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272 Responses to “Dirty Picture, Desi Boyz (ongoing), the rest of the box office”
Not to sound as if I’m conducting a sociological survey, but do you think critical reviews account for this? I’ve wondered myself whether film criticism really influences the audiences outside of obvious extremes…I’d actually be genuinely surprised if a film like this did anything at the BO.
GF,
You are forgetting this film also features your most favorite actor next to Mohanlal. i.e Tusshar and you are underestimating his BO pull.
The business of this film is going to surprise people. Unfortunately, it is not going to be because of the merits of the film ( which seem to be substantial) but the sleaze factor.
Seems to be getting positive reviews, Milan luthria seems to have hit the bull’s eye again; i loved taxi no 9211 and OUTIM…even though the premise of the movie is not very interesting I might just check it out in the theater.
The reviews seem to be surprisingly positive even saccharin laden.
So vidya has booked the “best actress” award already
She may have done v well but this is the perfect trope/ device to trick audience onto believing a great role for a great “transformation ” (vidya as an unlikely silk) into a great performance
Though not seen t –so vidya may actually be v good
Reminds me of the the perfect such hoodwink IMO– saifs “great” performance as “langda tyagi” where even the hastily hidden but still onviois English accent was substituted for some deliberate crassness and “rusticness”–& most fell for it lol (proves it worked though for most :but not for me)
For me said is sublime and smooth in stuff like salaam namaste and LAK…..
The Dirty Picture had a strong start as it opened to 60-65% collections on average at multiplexes. The film was best in and around the Maharashtra area where the opening was 80%. Nizam was also very good with around 75%.
Delhi and Punjab opened to around 50-60% while Gujarat and Mysore were on the lower side. West Bengal also managed a good opening which is rare as not many films open well there.
The opening compares well with last weeks Desi Boyz and the film could put similar opening day collections or even better than that film despite a smaller release.
The presence of Emraan Hasmi has helped the film as he has a strong following in many mass pockets in the country and with multiplexes and single screens doing well it could turn out to be a very good first day.
Im not a fan of the guy and have not seen any of his movies but i agree with this assessment. He does have BO pull. However small pull it is, i think it may have helped the film no doubt.
I’m happy for Vidya Balan, she has been giving decent successes without any front runner actor(unlike Katrina and Kareena who rely on the actors BO pull, especially Kareena). The last film of hers that relied on an actor and opened huge was prob HF. She is my fave actress after Preity Zinta disappeared all of a sudden, i really do miss her “spunk”.
i really felt and still feel preity zinta’s absence as well. she’s an anomaly in the sense that she IS both the girl-next-door type and a serious actress, usually most bollywood actresses are either or. i’m glad she’s making a comeback to films.
B.O. update: ‘The Dirty Picture’ has super-strong start, akin to a biggie
– By Taran Adarsh, December 2, 2011 – 13:03 IST
It’s often said in industry circles that heroine-oriented films don’t fetch a favorable start at the box-office. But THE DIRTY PICTURE is all set to prove this assumption wrong. The film embarked on a thunderous start in morning and noon shows, matching the opening of several biggies that have opened in the last few weeks. In fact, at several centres, the morning shows were in 85% to 90% range, which caught a lot of people in the film industry unaware. The film is expected to gather more speed during the course of the day, as per early trends.
Point to be noted is that the screen count of THE DIRTY PICTURE [1600 screens in India] is lower than ROCKSTAR [1900 screens in India] and DESI BOYZ [2200 screens in India], but looking at its terrific start and the tremendous audience feedback, this medium-cost film *may* turn out to be a bigger winner, in terms of box-office revenue.
rohansippy Rohan Sippy
Dirty Picture is great fun, it’s going to be loved:) huge congrats Milan & @rajatsaroraa, & hope Vidya has lots of room on her mantelpiece!
