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128 Responses to “Images from Dirty Picture (updated)”
Ekta Kapoor and Milan Luthria team up once again after the blockbuster Once Upon A Time In Mumbaai to create a bold, humorous and dazzling multi-starrer set in the 80’s south film industry.
Billed as Moulin Rouge meets Himmatwala in terms of its look, The Dirty Picture chronicles the romantic journey of the erstwhile sensation Silk Smitha (played by Vidya Balan) her rise to stardom and her subsequent fall.
Talking about her look in the film, Vidya says, “Silk was made to give Indian men sleepless nights! She doesn’t leave much to imagination. Silk is every woman’s wild side and yet she’s soft where it matters. She was spunky, yet she can shock you with a straight face.”
The Dirty Picture also sees Vidya Balan reunite with her Ishqiya co-star Nasseruddin Shah. Produced by Balaji Motion Pictures and directed by Milan Luthria, the film also stars Tusshar Kapoor and Emraan Hashmi who play the key romantic interests in Silk’s life.
Ready to sizzle and shock in her all new avatar, Vidya says, “I’m beginning to feel like Silk… a bit slippery. I’ve always loved my curves and curves love Silk!”
Music composer duo Vishal & Shekhar have composed the soundtrack for this keenly anticipated flick, which releases later this year.
loved her thuder thighs during my school days and who will forget her naval..which gave me sleepless nights..i still remember her song from a sathyaraj film where he plays a photogarapher along with Amala!
I do believe that Vidya Balan has a certain sexuality to her… much prefer her to he obvious ones like Kareena (who is a put off actually)… but no way is Vidya Balan Silk Smitha. Silk was a different creature altogether. It was all in the eyes. Yes, she had an unmatched buxom figure, but it was her eyes, the manner in which she spoke that played a part in the collective appeal that caused men to jizz in their pants!
It is difficult to replicate. While Smitha had a raw appeal, Vidya has an appeal which she can transform as best as possible. In the end, we may get a sanitised version of Smitha. But as far as bollywood is concerned, Vidya is the best thing for such roles. Kareena did somewhat similar role with Rahul Bose in Chameli.
Bit surprised as to why Vidya Balan has signed this movie–she probably is going out of her to be versatile and avoid repetition.
Actually, to think of it, when i first saw her in parineeta, insoite of her obvious talent and potential, the lack of the overt “mainstream” abilites for eg lack of dancing abilities and oomph, were uite noticeable (and still is)
Thoight she may meet the fate of Gracie Singh who faded away INSPITE of two big blockbusters (Lagaan, munnabhai).
Complared to her, Vidya has negotiated herself quite well comparatively and has not only surprised but clinched awards for paa and Munnabhai (also Vidya is a better acress than Gracie–but acting alone without good decisions doesnt work alone)
ps–Vidya is looking better here (in a strange sort of way) than she normally does imo (although mnay find her more appealing than i do otherwise…
ps2—think Ayesha Takia or Mallika sherwat would have been a good choice for SIlk Smita (for obvious reasons) lol
typo–vidya got award for “ishqiya” not “munnabhai”
Also, dont know much about silk smitha and her “thunder thighs”, but wasnt sure if she is/ was iconic enuf to deserve a whole movie on herself–maybe someone more “conversant” with her can enlighten her..
Abzee: Karthika Nair?- Radha’s daughter? She of the angular eyebrows and stilted demeanor? As much suspension of disbelief as Vidya B. demands as Silk, I confess Karthika Nair in that role beggars my imagination.
I wasn’t talking of Karthika so much for her acting skills, or the lack of it… but because she exudes a certain ‘creepy’ sexuality that even Silk Smitha had. The eyebrows can be taken care of… ask Kajol and her unibrow.
In terms of acting, and satisfying the physical requisites of the role, Suhasini Rajaram would have been ideal, except that she lacks that enigmatic quality, and is more traditionally captivating.
Creepy, she certainly is 🙂
I guess having seen enough of their respectively different roles in the 80s, I can’t quite picture Suhasini as Silk either- although I see what you mean in terms of physicality. I guess the upshot is that this movie would probably work best for those without a residual memory of the original…
Enlightne “us” not “here”.
also it is canny but Vidya here is looking “slimmer” when she is required to look plump and buxom and have “thunder thighs” etc…
when she is supposed to look fit, she doesnt ….
A bit of a mystery really lol
“I believe I’ve just allowed a peep to everyone into my desi ‘masala’ collection.”
Cmon Abzee–bring it on…
Lets have some more “insight” and “links” from your “definitive masala” collection.
