NARENDRA Modi and Sanjay Leela Bhansali have something in common: they both view Pakistan through warped lenses. Modi’s perception is of a country overrun by terrorists on the lookout for Indian soft spots to attack. Bhansali uses his camera lens to create spectacular falsities. His latest is an eight-part Netflix series on Lahore’s red-light area Heera Mandi. (It derived its name from Raja Hira Singh, a favourite of Maharaja Ranjit Singh.)

Bhansali — a talented filmmaker, producer, writer, and composer — is the despair of his critics. He challenged them with films such as a saccharine adaptation of Shakespeare’s romance Romeo and Juliet, titled Ramlila. It invoked the ire of some orthodox Ram bhakts. He was forced to change its name, elongating it to Goliyon Ki Raasleela Ram-Leela.

His detractors made him run the gauntlet of the Delhi High Court, and then the Lucknow bench of the Allahabad High Court, which, a week after the film’s release, banned the movie’s showing in Uttar Pradesh. Despite these obstacles, GKRRL became the fifth highest-grossing film of 2013.

Bhansali’s next project Bajirao Mastani (2015) extolled the love between the Maratha hero Peshwa Bajirao I and his second wife Mastani. The descendants of Bajirao and Mastani........

© Dawn