Rohan sippy reminds me–the way he suddenly killed off abhishrek in dmd—-tout it was counterproductive
The Bollywood audience or most of them have certain notions
They like their hero to be “heroic” and win and get the girl(s)
Think a dabang esque ending may have given him , abhishrek (&satyam) something to celebrate lol
Similarly it seems that when someone like vidya balan indulges in sleaze, certain people get more amusement!!! Lol
“after Preity Zinta disappeared all of a sudden, i really do miss her “spunk”.”—agree there
Liked preity zintas zing n spunk though she quickly got submerged in the “yash uncle syndrome” and then “IPL gate”
But did u mean Kareena has “spunk”–NOOO–if she has, it’s the wrong type of “spunk”
Nargis f has that now IMO
Yeah both Rani and preity got submerged into the ‘yash uncle syndrome’ as you put it. i shouldve appreciated these two more than i did. Vidya is the only interesting actress today for me. katrina has zero talent and kareena is down right annoying. ash is pretty much done i think with the baby and all. vidya is the only hope.
on kareena, i just merely mentioned she hasnt been bringing anything to the table for a while now. shes a freeloader of sorts. lol. riding on the khan’s successes. lol.
anyway i have not seen RS or nargis…so cant comment on her. sonam kapoor is another actress that interested me until i saw “thank you” and she was dreadful in it.
Agree there esp on Kareena being downright annoyingly irritating. Infact those who find her “hot” need to be scanned for hyper functional hormones and treated!!!
“katrina has zero talent”—ya but “talent” is not an essential criteria of the” job” description lol
Vidya is a v good actress but can never be a conventional topnotch heroine—the last such heroine was madhuri dixit who hasn’t been replaced yet
(trani came close after black etc but she is a textbook of how to ruin ones career)
Ps—just checked out this bit of the indiab big bro –mahesh batt met sunny leone
I mean , bhatt was “oldman perversion” personified–reminded me of someone lol
yes mads was unique no doubt. vidya tried to be ‘mainstream’ with her Hey Baby appearance. Anuska Sharma reminds me a lot of preity zinta. i liked her in Pataila House.
LMAO! yeah when i read that to myself it did not look right. and RS is Rockstar. i have not seen the film so i cant comment on Nargis and her “spunk”. lol.
And yes :Imran hashmi seems to have some following
Though he is sick n weird but perhaps lots of single screen average joes consider him to be representing their “aspirations”&”angst”(in the absence of a better term for that)
He seems to be the brand ambassador of sorts of a particular type of demographics (&uncles lol)
don’t think he has any following.. he basically ‘signifies’ soft porn and good music.. that’s about it! And note how this was established when the Bhatts tried a couple of bigger films with him with more normal stories that then didn’t work!
come on…like i said im not a fan of the guy but you cant deny the success, murder 2 being the most recent. 35cr opening week is no joke. he has SOME kind of fan following.
Murder 2 was a sequel to a movie that had hugely popular music and was successful as well. Do you really think that’s where his films would normally open? If that were true he’d be one of the top stars!On day 1 Murder 2 opened more or less like ZNMD. What does that prove?! Hardly any film of his clears 10 crores barring Murder 2 and of course OUATIM where he’s not alone.
The other thing is that grosses, specially in a system that increasingly resembles Hollywood, have to be differently ‘read’ in different instances. When a star routinely throws up big numbers you know that he or she has a certain brandname which gets you something minimal irrespective of the film (within reason). But lots of ‘projects’ can throw up big numbers in the initial going. To sustain the numbers you still need major stars more often than not because there’s a large cross-section of the audience that won’t show up even for a film with good WOM if there aren’t major stars. Unless of course the WOM is stupendous which is rare. For the same reason you can get a number of films to a certain range which is impressive on its own but you can’t get the same films to say 80 or a 100 crores. In Hollywood a number of films do 100m and then a DiCaprio film does a 100m too. But no one thinks the guys in those other 100m films are stars of the same magnitude. In India, certainly in the Bombay media, everything is converted into a function of the male star’s appeal. There are many other factors that matter too. The whole Hashmi single screen appeal is pure nonsense (though BOI keeps peddling it). If you do those kinds of subjects the single screen audiences often show up.
The thing though about many of these box office debates is that leaving aside the media/trade agendas what’s often forgotten is that stars are just not the sum of their numbers. Obviously huge success and dramatic failure can alter narratives overnight but by and large a star paradoxically is quite often recognized as major not necessarily because of his (or her) box office numbers. In other words the box office is a minimal given but with similar grosses and/or critical attention sometimes one star moves onto bigger things, another star doesn’t. There is a lot of gray area here.
By the way the ‘proof’ on emran Hashmi is that no matter where he is in his career he gets the very same sort of film! At best he can be a supporting player with someone like Devgan around though most days people don’t even want to do this as it signifies loss of prestige!
So if you take out Hashmi from Murder 2, you are saying it would still do 35cr first week? this is highly doubtful. i dont know why im defending this guy but to say he has no fan following or completely disregard his pull is, with all due respect satyam bhai, a little ignorant. i am not saying this dude has major BO pull but he has a minute impact. he has a following, its been proven with Jannat, with Murder 2, with whatever other previous crap he has done.
