Film: Gangubai Kathiawadi
Type: Bollywood
Director: Sanjay Leela Bhansali
Starring: Alia Bhatt, Ajay Devgn, Huma Qureshi, Seema Pahwa, Vijay Raaz, Jim Sarbh, Chhaya Kadam, Mitali Jagtap, Indira Tiwari, Shantanu Maheshwari
Sanjay Leela Bhansali’s latest film, ‘Gangubai Kathiawadi,’ is based on the chapter ‘The Matriarch of Kamatipura,’ from the book ‘Mafia Queens of Mumbai – Stories of Women from the Ganglands,’ by S. Hussain Zaidi and Jane Borges.
This is the gripping story of Ganga Harjivandas Kathiawadi, the daughter of a Kathiawar barrister who, with stardust in her eyes, ran away from home to pursue a career as an actress, only to be sold in a brothel in Kamathipura, Mumbai’s notorious flesh-trading district. Ganga’s path from brothel worker to activist advocating for the rights of sex workers is chronicled in this film. Ganga refers to herself as “Ganga Jagjivandas Kathiawadi” in the film.
While Ganga’s story is laden with tragedy and grief, the storyline effortlessly transforms the film into a film that inspires. Despite the fact that “Gangubai mahaan nahin thi, woh shaitan bhi nahin thi,” Bhansali expertly portrays her as a larger-than-life figure, and you empathize with her when she expresses her views on the women of her tribe.
The film is Alia Bhatt’s canvas, and she gives a faultless performance, exhibiting a wide range of emotions as well as her dancing abilities. She dominates the show on multiple levels, whether it’s talking on the phone with her mother or headbutting with Raziabai (Vijay Raaz), the eunuch who is running for municipal elections.
It’s tough to look away from Ajay Devgn, who, despite playing a tiny role, is passionate and scary in his portrayal of principled mafia don Rahimlala. Seema Pahwa is interesting as Sheelamaasi, the brothel’s madam. Similarly, Vijay Raaz is captivating as the eunuch Raziabai, and Shantanu Maheshwari is appealing as Gangubai’s love interest Afshan Razak.
This gripping biopic has all of the hallmarks of a classic SLB film. Bhansali deftly imbues his distinct imprint on every frame of the film, which reads like poetry on screen, emotionally expressive and appealing. The writing is tight and entertaining, keeping you glued to the screen for more than two hours and fifteen minutes.
The witty banter and hard-hitting messages are unique and noteworthy. “Tuje kyon tevar dikhaongi mein tuje din main tare dikhaongi,” Gangubai tells Razia before the election campaign when she questions him.
The picture is aesthetically compelling, with well-etched characters, dazzling settings, and period clothing, and it is mounted with great production characteristics. The film portrays the period from the mid-1950s to the 1960s, including cinema posters from that era, including ‘Mughal-e-Azam’ and ‘Chaudhvin Ka Chand.’
The soundtrack is excellent, as usual, but a little understated in comparison to SBL’s past flicks. The Garba audience is served by two songs, both of which are superbly choreographed and picturized.
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