I am sure Satyam will not mind (infact will enjoy–given his confessed taste for “d-grade ramsay stuff”) and other “decent” members will look the other way / exercise “slef censorship” being mature adults (ps–some members are really “mature” in the real sense of the word here, it seems anyway….lol)
“Why would Ayesha Takia be the obvious choice? lol!”—Noticed a certain aspect of her physicality (decently put), not aware of earlier in “wanted” …lol
By the way, reminds me of Mahesh Manjrekar in “wanted”—Not sure if he had “real life insight” but he produced a “textbook” depiction of the leering perverted creep. lol
Even his scene with “Takias mom” were quite gross (even without anything graphic)..
PS–Somehow the little ive seen of silk smitha—DONT find her anything but creepy and even scary. Sometimes “big” is not better—this is 1 such case!!!
Surprised it took you until Wanted to notice that. In any case, Ayesha has that cuteness which makes me always have platonic siblingy thoughts towards her, despite her obvious ‘ahem’ gifts.
Silk Smitha is an enigma… and that aspect of her, to scare you, is also tied in to her appeal. Mind you, the nerves that are aroused sexually are the same that are aroused during fear as well. Which is why in near death situations, people always have sex!
Sado masochism and even NDEs are worthy pursuits and not totally alien here, But again, as u said, to actually create that sort of association, there HAS to be a subliminal or overt sexual attraction—-
For eg–On a really bad day, even Kareeena can appear desirable, but not someone like Silk Smita—its “all or none” sometimes. The “dominatrix” bit that u are probably alluding to, is not applicable in her case (although there are some other worthy contendors there)
as for takia–Somehow her choice of films and filmogrpahy was such that have never watched any film with her in it for a “close enuf inspection”
Yes, there is some “cuteness” involved in terms of takia but not enuf to evoke sibling-y platonic vibes lol
Which reminds me of the utter misfortune of salman khan who was once lamenting v recently on a telly show how he hated everyone calling him sallu BHAI!!
Recommended viewing on this issue would be “bombai ka babu” wherein Suchitra sen feels that dev anand is her brother while the latter is indulging in all sorts of mental ….
LOL who is this clone or impersonator of Rajen —“rajen1rajen” who is obsessed by silk smithas “thunder thighs”..
or has rajen been procreating all this while (with silk smitha)…making the optimal best use of “resources”.
Just shudder to think what the “progeny” will be like –hahaha
btw Lots of testosterone flowing around here!!!
Dimps, I have to confess that I may be wrong about Baba Ramdev. His fast is no gimmick but real serious. I saw sadness in his eyes. He should have organised his fast in a better way so that other undesirable elements should not have taken advantage of him. And he should have had advisors like Kiran Bedi and the Bhushans so that his demands would have been put in a better way. In that Anna is clever. And Baba is still a novice. I wish he merges as a real force to fight the corrupt and cunning people at the centre who will use every trick to escape. I am trying to understand him and I hope that this is the beginning. Even I see some childlike innocence in his eyes.
The initial antipathy of mine may be due to distrust in all sorts of babas. That Nityananda scandal. Rajneesh and Puttaparthi saibaba Ashram’s secret s. This governmnet is heartless. But some of the Baba’s supporters are more heartless. They wanted him to die so that they can reap the advantages in his name by discrediting the government at Centre. They are angry that his fast is partially broken. Baba has become a means for them to achieve their ends.
Talking of “wanted”—
To dispel the “flavours” of SIlk Smitha–
Enjoy this reasonable song—More than Ayesha Takia (abzee-stop noticing the “ahem” gifts lol)—it is Salman who looks quite good here…
Combined with the scenery (one of the Greek islands, I presume)–Njoy
BY the way–talking of Vidya balan—
Was forced to watch a bit of “hey baby” and revisited brief parts of “paa”–Have no qualms in revising my assessment slightly
She IS a competent actress (among the top two/ three currently, maybe more just on the basis of acting)
Plus her command over hindi is striking and so is her voice modulation which is bachchanesque (in a female voice lol)
She DOES have a certain “substance” and “old world charm”
BUT her dress sense is atrocious and dancing skills are close to non-existent.
Point to note–i have rarely seen a movie wherein the camera has so-deliberately avoided a heroine below the waist.
When nothing else could be done—a kids pram was pushed to block the view below her waist–i mean she is not a size zero, but this is too much…lol
Unrelated -but an irresistable song every time u hear it
Perhaps, one of the most complete songs i have heard recently not only from Bollywood, but anywhere in the world.