Yes i agree he does some creepy soft porn stuff but thats HIS genre lol. he has created a niche and the audience is there for him. and this will certianly help and not hurt TDP and thats why i agreed with BOI assessment.
As I said he doesn’t clear 10 crores most of the time! Barring exceptions (jannat is one of them though not necessarily when you adjust for regular and multiplex inflation). The answer to your question is: would Emran Haashmi get to 35 crores without a sequel? On Dirty Picture everyone knows this is a heroine-centric films. It’s been all about Silk Smitha. If people are not interested enough to go for this reason I doubt Hashmi becomes the deciding vote!
But yes his genre is the one you’ve identified. He’s associated with it and he gets a certain audience for it. But I would not formulate this as having a pull because that suggests something along the normal spectrum. This guy isn’t going anywhere no matter how well or not he does relative to his standards. If he did have significant pull don’t you think that people would be casting him in at least more credible smaller projects?
No one on the other side of the screen has a ‘zero’ fan base. There are always some people who like what you do and this base can be maximized in the right circumstances.
Very unfair ‘analysis’ of Emraan Hashmi here. He may not be to everyone’s taste but to suggest he has no box office pull is laughable. He does. Also not really enjoying the suggestion that he’s some sort of weirdo/pervert for doing the films he does. Everyone has their own niche no? I don’t pretend to be a connoisseur of his filmography but I have seen Awaarapaan and thought his performance was good in that. And he was excellent in OUATIM. And while Vidya is walking away with the accolades for TDP, he’s come in for quite a few good reviews too. So, while it may pain some, a little credit where credit is due would not go amiss here.
‘Though he is sick n weird but perhaps lots of single screen average joes consider him to be representing their “aspirations”&”angst”(in the absence of a better term for that)’
yes completely agreed. i compare him having Govinda type following though obviously not as big as Govinda in his hey day. actually nevermind, i just realized i degraded Govinda. lol.
not only interiors but these days some campus crowds to srive for sleaze ( thats where a movie like delhi belly got his share)
can’t fault hashmi here …he has limited acting talent and limited scope and won’t last long … hardly get any offers outside bhatts movie and but ya it looks like they are offering him some as second lead ouside bhattthese days …he was somewhat decent in aawarapan but again i think that was his only big budget venture and that to bombed …people won’t accept him other way …btw this is his second ekta kapoor production earlier he played second lead to tushar sometime back
Well I think emraan hashmis “core” audience is slightly different .
The type of “mental/physical manipulation” going on these movies is targeted towards a specific audience who feel he is acting n their behalf
This audience also includes certain “uncles”
Hahaha
For those saying that Vidya doesn’t have the glamour/ looks to be a top heroine- the thing is she doesn’t want to be a heroine- she wants to be a hero!
Vidya has managed her career very smartly and after the success of NOKJ and Ishqiya – Dirty Picture has the chance to be her ticket to becoming the first female actor with a strong box office draw.
I just saw Dirty Picture and she leaves all of her so-called contemporaries behind in dust. It’s pointless to even compare her to the likes of Katrina and Nargis.
The one recent performance I would compare hers to- in terms of caliber of acting and star making potential- is that of Ranbir in Rockstar- and she compares favourably. The reviews have also all been raving about her- even more than they did about Ranbir. Hers is the superior performance of the two for sure.
Especially now that heroines are more insubstantial / interchangeable than ever- I think there is need for at least one strong, brave and gifted female actor- and Vidya fills that gap admirably.
The most interesting aspect of the film was that dialogues. Vidya had these hardcore masala dialogues- of the kind that become iconic and become ‘signature lines’ for the heroes who utter them onscreen.
The film itself is heavily flawed- but Vidya has been given an adequate platform and she rises above and beyond the material and impresses you.
thanks for your impressions Ami.. yes it’s true Balan has poise and performance.. unfortunately she doesn’t inhabit an industry where she could truly be a ‘top’ actress.
Do think her pair with Abhishek could be explored quite a bit..
Thanks for your views Ami, Agred with most of what you have said, (minus your views on the movie, have not seen it yet so cant comment). Only thing that I don’t agree with you, is the fact that Vidya would be the first actress to have a box office pull,
‘ chance to be her ticket to becoming the first female actor with a strong box office draw.”
