eyes, and strong female characters. What these movies lacked was the grandeur and pomp of Devdas, but should we assume that it’s the only type of movies Bhansali make? Then, however, he ventured back to similar stories like Devdas: Goliyon ki Rasleela- Ram Leela (2013), Bajirao Mastani (2015), and my other favourite Padmaavat (2018). Ram Leela was inspired by Romeo and Juliet, while the other two are period dramas, again, based on literary works. These movies struck a chord with the audience, just like it did with Devdas, with its love triangles, heavy dresses, and many cultural insignia.
Four years after the release of Padmaavat, we now have Gangubai Kathiawadi. Although Bhansali always says that his movies are dear to his heart, this movie is to Padmaavat what Black was to Devdas. A not too pompous and decent follow up for Bhansali to remain in the race of moviemaking and a reminder to the audience that he is still there. So, to say that this movie is unlike Bhansali would be a gross misjudgement of Bhansali’s multi-layered work.
Gangubai Kathiawadi is full of Bhansali’s typical tropes. Gangubai hails from Kathiawad, Gujarat, and the movie explores the lives of prostitutes in Kamathipura, Mumbai through the story of Gangubai. This is a subject very central to Bhansali’s work. Right from Devdas and Saawariya, to Gangubai Kathiawadi and his upcoming project with Netflix, Heeramandi. He has explored the lives of prostitutes as lovers, courtesans, friends, leaders and much more. This is in continuum with his much-applauded obsession with strong female characters. We all can easily remember Paro, Chandramukhi, Leela, Kashibai, Mastani, Padmavati and now Gangubai, not to mention the equally strong side characters of mothers, sisters, sisters-in-law, wives, etc. All these characters feature in an almost fantasy world, struggling with their love life but not forgetting to sing, dance, and dress beautifully.
In all this jousting, festivals play a big role in Bhansali’s stories. Festivals appear every now and then as a chance for his characters to take a break from their lives but also to take the story forward in some ways like Alauddin getting shot with arrows at the end of Khalibali, which, later, was found out to be a murder conspiracy by his nephew. A similar incident happened with Dhankor in Ram Leela. Such tropes are in plenty in Bhansali’s movies, and Gangubai Kathiawadi is no different. Ganga used the celebrations at her home (Jhume re Gori song sequence) to secretly run away with her love interest Ramnik, who takes her to Kamathipura.
But this movie offers something new as well. It focuses solely on the lives of the prostitutes of Kamathipura, unlike his previous movies in which prostitutes are involved as characters in the lives of the leads. Gangubai Kathiawadi shows the brutality prostitutes face in a life and profession they did not choose. Just like how Ganga was taken by her lover to Kamathipura and sold for a mere Rs 1000, other girls were also brought there by someone they knew, husbands, fathers, lovers, uncles, etc. Once they enter the walls of their designated kotha, it is impossible for them to leave it, ever. Their initial resistance to accepting the new reality is dealt with violence and brutality, locked in a room. They are left with no choice but to comply with their new life. Gangubai showed distinct courage (which merits a movie made on her), took on her new circumstances as a challenge and worked against the winds to win the President’s election in her area. I will not spoil the entire movie for you, you can stream it on Netflix, from 26th April 2022.
Coming back to my initial question: is Gangubai Kathiawadi the same old wine served in a new bottle? Well, the answer is yes and no. I will resort to the well known saying to answer this, “Beauty lies in the eyes of the beholder”. If you love Bhansali’s work as I do, you will find this movie offering you a number of emotionally heart-wrenching scenes, which will make you reflect on the brutality prevalent in the world of prostitution, which we very conveniently ignore in our daily lives. If you're a person who just likes watching movies then this movie might not offer you much, because there are high chances that ultimately it might turn out to be just another movie on the lives of prostitutes. To appreciate the beauty of this movie, one has to appreciate and understand the work of Bhansali.