I was damn tired after a day of intense multitasking on screen lol (plus cummenting here etc )—but this one song invigorated me again–(now god save those around me lol)
This will also help “sanitise” this thread from Silk Smitha!!
Heard this song after a long time, but a truly inspirational song—
AR Rahman scaling these heights is not rare–
But it is rare when his music is more than matched by this level of picturisation and “vision” from Rakeysh Mehra..
Ash King (the UK Born singer) just blows me away with his soulful heartul rendering—-exceptional..
Even Sonam Kapoor looks special here especially in the “sugarcane scene”.
I am not into poetry but sample these lines–
“Teri Khamosh zulfon ki.. gehraiyaan
Hai jahan dil meraa uljha hua hai wahin kho gaya
Tu magar hai bekhabar, hai bekhabar
Seepiyon, ke honth se moti chhalak rahe hain
Ghazlon ki sohbat mein geet bhi behek rahe hain
Samandar lehron ki lehron ki chaadar odh ke so raha hai
Par mein jaagoon ek khumari ek nasha sa, ek nasha sa ho raha hai
Teri Khamosh zulfon ki gehraiyaan
Hai jahan dil meraa…
Uljha hua hai wahin kho gaya
Tu magar, hai bekhabar.. hai bekhabar..”
This is my favourite song from Delhi-6, both musically and the way it has been picturized. In fact, this is one of my favourite videographed songs past decade after Bol Na Halke Halke from Jhoom Barabar Jhoom.
“Annoyed”—^^^^^Sample some of the amateur poetry I wrote which was borrowed for this song by rahman (and u keep insisting of talking only about “sleaze”)–naughty girl/woman !!
“Why would I like this picture?”—stop taking yourselved for a ride—Reveal your “normal” name (which we can sort of guess anyhow) and reveal your inner self (& fantasies)…lol
… are you seriously that desperate that you need to keep inundating female commentors on the internet with random sexual comments? It looks like you are working very hard to prove that my initial assesment of you in my first comment was right.
“This is my favourite song from Delhi-6, both musically and the way it has been picturized. In fact, this is one of my favourite videographed songs past decade”Thanx Abzee. It seems, we share tastes other than Marion Cotillard…lol
Also feel that “bol na halke halke” from JBJ was v good.
PS–In “dil gira dafatan”, forgot to add the contribution of Prasoon Joshi–who apparently had to be hopsitalised after writing the strenuous process of writing D6 lyrics , presumably due to exhausion and fatigue…..
Also, the backing vocals of Chinmayee.
But the star of the show is RO Mehra for putting all this together and having the vision and getting the best out of ARR and Ash King.
Hey, didn’t realize u had gone onto D6 from DP. Aah, D6,what a delicious and delicate movie. Also loved the madness of JBJ. But now desperately want ab to have a ready, dabangg, wanted sort of run at the BO!!! Wouldn’t that be great, esp for me, let alone ab!!
By the way, talking of “dirty picture” , caught parts of a movie called “raat gayi baat gayi” expecting it to be a DP like movie .
BUt actually was quite a reasonable small film.
liked Rajat Kapoor…
“Annoyed” will surely like the topmost pic–no wonder she has suddenly gone quiet!!
Why would I like this picture? Just because I have a problem with double-standards, it does not mean I automatically like any project that involves a woman who is ‘mature’ by Bollywood’s idiotic standards for women. And Naseer is still far, far older than Vidya, by the way 😛
Coming back to the film, the posters are extremely disappointing. I had foolishly believed that post-Ishqiya, I could expect another strong femme fatale-type charecter from Vidya Balan, but this looks all kinds of trashy.
But I do not think that Ekta is neceassarily a producer of trashy films. Shor in the City was slick, dark, intelligent.
LOL! But also given Ekta Kapoor is producing it here you know this is hardly going to be a serious look at Silk Smitha’s life and much more an attempt to actually replicate the sleaze in the name of biographical adherence!
I actually momentarily forgot that this is meant to be a Smitha biopic. Wow, Balan is really not the right choice for this in more ways than one but then I guess one should be glad that Hindi filmmakers have not yet cast Hrithik as Sivaji Ganeshan.