Not sure if you are familiar with an Actress called Rekha (Not being sarcastic here). If she had done Silk Smitha, even at this age, BO would have exploded even bigger than some of the lead actors can pull today. Take Khoon Bhari Maang for instance, Rakesh Roshan was merely a new director, yes he did have a Khudgarz behind him, but besides Rekha there was really NO ONE in the movie that you take notice of. The movie was all about Rekha. Khoon Bhari Maang was indeed a HIT purely on Rekha’s name and BO pull. Not denying that Vidya in today’s actresses is THE best of the lot (hands down) but such big claims, I am not too sure about that. I love Vidya, Loved her from her first album that she did with palash sen, I had a hunch then that she is gonna get somewhere, And she made me win my bet with my family. Then we still have Sridevi and Madhuri, movies used to sell on just their names, wait till Inglish Vinglish, it may be a small film a la cheeni kum, but let me claim this, it will do stupendous business on just Sridevi’s name.
Again, Not trying to be sarcacastic in tone here, just glad that you have opened up a good debate about the female BO pull. (these are the first 3 that come to my mind, anyone else care to add anymore)
Kash- I should have made myself clearer- I meant the first actress in recent times. 🙂 Actresses have certainly had a BO pull earlier- HAHK which is one of the biggest hits of all time is mostly credited to Madhuri after all. Even DDLJ was Kajol’s movie as much as it was SRK’s.
Sri Devi, Rekha, Hema Malini, Kajol- all these actresses were stars in their own right. Unfortunately- today’s ‘liberal’ multiplex audience has reduced it’s actresses to item girls. When I said Vidya would be the first- I meant from the current set.
Agreed on all points, Yeah, I figured that, But had to put my 2 cents..lol..But, No it does make for a good debate overall though. Hindi Film Industry is mostly male dominant, (Count in as in Influence wise within the industry or BO Pull). In that sense, the Ladies we just mentioned above are/were ahead of some male leads that were decent enough in pulling in a substantial crowd. But yes in today’s times, Vidya there are hardly any actresses that can claim the movie as their own, Which did happen in 80’s and 90’s, not too sure, but I dont think that was true for the women of 50, 60 and 70’s – Dont think they had that kind of pull that maybe Rekha did – (They may have a certain pull, But they were certainly not ahead of their male counterparts, Nargis and Madhubala maybe the biggest of the time, but certainly not ahead, 70’s I would think Jaya Bachchan had a certain crowd pull, does anyone rememeber Zanjeer 🙂 . I think Vidya maybe (just maybe, dont crucify me for comparing here) going the Jaya Bachchan way, doing some unconvential cinema at the same time getting commercial success for them well.
Alex, watsup Bud? All good here bro, Just been busy at work, Wifey is cool, Going nuts over what to get for xmas for her..lol..
i wouldn’t give kajol that much credit. she doesn’t deserve to be mentioned in the same sentence/tier as female superstars like sridevi, rekha and hema malini. they were huge all by themselves. kajol was far more of a SRK freeloader than a star/b.o. pull on her own merit. she owes her career to shah rukh, basically
Thanx Amy for that review
Must say u do catch films fdfs lol
Cuming from Amy , I do believe that vidya must have done a good “job” of an aspiring actress (no pun intended )
And agree that there should be more actresses of “substance” like her
Wasn’t gonna check out this movie
Also due to the ultra irritating song “ooh lala” –those vocals and leering Naseer and gyrating vidya are scary
But after Amy’s glowing words might just give it
But if it turns out bad–Amy will have to “pay” for it
Haha
Haha- I actually wait for reviews before watching films- especially Hindi. But a friend came to visit me at Uni and we went to Cineworld to watch My Week with Marilyn. The show timings didn’t suit us so we saw this instead.
The film is honestly not that great at all- but Vidya is really good. Worth watching for her alone.
YOU HAVE TO WATCH “My Week with Marilyn” if not for anything, then atleast for the performance by Michelle Williams, extraordinary, also the person who played Lawrence Olivier was outstanding, I smell atleast a nomination at the Oscars for these two.
I really do not think that 3 idiots will work in Hollywood…but maybe they will actually have college age boys play the students- which will be a lovely change 😉
And he is in talks with 3 Hollywood studios for the remake? LOL…sounds like VVC is overstating things a bit. I highly doubt that many studios are desperate to remake his film.
Nice to hear about it’s success in HK and China however.
“The show timings didn’t suit us so we saw this instead.”-Lol hmm ya is it bcos good girls should reach back home in good time ….
