So before much ado, hats off to Ms Bhatt for being what she is. She is in almost every frame of this masterpiece, lording order the lewd lads who infest the strikingly designed length and breadth of the redlight area in the 1950s. I have never witnessed a performance more heroic than Alia Bhatt’s, at least not in Indian cinema. How do we describe what Sanjay Leela Bhansali has done with his Gangubai? And where are the words to reify the illimitable pain that Alia Bhatt’s eyes convey? She smiles, she laughs, she dances, she bullies her enemies and berates her friends…but her eyes remain ceaselessly swathed in sorrow. This opening sequence is like a piercing scream in the dark that sets the mood for a film that defies analysis. As she bleeds the blood mingles with her cheap makeup. She is grimacing and to add to her pain a firm hand holds her face, stuffs her mouth with a cloth and pierces her nose with something as sharp as the dialogues of this film. First Take | After Gangubai Kathiawadi, tracing the other Fallen Woman in Mandi, Lakshmi, Begum JaanĪ very young very pained girl's face is being painted, prepared for something not very pleasant.
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