And now to get back to something more constructive I do agree with Annoyed that despite all the progressive pretenses in Bollywood these gender equations tend to be quite regressive in films. Of course it’s another matter that multiplex cinema by and large seems to serve an increasingly younger demographic these days. Which wouldn’t be a problem in itself if the films weren’t so utterly juvenile. Or conversely if the seemingly adult love stories were a bit more mature. But they all operate at the level of Mere Brother ki Dulhan (who can take a film seriously with that title?!). But yes this asymmetry on gender issues remains an important problem. To put it another way female fantasy is still pretty much circumscribed by male censors (we see male fantasies in films.. the kinds of women who show up and so on). And even the more sexually liberated cinema simply makes the woman more ‘available’ without in any sense redefining this space in any meaningful way.
Re: “And now to get back to something more constructive I do agree with Annoyed that despite all the progressive pretenses in Bollywood these gender equations tend to be quite regressive in films.”
In fact, in some ways they have become MORE regressive — because the “liberation” is simply a question of conforming to a Westernized lifestyle that is presented as a worthy social aspiration, and that too in its outward/external, consumerist manifestations (as opposed to any intellectual commitment to the cause of greater social justice). One consequence: the freedom to be sexually available has become the freedom to ONLY be sexually available, perhaps even the obligation to be sexually available. Combined with the greater homogeneity resulting from globalization, where actresses (and, increasingly, actors too) are concerned, the freedom coincides with an incredible straitjacket, where the far greater diversity of body-types and faces of years past is replaced by people who look/dress in a similar fashion (and without regard to character: take Zindagi Milegi na Dobara, where the London banker, the Bombay writer, everyone has the same six-pack abs, and the effect can be jarring; contemporary films do not DO character, they simply peddle consumerist aspiration).
Qalander that is a really excellent point. I do believe that gender equations really have become more regressive in some ways.
For instance in ‘new age’ rom-coms like IHLS, the hero is shown to indulge in casual sex and treat the women he hooks up with pathetically which makes him ‘modern’ and ‘westernized’. Basically he behaves in a way that would have disgusted the Prems and Rajs and Rahuls of 10-15 years ago. But theheroine is still as pure and untouched as the Simrans of yore.
But for a few exceptions like Delhi Belly, most ‘sexually liberated’ Bollywood films only further the age old double-standard that he is stud but she should be an untouched virgin, or else she’s a slut. Ironically, the old, cheesy romances from the Chopras and the Baratyas were atleast unhypocritical in their conservatism, applying it to both genders.
And then there are the superficially ‘liberalized’ heroines like Laila in ZNMD. So Laila has none of the ‘disadvantages’ of a more traditional woman, she is not possesive or demure like Natasha, isntead she is ‘bold’ enough to pander to male fantasy by wearing a corset and biking sexily to go kiss the man she desires.
But at the same time, she also has none of the ‘disadvantages’ of a modern, liberal woman either: she expects and demands nothing from Arjun during the course of their romance because she is ‘modern’ so she makes all the moves herself and she also has no goals or aspirations that would conflict with Arjun’s.
And on top of all that, she is monogamous and nurturing enough to put any of the traditional Bollywood heroines to shame! Despite Imraan’s persistent attempts, she refuses to even flirt with him and instead spends her time caring for (and trying to cure) the sullen, joyless Arjun. She’s a free-spirit, but she gets married to Arjun even before she’s finished University!
‘Modern’ heroines like Laila are more for the benefit of the boys watching this film, who aspire to live similar lives to that of the glossy protagonists. A superifically ‘modern’ woman who was easy-going enough to be one of the boys (but still be effortlessly graceful and beautiful) and not be possessive or clingy at all, would be perfect to take along on such roadtrips.
But she is too flawless and accomodating a character (and completely lacking in any agency of her own) for women to ever be able to relate to her and feel empowered. Imraan is shown to be a selfish flirt and Arjun to be ruthlessly ambitious, but never will the ‘modern’ heroine have a few shades of grey to her charecter!
And lets not forget that this ‘modern’ film features 3 suntanned, brown-skinned Indian men on a roadtrip while all the female characters are atleast partly foreign and have skin as white as the driven snow! Even Laila the diving instructor could have walked out of a Fair&Lovely ad!
Another example of multiplex regressiveness? Zeenat’s Roma Vs. Priyanka’s Roma!
I’m not saying that these films have to be politically correct and feminist, but I cannot help but laugh everytime I read an article that talks about the new, improved Bollywood, or the changing roles of women in Bollywood film.
Well said. And I’d add that I have nothing against casual sex — in the sense that I do not regard it as morally inferior to any other kind of sex. But — on moral as well as, quite frankly, aesthetic grounds — I do have something against the “frat boy”-ization of sex (lubricated with copious amounts of alcohol) that began with American college culture, and has since become a near-global aspiration (certainly for the Indian multiplex generation). It’s bad enough in its American avatar (especially problematic is the fact that it is seen as “given”, as simply the way things are), but its Indian avatar adds a (fake) liberalism to its prestige.