(And bad boys/girls prowl late lol)
Have been an “art auteur” recently–opera n art galleries lol
Enjoying it though—the provilege passes (&free commentary)
And did vidya say she had to gain weight for tdp –did she really have to –jokin
The Dirty Picture took a good to very good opening at multiplexes but single screens were excellent with a 80-85% response. UP, CP, CI, Maharashtra and Nizam were all super strong.
The entertaining feel of the promos and the presence of Emraan Hashmi has really helped the single screens put up good numbers. All over the film opened better at single screens compared to multiplexes The Maharashtra belt is extraordinary with collections ahead of both Rockstar and Desi Boyz.
In Nagpur the biggest centre of CP Berar, Desi Boyz had a first day billing of 7 lakhs nett while The Dirty Picture is likely to cross 10 lakhs nett.
The single screens of Nizam have had fourth best opening this year after biggies like Bodyguard, Ra.One and Ready.
And yes hashmi has that ultra sleazy look–even scares guys lol
Anyhow all he asks for his a pair of..lips in every film
And seems he has quite a fan following
Btw don’t think kissing is a big deal on Indian screens anyhow now–satyam may provide details Lol
Saw the dirty picture Vidya is truly a hero amongst the present day heroines what a performance. She Superbly enacted role of Silk Smitha. Uncles in the cinema were having a great time with all the excessive skin show and I don’t understand BOI comments ppl r going to see this movie for Vidya there is nothing for the other actors much Hashmi hardly has a substantial role even compared to Naserrudin let alone Vidya. Brave effort.
vidya is only of the current lot who can act and has indian look compared to most of the hybrid actress out there and thats what make her suitable to most roles ( and despite her southern origin she is very fluent in hindi as well)
from playing mother to big b to sleaz queen represents versatility
one hope she handles her career well and not be just another bimbo
“Uncles in the cinema were having a great time with all the excessive skin show “–rotflol
Theres one here as well
Currently away–maybe seeing a show lol
Was able to catch some movies in the last few days, J.Edgar, Hugo, and My Week with Marilyn, My pick out of the lot is My Week with Marilyn (Mostly for its performances, everyone was good, felt Michelle willams did an outstanding job as Monroe and so did the actor who played Lawrence Olivier, On the whole felt like was watching a Woody Allen film, every scene was well crafter from script to the excution level, engrossing, It was not just about the week with Marilyn, you come out with understanding a little more about Monroe). Felt, Hugo was a bit on the slower side (maybe I was expecting something else from the film, does not look liek a scorcese movie). J.Egar, As you have mentioned earlier, had the same feelings for the film as well, not the best work of Eastwood, but definitely another good perfomance from Leo, (I maybe exageratting here) But, I think Leo is today’s Brando, that guy can get into the skin of any character that he plays (Not his best work but indeed a bravado performance). Still need to watch many many more that I have missed. Will keep ya’ll posted (if interested that is)
““Uncles in the cinema were having a great time with all the excessive skin show “–rotflol
Theres one here as well
Currently away–maybe seeing a show lol”
BTW is there any other film industry in the world where there are no bonafide female stars with box office draw? All the industries I can think of have powerful female stars.
Bollywood has had its share o female stars with bo xoffice clout.
Madhuri, Sridevi in years gone by and Katrina at the present. Yes, they are in a minority in a male dominated industry. Even in Hollywood, right now, the only top BO draw amongst female leads is Ms.Jolie. Julia Roberts has somehow faded. And there ARE other popular female stars like Johansson, Ms.Theron, Megan Fox and other A-listers ut they are not that powerful as such.
Yeah, but in Hollywood it’s stil possible to have female-centric movies like Bridesmaids and The Help which gross huge amounts of money without the presence of a big female star.
And of course franchises like Twilight. Even in the other Asian film industries, a female-centric hit is not uncommon- China, South Korea etc. I should rephrase my question- any other film industry where female-centric hits are so rare and noteworthy?
Discovered this site a few months ago and since then, keeping track. Never felt like posting anything – what do I write when I cannot boast much about watching Hindi films, past or present.. About the present day, the fact that I read updates here nearly daily itself shocks me! (Never had much respect for KJo , Khans , and all of their ilk..so barely seen any…) I don’t think I’m going to run to the nearest theater or wait for the dvd for any of the films that you all discuss here but I like reading because Satyam you and the other writers / commenters offer a perspective not just of the film against a valid template (whatever it may be for each) but also generally about the industry / cinema on the whole. This is amazing!
