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The portrayal of courtesans through cinematic lens
KV Prasad Jun 13, 2022, 06:35 AM IST (Published)
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Summary
During the pre-colonial period, courtesans were highly skilled and accomplished women who occupied a unique position in Indian society. They were known by different names in different regions of India; for example, they were called Tawaifs in North India and Devadasis in the South. Here’s a brief look at the various portrayals of courtesans in the Hindi Cinema.
Sanjay Leela Bhansali’s upcoming release, “Heeramandi: The Diamond Baazar,” adds to Bollywood’s enduring interest in courtesans, a theme explored in classics Amrapali (Lekh Tandon, 1966) Mughal-E-Azam (K Asif, 1960), Umrao Jaan (Muzaffar Ali, 1981), to multiple adaptations of Devdas and Begum Jaan (Srijit Mukherji, 2017)
Historically, courtesans were esteemed women of diverse talents, known as Tawaifs in the North and Devadasis in the South. Renowned for their expertise in music, dance, poetry, and literature, they held a unique position in society.
They often enjoyed patronage from royalty, aristocrats, and wealthy elites, who valued their companionship and entertainment. Courtesans were not merely entertainers but also served as confidantes, advisors, and even political influencers in some cases.
However, colonial-era upheavals forced many into prostitution due to economic pressures.
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While Bollywood has depicted them in various films with a mix of romanticism and melodrama, it often overlooks the challenges faced by these women. Films portray them as seductive entertainers but such shallow portrayals fail to capture the multidimensional essence of courtesans, reducing them to mere caricatures defined solely by their sexuality.
In the memoir “The Last Courtesan: Writing My Mother’s Memoir,” authored by Manish Gaekwad, the narrative unveils the life of Rekhabai, a courtesan. Gaekwad, her son, paints a vivid picture of Rekhabai’s resilience and independence. Unlike the romanticised portrayals seen in Bollywood classics like Umrao Jaan and Pakeezah, Rekhabai’s story is one of self-sufficiency. She recognised her capacity to provide for herself and harboured no dependency on a man.
Gaekwad narrates the perilous situations she encountered, including a harrowing encounter where a suitor pulled a gun at her when faced with rejection. Furthermore, within the courtesan community itself, Rekhabai endured jealousy and abuse from peers envious of her success.
Furthermore, Bollywood tends to gloss over the historical context of courtesans and their social status, presenting them as timeless figures rather than products of specific cultural and historical contexts. The nuanced relationships between courtesans and their patrons, and their role in shaping art and culture, are often overlooked in favour of melodramatic narratives centred around romance and intrigue.
In Hindi cinema, courtesans are portrayed with a newfound sense of empowerment and agency, allowing them the freedom to select their companions.
However, despite this liberation, cinematic depictions often cast them as figures of tragedy.
Films like Pakeezah paint a picture where courtesans ultimately find fulfilment through marriage. Contrary to these romanticised portrayals, historical accounts suggest that courtesans were deeply immersed in artistic pursuits, formed close bonds with both genders and boldly challenged societal norms.
However, this is not to say that Bollywood has failed every single time.
In contemporary times, words like tawaif, kotha, and mujra often carry a derogatory connotation, despite the rich cultural heritage associated with them. What many overlook is the invaluable contribution of courtesans in preserving traditions such as thumri and Kathak for centuries.
Mandi (Shyam Benegal, 1983) starring Shabana Azmi and Smita Patil, astutely captured these evolving portrayals by delving into the harsh realities faced by Indian courtesans, who often found themselves vilified by other women in society.
It remains to be seen if Bhansali’s Heeramandi will fall under the latter. The series features Manisha Koirala, Sonakshi Sinha, Aditi Rao Hydari, Richa Chaddha, Sharmin Segal, and Sanjeeda and will be streaming on Netflix from May 1.
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