[Aside: consider representations of women consuming alcohol in Hindi films. I certainly do not mourn the demise of the old notion that women who drank were either morally suspect, or asking for trouble. But I cannot help but note that we have replaced that notion with a direct Anglo-American colleg-istan import, of women who get hammered for the sake of getting hammered, of getting hammered as really the point of drinking. (A fair amount of research shows that this is in fact a culturally specific notion, and is far more prevalent in English-speaking countries than in, say, France, Italy, or Spain, although attitudes in the latter set are also changing with the acceleration of globalization.) I can’t help but feel that this sort of thing seems reflective of an anxiety — about conversation, and about silences.]
PS — I do remember being irritated by the extent to which Zindagi Milegi Na Dobara was fake. i.e. the film’s tagline is “Let it Go” — but isn’t that what Naseer had done? Isn’t that what Imran did with Hritik’s girlfriend? Weren’t both of them simply living for the moment, doing what felt right, etc. etc.? The message seems to be “let it go — but don’t rock the boat, don’t go too far, and stay comfy.” Thus the film’s end credits: not only is wild child Laila on board for the bourgeois marriage, but even her Spanish friend seems to want nothing except for monogamy.
[Aside: I chuckled when I heard the Spanish actress mouth “I love the color of your skin” to Imran; given this is a film one of the heros of which — Hritik — seems to be trying very hard to go Michael Jackson on us!]
My opinion about the women in DCH was the same as yours about them in ZNMD.
Priety Zinta’s role was nauseating. Oscillating from one to the other, seemingly not knowing what to do, inspite of being modern (dancing in the disco, LOL)etc, and in the end tamely accepts the macho man who comes to ‘take’ his woman, because ‘now’ he was ready.
Dimple’s role could have had more positivity in the relationship with Akshay (to represent a liberated woman), instead it was a no, no, for the younger man to ‘get’ the older woman.
Saif was less of a macho about their relationship than the other friend.
You’ve aptly described the ‘kissing’ Katrina. I had similar feelings about that scene (male fantasy, it was…the kissing girl on the
motorbike), though I don’t consider marriage ‘bourgeoise’. It may seem obsolete for the western sensibilities.
Then that woman (Abhay’s) was the typical stereotype, jealous
On Dil Chahta Hai, one aspect was even more offensive: not only was older Dimple “punished” for daring to fall for a younger man, the punishment is the one befitting all fallen women (OMG! Divorcee! Drinker!): death. Yikes. Akshaye Khanna is consoled: in the film’s last scene, he is paired with a suitable — i.e. a young — woman (aside: this actress is, um, foreign. “I love the color of your skin” too, baby.) The sheer conformism of this kind of thing irritates me more than anything in Barjatya — he’s honest (if a woman has burn scars where the audience can’t see, any guy willing to marry her must be seen as a saint), although, sometimes I think the sickness of the 1980s shakti kapoor films was preferable to both. Aaaaoooooo.
Aside: that is why I loved that line in Delhi Belly, where the character exposes the smug conservatism, the sense of entitlement of this whole moment when he fantasizes about busting his ex-lover’s wedding, and yelling “aur, kyunke mein 21st century ka modern naujawaan hoon, mein ne bhi is ki lee hai” (or words to that effect). It is the “because” of that moment (“I fuck; therefore I am modern”) that is most incisive.
“annoyed”– I’m surprised– inspite of my repeated polite signals to “call it a day” &”good night signals”— you seem so “desperate” to continue withthis exchange. On one pretext or another , Yu keep coming back for more!!!
I have taken it sportingly (till now)
Before if I get REALLY “annoyed” : suggest u take a chill pill & relax for the day. As for IP addresses and names/ pseudonyms/ etc, hope my patience doesn’t run out & u get tracked down to the exact address & PC — not that is really of interest to any of us here!!!!
“But yes this asymmetry on gender issues remains an important problem. To put it another way female fantasy is still pretty much circumscribed by male censors “— well summarised.
Also feel I perhaps need to use “kid gloves” more even on blogs etc — some people are not called “fragile- handle with care” without a reason!!! And they can be selective/ variable about this ! And finally gud nite especially to the ever persistent “annoyed” woman!!
Excellent points by Annoyed and Q. Both portrayal of women and the social commentary. Agree whole heartedly about DCH. Dimple’s story could have been told so much better but I guess Farhan didnt have the guts. Was still effective due to Akshaye’s performance but it was an oppurtunity missed in an otherwise enjoyable film.