One thing that this blog has done, something that I would never have ventured on my own. Upped my curiosity and respect for films older. I have got hold of a few , yet to watch though, but with new eyes of the mind, if you may…:)…..
Is it very difficult for a generation that hasn’t lived through that age or had it as its recent past to appreciate cinema of yore…I personally find it very tough to go to a Dilip Kumar, Amitabh B movie even though I’d read and go abs’ly wow if something meaningful is written about it. Recently there was this post here on Manzil (AB and Maushmi C), I was enticed. Got the film and it fizzled out..I mean I will watch it, but I find it very very easy to get hold of a contemporary film (like I braved the rain and went for Once upon a time in Anatolia but Manzil,, hmmm,,,ya sometime sure..)..
Yes, there is this interest factor too thats subjective (I could watch a seventies Japanese film but not Manzil. Thats bad isnt it ? ) and I dont have it for old Hindi films but still, I see this dilution quite prevalent…Hence maybe these remake of iconic films work and few years down the lane will wipe out the more significant original other…It would have been ok if the remake is not superficial and just glossed..created a meaning of its own…But that is not what is happening. The present..This is scary. FA’s Don and TDP are precisely doing that..and they work!
With what mindset you you all actually go and watch a film like TDP? Im genuinely asking. I looked at a promo here ad the pics and I’d rather go and watch Silk Smitha’s original videos on youtube and elsewhere. Heck, these guys are going just that – remaking the videos for today and more (even a song from Sagar is here rite, that red Sari thingy?..) .Do you really expect Milan L to make something authentic? Ha, bull. These guys are just cashing in. (Why else would Emraan Hashmi be in). So in this frame of things, how do we say, Vidya B is superb and atleast one watch is needed. Why? On what account? A genuine film about Silk Smitha needn’t have a single video that she filmed for on screen and it would have been very engaging nonetheless. But for these filmmakers, to research, understand the psyche, personalize it, respect the subject and make a movie is not a uphill doable task , its just not in their DNA.
Vidya Balan in one of her interviews (it wasn’t about this film but about whether Indian films are becoming bolder or some such) she said that even if people come to the theatre thinking that TDP has just sleaze and exposure, I’m perfectly fine with it.
The thing is I have no inhibitions to play to the masses such! [It would have been another thing if the movie actually delivers on delving into SS’s mind / heart messiness and VB confident enough about this material ..But not so..)
The fact that I’m not apologetic about this itself id an achievement!’ The woman today isn’t afraid and shameful / shy of her body being perceived as this’.
Now, with the intention of what TDP transpires to be , this negates it. And if she talks about being unaplo about her body , these days who is the demure type.. (esp talkin @ shbiz..) The sleazier the better has become the mantra of not just filmmakers but the women in from of the camera too..This is nothing new or revelatory .(Or is it because she for a change doesn’t subscribe to the size zero craze? Not quite, because she in TDP isn’t one of today but one who existed like what 20 yrs ago? )…
And I’m talking 2011 here. In the 80’s when there fewer channels for , er, such expression (targeted at men) Silk Smitha was the only one who opened the doors , albeit just so much , for the men to whistle and may be wiggle about in those run-down theaters. Today, these histrionics seem absurd if not viewed through the prism of that time gone by. Mr Luthria isn’t doing any such thing.
So what is going on here when we (us here, who have access to better cinema whatever the language; not the ppl who rite in the commercial domain) say we could go and watch TDP. I’m at a loss in understanding this…
Oh Dear Lord, didnt mean it to be so long…Apologies for this…Stopping now..
PS: Never come across such an AmitB devotee before. Mr. Satyam, no offence at all, your writing on his cinema (and on Bollywood on the whole) is phenomenal and is necessary in the sense to document that history but Abhishek and present day Senior [offscreen version too],,Well 🙂 , ill leave it at that fr now….
haha..on last part 🙂 But even I can watch older foreign movies but not Hindi movies. Only old Hindi movies I can watch are Amol Palekar, Farooque Sheikh type movies..
This just proves that there are only 2 heroines with the pull today: Katrina and Vidya. The rest are all candyfloss who tag on to the coatlines of their male leads. Katrina has proved her mettle time and again at the BO. On the other hand, Kareena is indeed the biggest of the freeloaders out there.
Wait till the results of ETT, D3 and the new SRK-Katrina movies come out. Katrina will prove what a Khan-Katrina pairing can really do to the BO. Kareena will be forgotten by then.
