Sanjay Leela Bhansali
, renowned for his grand visuals and captivating stories, has a notable fondness for depicting
love triangles
. This theme has been a recurring motif throughout his filmography, weaving its way into films like the iconic Hum Dil De Chuke Sanam (1999), the epic Devdas (2002), the whimsical
Saawariya
(2007), and the historical romance Bajirao Mastani (2015).
Bhansali isn’t afraid to explore the complexities of unrequited love, the bittersweet sting of sacrifice, and the yearning for a love that may never be fully realized. This willingness to revisit the theme, while some directors shy away from their recurring obsessions, speaks to Bhansali’s artistic depth and his ability to find fresh nuances within a familiar structure.
Recently debuted his latest project, the web series
Heeramandi: The Diamond Bazaar
. This ambitious series marks Bhansali’s foray into the streaming world and dives into the captivating world of courtesans (tawaifs) residing in Lahore’s Heera Mandi during the pre-independence era.
The director discussed his enduring interest in love triangles in an old interview with BollywoodLife. He said, “ I think this will continue all my life. I really don’t know why I am so attracted towards it, is it a personal state of mind to go into this zone. But yes I pick up stories where the love story does not necessarily end but for me that’s the happiest end the love story could have.”
He further explained that he finds greater meaning in tragic endings than in typical happy ones. He believes that Devdas dying outside Paro’s house for one last glimpse of her is a happier ending than a couple walking into the sunset together. For him, Devdas’s act of seeing Paro before dying is true love. He mentioned that ‘Hum Dil De Chuke Sanam’ shares the same idea. Bhansali is deeply drawn to the incompleteness of these love stories. He feels that if a love story is complete, it loses its essence and his interest. He cited classic tales like ‘Romeo and Juliet,’ ‘Heer Ranjha,’ and ‘
Sohni Mahiwal
,’ stating that they are powerful because they depict the feeling of being in love without actually attaining it, followed by death or separation. This, to him, is the purest form of love, which fascinates him immensely.
He added, ” I don’t do love stories where the hero or heroine has options or a plan B, I didn’t get you so now I moved on to the other person. This doesn’t work for me. All the films I have done are of pure unadulterated love.”
