'Gangubai Kathiawadi' movie review: Sensible portrayal of darkness, survival, existence, battle

Cast: Alia Bhat, Ajay Devgan, Vijay Raaz, Shantanu Maheshwari, Seema Pahwa

Director: Sanjay Leela Bhansali

Rating: 4/5

“Sirf tees seconds baaki? Kya kahoon main in tees second main? Meri baap mar chuka hai. Tera saal bad baat kar rahi hun. Sirf tees seconds baaki? Kya kahoon main in tees second main?” (Only thirty seconds remain? What should I say in just thirty seconds? My father has died. I am speaking after 13 years. What should I say in just thirty seconds? What should I speak?), a helpless Gangubai, a prostitute, virtually pleads on phone after a warning that just 30 seconds are remaining before the termination of the call. Even before she completes pleading the line gets disconnected.

Gangubai has many more things to say, express, share and reveal, but there is no one in the world to hear. She is left alone and is forced to bury the stark realities of life, make compromises, sacrifices and adjustments.

Sanjay Leela Bhansali’s Gangubai Kathiawadi based on writer-journalist S Hussain Zaidi’s Mafia Queens of Mumbai is a heart-rending story of loss, void, grief, love, loneliness and an eternal battle for existence and survival.

It is also a powerful voice of the voiceless who are merely used and thrown only to be treated like trash; their silent and lone battle for acceptance, inclusiveness they naturally deserve.

Set in the 1950s and 1960s, the biographical crime drama deals with a barrister’s innocent teenager whom her suitor tricks and traffics into flesh trade at Kamathipura red-light zone in Bombay. The girl who wanted to act opposite Devanand in Hindi movies is left alone to fight her lone battle satisfying customers, some of whom find satisfaction in raping and inflicting violence on her while on the bed.

It takes less time for her to realise the spark within her. A born fighter, Ganga becomes Gangu and then Gangubai. She swings all her adversities into her favour through her ruthlessness and shrewd cultivation of political connections. The rise of Gangubai, the prostitute, is meteoric as she rules the Kamathipura and even meets Prime Minister seeking justice for 4,000 sex workers to live and enjoy their natural rights.

Film posters change every Friday in Kamathipura. Gangubai, who wanted to act in a Hindi film, finally becomes a permanent poster outside every building in the locality as she becomes a messiah of sex workers.

The moving yet stem-winding story stresses the need for inclusiveness of sex workers. This larger than life sleazy-sentimental melodrama is an insightful story of the underworld of Bombay.

Bansali once again depends upon his trademark qualities including the Dholida song, the overhead shots and the razor-sharp monologues. All this and his potential to visually paint a gruesome picture with hues of white and green and grandeur transform the movie into a visual extravaganza.

There is terrific verve and audacity to Bansali’s creation.

Gruesomeness, outrageous energy, brashness and recklessness are hallmarks of Gangubai’s character which he effectively portrays.

The linear storytelling effectively highlights multiple conflicts of Gangubai.

Absorption of the realities, brutality and cruelty of the world’s most ancient profession appear convincing. They also provide insights into the teeming world of sex.

The first half looks dragged. This flaw is compensated for in the second half with some gripping scenes.

Alia Bhat as Gangubai is exceptionally brilliant. As Rahim Lala, Ajay Devgan is outstanding. Seema Pahwa conveys everything merely by facial expressions. Vijay Raaz as trans madam Raziabai is remarkable.

Prakash Kapadia and Utkarshini Vashishtha as dialogue writers draw attention.

Cinematographer Sudeep Chatterjee’s central and frontal framing places draw attention.

Sanchit Balhara and Ankit Balhara deserve a mention for their exceptional background score