Finally finished some (deadline-laden) hectic stuff…Happy to see this discussion “Inciting” some noteworthy, spontaneous (not manufactured/groomed) and heartfelt posts which also is somewhat of an “achievement”..
“Annoyed”—I dont mind giving credit where it is due!
^^ a rare pertinent commentary by you above on the bollywood representation of this “gender disparity” showing a keen understanding. (Although all aspects of this complex sociopsychic male-female “equation” is too layered/ mutlidimesional to be explained simplistically with genralisations all the time)
In addition– what struck me was the empathetic & personal insight/ touch this was laced with.
Besides, it gave a “female” perspective to the goings-on usually under-represented not only in bollywood but in the usual discourse esp amongst blokes!
Also, it showed a certain “maturity” which doesnt always come only with years (as in age) but personal experience.
To add—good to see that this “forced “the elusive qalander to jump out of his self-imposed hibernation and talk (deliciously) about his (obviously) favorite topics lol incitingly “laid out” infront of him. Enjoyed how he brims with childlike excitement whilst talking about those “quotes” from Delly Belly and how he innocently proclaims that he has “nothing against casual sex” and (expectedly) does not regard it “as morally inferior to any other kind of sex” lol
Nice (educational) fun!
Thanks Rajen — I will admit that, perhaps because of who Farhan Akhtar’s dad (and grandfather and grandmother) is/are, I am always somewhat harsher on him, because I just don’t see why, with his backing, his position within Bombay/film industry, and his family inheritance, he just plays it so damn SAFE.
Understand your sentiment but wont be so critical on Farhan Akhtar here..
DCH is and will always be a cult film. Nothing can take it away from him.
“pushing the envelop” is good but that wont have been taken kindly at all by the paying public —forget public—-even “well educated/emancipated” ones (like bloggers) take issues!
I had a chance brief run-in with JAved Akhtar in Chicago in one of the “tourist trips” and even got to discuss a few things briefly.
Find him very sensible and balanced and feel that he should be given a stronger/formal role to represent his community.
As for ZNMD, it carried the unwritten aims of relaunching Zoya akhtar as a director and Farhan as a lead hero (along with keeping it reasonably away from cliches) whilst staying multiplex friendly. At the same time, the team had to keep enuf “meat” in the roles for the much bigger stars (Hritik and Katrina) and keeping them interested in a film where FArhan remained the (actual) protagonist).
(have mentioned this before)
Think that the Akhtars (as a team) achieved all this paradox well.
ps—Javed Akhtars voiceover were awesome especially the one just before/during the “Katrina bike scene”—not sure someone has a link!!
In a far-fetched way, all this reminds me of one of my favorites—House in one of his “ward round” meetings—-
“Those of you who HAVENT slept with each other stay behind—all the rest can leave!!”
” You all can get the viagra/lubrication etc—just give me the receipt!!””
My thoughts exactly 🙂 It reminds me of tamil films that my grandparents like to watch. I find it wierd that Naseer has starred most prominently in the promotional material so far. So the two younger men only have supporting roles? I can understand why Tusshar Kapoor would play such a part, but what could draw Emran Hashmi towards accepting a small role in a female-centric film when his career as a hero is going so well? Apart from the fact that he would be right at home with all the sleeze, that is 😉
I also think that its i quite obvious now that the movie is going to be more of a recreation of Silk Smitha’s typical work, with a ‘retro trashy’ kind of vibe, than a biopic of any authenticity or seriousness.
Lol@ the tennis pic…
I mean, what IS the erstwhile “good gal” vidya trying to achieve here..
Having said that, like her “guts” for taking this on when she could’ve played it “safe”— like her spirit(not the pics)
Just to add— think Naseer & tushar not only did this movie for free (but had to pay to do it ESP Naseer ).
Hush-me looks (suspiciously) disinterested in the “proceedings”– probably there is another heroine?
the king of sleaze is back—hush-mi is probably the only one who got paid here for acting in this film—to lend his undoubted/undisputed “sleaze” credentials to proceedings.
Vidya Balan seems to have enjoyed too much here and hence her payment was withdrawn..
Naseer and tushar (esp the former) obviously had to pay to be taken in this film..
ps—must hand it to Balan for having the guts to take on this role.
when i first saw her in parineeta, with her lack of conventional heroine skillsets like dancing, trim profile—thought whe will suffer the fate of the lagaan heroine —who faded away even after two blockbusters–munnabhai, lagaan.
But balan has kept reinventing herself.