Whatever happened to the promo of Agent Vinod being attached to TDP?(or was it suppose to be Desi Boyz?) Either case, nothing post the release of any of these releases, their hasn’t been a word on the promo of Agent Vinod.
Saturday 3rd December 2011 11.00 IST
Boxofficeindia.Com Trade Network
The Dirty Picture (Hindi) had very good first day of around 8.25-8.50 crore nett as per early estimates. The film has done very well all over especially in Maharashtra. The single screens of Maharashtra, CP Berar and Nizam have recorded excellent collections. The film was also released in Telugu which probably added another 20-25 lakhs.
If we compare with last week’s Desi Boyz opening day, The Dirty Picture has collected better all over than that film apart from Delhi city, East Punjab and Gujarat.
The film will have a strong weekend and should collect around 27 crore nett. The film has done very well at mass centres so these areas will be very strong on Sunday.
note how some of these recent openings are putting ZNMD in a different perspective. MBKD opened on par with ZNMD and kept pace with it for a week or more. Rockstar was well ahead. Now even Dirty Picture opens a bit higher than it. The point is that ZNMD trended superbly but the opening was good but not fantastic, even relative to genre. In any case this is a huge opening for Dirty Picture.
Hugo 3D
Setting -THE premier cinema where the original premier was held
There are certain films that one treads with caution and it’s this “tree of life ” like expectations which makes it difficult
These are films where you want to like them and give them a chance
But again highlights why/ how superlative reviews don’t hold for me/certain viewers
Dont get me wrong–all the usual points (mostly technical ) on which this film has been /surely will be celebrated are indeed magnificent
But didn’t really grip me throughout.
Then one wonders–Was it the heavy meal (or drinks ) or the usual sleep deprivation
But I was dozing off for more than half of it. Due to the lateral dozing off–The humans around me may have got some wrong ideas about the real intentions ….lol
My take usually is different mostly-so not that surprised ut didn’t expect it to be for this film
And don’t think the “slow” proceedings is to blame—have loved slower–infact static films in the past.
Also feel this is scorseses personal film having influences of his own childhood. Heard he couldnt go out as a child due to asthma. I am curious to know how many acts kids have loved this film–since I didn’t see any in the audience.
Plus there is this “herd mentality”
This will join the queue of films which one cannot dare to not love (vocally)–to heck with it!!!! I’m not on anyones payroll forget scorcese lol
For all its worthy intentions and technical brilliance, Hugo is a hard film to love: not only for children, who may find the largely immobile plot a slog, but also to viewers of any age who’d rather be charmed than merely wowed.
Technically film is brilliant and 3D well used
Special mention of the excellent depiction of Paris in that era.
Amongst the actors, could see only one and nothing else—the great sir Ben Kingsley . Needs another post to encapsulate what I feel about him as an actor and his understated act here. Incidentally his affect and mannerisms uncannily reminded me of bachchan (sr obviously)–never heard anyone mention it before
Late in the film, Scorsese draws an explicit parallel between cinema and magic tricks, and it’s painfully apt. For most parts, this is a coldly impressive contraption that provokes cries of “Ooh, that’s clever”, but not a great deal else.
Yo man : had a chance to watch tdp tonite .
But still can’t reconcile watching a so called “skin flick” on a sat nite.
Plus don’t get decent company for this one.
When one mentions tdp, people esp girls look at u to
Check If u r ok
Hugo was enif yesterday (&the post hugo activities lol)
And I am quite impressed. I have thought of Milan Luthria a great talent from the days of Kachche Dhaage and Taxi No 9-2-11. Fortunately , first with OUATIM and now this , he has finally fulfilled his potential.
This indeed is a major achievement. Not really confir4ming to any kind of genre this is bold story telling with impressionistic strokes. And thank god for that! A neo-realistic docu-drama would have been so predictable and boring.
I had my doubts about the film working. A one note film on bold female sexuality can get boring. But the writer Rajat arora and director Luthria managed to hold my interest right from the crackling whip dance scene. The film never gests predictable because the writer-director duo serve the narrative flavoured with rare quirkiness. Take the strange dynamics of the relationship between Silk and Abraham. I was irritated by the pointlessness of it in the beginning. But how nicely it plays out in the end. Everything about this relationship graph, including the placement of the song ‘ Mera Ishq Sufiana’ is goes against conventional wisdom of film making. The scene where they share a drink is first rate and the lines are the best I have heard since ‘ Deewar”. Eg. : ” You will burn in hell.” ” Aur tum? Bonfire samajhke haath senkne aa jaoge.” ” Uparwale ne har ek aadmi ke liye ek khaas aurat banaya hai. Us se bch jaye to zindagi bach jaaye.” ” Sharab Utar gaya. Nashja utar gaya. Phir bhi tum achchhi lag rahi ho.”
