What happens when a movie that stresses upon 'Entertainment, Entertainment and Entertainment' gets dipped into moments of predictability? Sounds like bad news doesn't it?
The hype generated before the release of the movie is such, that it's bound to set the cash registers ringing for quite sometime.
Just when we thought Bollywood has come of age (with Vidya's on-your-face raunchy act in the trailers) Milan Luthria pulls the curtains on it by throwing in the predictable factor in its wake.
The filmmakers, from the very beginning, had the intention of having 'The Dirty Picture' 'shock' the viewers, and what better way of adding shock value than by using sex? While many people might rave about how liberating it is for for Indian Cinema to see a film showcase such a bold subject, viewers wanting to see a celebration of the subject might be disappointed.
'The Dirty Picture' isn't all that dirty after all. The dirt, in the film is the mindset of people; Men, to be precise. The one idea that runs throughout the film is that 'all men are lecherous' and it is this factor that leads to the rise and subsequent fall of the protagonist of the film, Silk, portrayed by Vidya Balan.
Vidya Balan is glorious in the film, perhaps the only good reason for you to watch the film. Vidya is in full character as the leading dancing queen of the South Indian film industry, especially with her ample cleavage, thundering thighs and belly.Her flabby body is so on-the-face that it almost gets horrifying to see her gyrate to the songs. She does all she can to portray the 'magic' that Silk Smitha created with her dance moves but she rarely comes close to the actual Silk. The unabashed manner in which she performed and the way she controlled her body, never rub on Vidya.
However, there is no questioning her strength as a performer. There are moments when she radiates like true silk and shows gusto in her act. She is a born performer and she displays this magic especially well in the second half.She skillfully controls her moves so that they don't border on sleaze. Her casual attitude in the movie despite flaunting her bursting pot belly goes down as a mark of deep rooted commitment to the project.
The men in the movie come across at different stages of Silk's life and largely determine the outcome of her success and failure. Naseeruddin Shah as the outrageous 80's superstar Surya is at par with Vidya in terms of dedicated performance. In spite of his garish costumes and make-up, people see beyond his act as the scheming lech. Tusshar Kapoor's presence in the movie is largely a mystery to me. The character is dumb, insipid and irritating to a great extent and any other small time actor could've done more justice.
Emraan Hashmi, throughout the movie looks like he is suffering from a bout of his act in 'Once Upon a Time in Mumbai'. He is 'the angry young man' of the film who predictably falls in love with the woman he loathes throughout the screen-time. For once, why couldn't the character remain true to itself instead of just fitting conveniently where the masses would want to see it.
Coming to the director, Milan Luthria cannot camouflage the deficiencies of the script. Silk's character gets confusing when she says that she is only a dancer and cannot act despite staunchly wanting to be an "actor" in the beginning. Her projection as an uncouth girl also takes a beating since she speaks in refined English each time. Some of the dialogues are unbelievably cheesy while most of the other are laced with sexual innuendos. The humor is also forced and the film would have done better without it.
It is only Balan who is the saving grace of 'The Dirty Picture'. Watching the movie never turns into an experience because of the terribly limited script. Neither does it offer the viewers a true glimpse of the late Silk Smitha nor does it bring forth a fresh appeal in its subject. Had there been no Vidya Balan in the movie, it would sure have gone in the dumps as a pitiable attempt to present the glorious life of a woman who brought sex from the bedrooms to the big screen.
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