And seems she has been “rewarded” here—she seems to have unearthed some hitherto (hopefully) unknown facets of her own sexuality here…Now lets hope she gets time n opportunity to “experiment” with it…..lol
only thing left is sleaze in 3d …for better audience satisfaction…
they are releasing in silk’s birthday but one hope atleast there is some reserach ….in vidya’s last realistic film no one killed jessica they ended up showing one witness as hostile… from the look of things it is not looking any genuine biopic but more a sort of commercialization of tragic end …
from the pics its naseer who is looking more like jitu(mr whte)..tushar seemed to be have the rajni/kamal hangover of moustache
A few raunchy scenes in the trailer of the actress’ forthcoming film The Dirty Picture were cut to meet the censor board’s demands
Posted On Saturday, September 17, 2011 at 04:14:11 AM
Ekta Kapoor’s attempts at getting bolder with her films have just been thwarted. The Censor Board has objected to the second trailer of her upcoming film The Dirty Picture, directed by Milan Luthria.
The officials felt that the trailer in question is too explicit and thus not fit for theatrical or television exhibition, unless it is given an A certificate.
A source revealed, “The producers wanted a U/A for the trailer. They wanted the promo to be shown with as many films as possible starting with Pankaj Kapur’s Mausam, which is expected to hit the theatres next week.”
The censors had objected to various scenes in the trailer and the producers had to make quite a few changes to it. “A lovemaking scene between Vidya Balan and Naseeruddin Shah in the car has been removed.
Certain abusive words in Shah’s dialogue have been muted,” revealed the source and quickly added, “But the entire un-cut trailer is still available on the web.”
When contacted, Balaji Motion Pictures’ CEO, Tanuj Garg said, “The Censor Board felt that a few scenes and words in the trailer might not be appropriate for television and for people watching a U/A film in cinemas. On the other hand, we were clear that we needed a U/A. Hence, we complied with their requests.”
Following the aadmi/satyam discussions on a different topic, I’d love to be entertained by an unpretentious piece of masala cinema for a change.. No SRK/Aamir/Sallu starrers.. just pure, clean entertainment.. Wish for another Khakee soon..!
This is one film that has got it ALL wrong and is bound to fail.
1. First: it is so obvious. A film about Silk Smita has to look sleazy? Come on. where is your imagination? Where is the surprise?
2. a film about Silk had to be about the Silk no one knew. The trailers should have highlighted the human Silk rather than showgirl Silk. The sleaze bit in small doses would have been explosive. Now , with its overdose, dulls your senses and makes you feel blase.
3. The recreation of Silk is all wrong. You need not get factual But still, we are talking about an item girl. She is no Sridevi romancing an aging NTR.
4. These recreation of old era film songs is a bore. Even in a film like Iruvar, where it was so well-done, they slowed the film down. and the only thing Mani did wrong in that film , I thought, was picturizing those different-era film songs full-length.
One of those films that look very interesting on paper but raise an yawn when translated to celluloid.
Utkal: I agre with your first three points, but am quite taken aback by the fourth: do you really feel songs and videos like Narumugaiye slowed the film down? For me, the film is so compressed that these songs were part of the storytelling: where would the Mohanlal/Ash relationship, or the one between Anandam and his second wife, be without the songs? It is these that added layers to the story…
This is also the guy who made Once Upon a Time in Mumbai (a film I found entertaining enough) so I’m not shocked there are liberties being taken. That doesn’t make it ok but I’m not expecting a biopic from Bombay to be remotely honest about anything, much less a “Tamil” persona. On Iruvar…I can’t at all agree that the songs “slowed” things down. That film is the pr-eminent example of how to properly use songs in a narrative. I think we are increasingly living in an age of moviegoing where traditional narrative devices in Indian cinema like the song sequence are increasingly misused and maligned. It’s a shame because it’s one of the more identifiable and unique constructs of this cinema. This is largely true for the fight sequences as well which these days are basically thrill-free spoofs. Most recently I quite enjoyed the fight sequence in Dum Maaro Dum within the ship – felt like one of the “truer” fights, never turned into the kind of nonsense we see in any number of Salman Khan’s films these days.
Utkal uncle: there are various different “planes” that sleaze works/may work in…
U never k kw who can get his (or her) kicks by what—-dint count anything out.
