Reading the courtesan as a queer figure: Suffering at the heart of spectacle in films from Pakeezah to Gangubai Kathiawadi
FirstpostThe fact that Gangubai Kathiawadi begins with Begum Akhtar’s voice crooning ‘Yeh Na Thi Hamari Qismat’ places this film as an offering to the silsila of courtesan culture and its queer association. The poet and founder of Dalit Panthers, Namdeo Dhasal, who lived a lane away from the red-light district of Kamathipura, waxes poetic about the plight of such characters, “This is pain wearing a dancer’s anklets.” But when looked at another way, as Vikram Phukan notes, these films helps paint “the gay man as [an> eternal victim,” constantly throwing one’s lot in the competition of despair. But the fact that Gangubai Kathiawadi begins with Begum Akhtar’s voice crooning ‘Yeh Na Thi Hamari Qismat’ places this film as an offering to the silsila of courtesan culture. Lip-synching these songs places you in that shape-shifting middle-ground, where you want to be the courtesan, and simultaneously want to be with the courtesan’s lover, and these two desires — to be and to be with — inextricably tie self-pitying queerness to the courtesan, who, in a truly Sanjay Leela Bhansali gesture laughs while weeping.