For eg there are quite a few “respectable” (but covert) murder2 fans here lol
Sometimes seeing someone like vidya doing all this can be more appealing to some —can’t predict perversions lol
So suggest u also enjoy it , utkal uncle…
Qalandar, agree that songs in Iruvar establish period, move the narrative. But they did not have to show all the songs FULLY to do that. Some songs like Venilla Venilla are basically item numbers, which is fine, but then please trim some of the other songs. They definitely make the rhythm predicable and definitely slow the narrative down. Mani uses songs in snippets in GURU and that works so much better. That’s why even a dry story like a businessman’s rise and fall manages to grip you. I am 100% convinced, Iruvar would halve befitted by more innovative use of songs, and one simple ruse s could have been to use some songs in snippets.
thing with dirty picture is one hope that it don’t become a cariature of sort( i don’t rate silk any better than shakeela or namitha …and i mean no offence)
one can see shades of rajni in nasser and jitu in tushar but again character of emraan look as fictitious as one could get
OUATIM was very retro in look and has history attached to (deewar was inspired from hajji’s life earlier) but here you hardly have any reference…and in recent time one of vidya’s movie compleately mocked research (no one killed jessica)
Some great points by GF, Utkal here.
Irrespective of the merits of the film, it is going to be a success. Probably, for the wrong reasons as the promos have emphasized the sleaze factor here. The surprise here is Balan in a sleazy role.
I agree with GF that the effort shows on part of Balan but she still looks interesting.
I think it is very loosely based on Silk Smitha’s life. So, dont excoriate film for taking licenses with Silk Smitha’s life saga.
Lutharia is an above average director and Balan is an above average actress. Music has been liked and the film seems to have generated enough interest for the trade to be enthusiastic about it.
I think the problem with this film is Vidya’s presence. You do not expect a shamelessly, mindlessly sleazy film from her- and that is what this looks to be. If it had been made with a less ‘prestigious’ actress I think people would be less critical of it.
But I cannot think of any Bollywood actress who could play Silk convincingly. Silk was very earthy and raw and not at all generically attractive – almost all Hindi actresses today are plastic and supermodelesque. Even Chitrangadha Singh is too respectable and conventionally beautiful looking for such a role.
I think that Radhika Apte might have suited a role like this- but she obviously does not have the necessary star power. I know this might sound like a bizarre choice but I think that Kajol would be good in a role like this too- and having her play such a character would create the ‘shock value’ that the makers seem to be aiming for.
Shocking maybe but not all that dissimilar to the idea of someone like Balan doing this. The two are obviously different kinds of actresses but either doing this sort of thing plays into the fantasy of “sullying” the girl-next-door. My complaint with Kajol would be the same as with Vidya – in either case you have perfectly attractive women, but women who are also not sexy on screen. This isn’t what they’re “about” in any event.
Re: I think that Kajol would be good in a role like this too-
Certainly, the thunder thighs part.
I dont think this is going to be shameless sleaze. Publicity certainly has concentrated on the sleaze appeal. But, thats understandeable. There are more Alexes out there than GFs. But, I expect it to have substance.
Might be wrong but given Lutharia and Vidya, I dont think it is going to be a sleazefest.
Yes, despite all my reservations I don’t expect that this film is going to be terrible or anything. As I mentioned elsewhere Ekta Kapoor isn’t all that bad as a producer and she’s (surprisingly) managed to bankroll a few quite watchable films.
“The Dirty Picture Merchandise includes Free Tissue paper packs….wonder why ? lol!!”
Rocky a great thought–brilliant…
The “perfect consumer ” for these “tissue papers” was rajen uncle IMO .
But out of due respect , resisted from mentioning it earlier.
But lo behold–he has automatically “appeared” at the “apt” place
to claim those
Lol had to really “rescue” rajen uncle at his home front after his previous misendeavours….
He was MIA–thought he has “reformed”
But the first mention of “sleaze” and he is back…..wow
But we can’t complain
Kajols “thunder thighs” to the use of “tissue paper” —–there’s everything here (in the name of “lambasting” THIS sleaze feast
BUT everything’s forgiven —if I remember correctly –other than utkal uncle, rajen uncle was amongst the first to correctly “appreciate” nargis f correctly
3 cheers to the uncles–rajen and utkal
Ps -miss utkal uncle ( of the Nabokov “diaphanous” glow)
Ranbir is a media favorite and will win for this I think. But this will hardly change the bankruptcy of Filmfare of which there are numerous examples. I would easily give it to Abhishek for DMD among major commercial performances this year.
I know nothing about this movie- but you have to admire Vidya Balan for having got to the point where she has one potentially major movie where she is billed first and another smaller movie where the poster carries her name alone- and this at what is possibly the worst time for actresses in what is already one of the worst industries for actresses.