The relationship with Ramakant is also interesting and is played in the right key, complete with the hyperkinetic dance to ‘ Oo La La’.
Scenes like Silk’s dance on the bonnet of a car or the nude interview from the bath tub given to the fledgling journalist display nice leaps directorial imagination, capturing the essential bravado of the Silk’s personality and her fatal overestimation of the power of female asexuality without the benefit of strategic thinking and some kind of cautionary wisdom.
Undoubtedly this a milestone in the history of acting in Hindi films , by a male or female actor. This is the Indian ‘ Raging Bull’. If I thought Ranbir in Rockstar was good, this is outstanding. Haven’t seen a more physically palpable, charismatic, entertaining and insightful performance in years. Naseer plays the perfect foil to her and is pitch perfect. Always thought Emran was a good actor and here too he delivers.
The Dirty Picture is a pleasure because it pushes the envelope, surprises you and shocks you and shakes you out of your predictable response while capturing the essence of a bold, colurful yet traumatic and tragic individual.
( So apart from predicting the Best actor trophy for Ranbir and Best Music for AR Rahman, I can safely say Vidya Balan is the Best Actress of the year for the film. But then that’s no big feat as anyone can predict that.)
Totally agree regarding your assessment of Vidya’s performance. But the film itself was not worthy of it. It had the potential to be a great film- but it squandered it- especially in the second half- I thought the Emraan Hashmi- Vidya Balan romantic track was an unnecessary eye sore. Nasser was predictably excellent – agreed about him being a good foil for Vidya.
thanks for your views on this. I’ve not seen it yet but I must confess I’ve never quite seen Luthria as a ‘great talent’. Think he has his brigght spots and is certainly way better than functional on a good day but wouldn’t give him more than this. In terms of his handling I like Taxi No 9211 more than anything else but the ‘influence’ of Rohan Sippy seems a bit strong here. Almost seems like a BM spinoff in some ways. Again like some of his work elsewhere. I’d say OUATIM is probably indicative of all his strengths and weaknesses.
All of this is incidentally not a knock on Luthria. Bollywood could do worse than breed more ‘solid’ directors like him. But ‘great talent’ to me is someone of a higher order. I haven’t quite spotted either the narrative virtues and/or story-telling fluidity in his work or on the other hand the visual strengths to give him more than this. He’s better than average for the most part and sometimes inspired. Of course it’s also true that the ‘above average’ in Bollywood is hard to spot too often, i.e. filmmakers who can put forth a minimal balance between their script needs and their visual aspirations.
Just read this—” ” Uparwale ne har ek aadmi ke liye ek khaas aurat banaya hai. Us se bch jaye to zindagi bach jaaye.”
” Sharab Utar gaya. Nashja utar gaya. Phir bhi tum achchhi lag rahi ho.”
Struck with the “depth” of this
Applause: what a dialogue
Wel said utkal uncle
Btw hav u checked out Hugo ( anyhow wrong question — Yu have checked out the expected film lol)
Actually just checked out the “Ishq sufiana” number –not
bad
Sense some “depth” here
But don’t check this sort of movies on big screen —against my “principles”—hahaha
Btw utkal uncle —I loved dev d and (heck) even “no smoking”(yes )
What are your views on them
Talking of Luthria: liked kachche dhage
And the saif-devgun banter
Saif was silken smooth there as the urbane half bro with effortless timing
Besides reminds me of a certain manisha ahem …
Luthria is def good–lost his way with deewar?'(which also had some moments)
Nice watch- couple of observations-
The crowd was typical dilli “Babu” crowd
Farhan said that he and Salman have talked about getting Javed and Salim back together
Vidya has wona lot of new fans
Vir sanghvi is an a$$ as usual
Farhan said films should bemade from heart -really Don2?….
The thing is – TDP doesnt go beyond being a predictable bland biopic. Everything falls so conveniently into the screenplay by means of plot that there are no surprises in store for you. It’s the same rise, fall, demise story associated with big people; it’s a story Madhur Bhandarkar would’ve felt proud of. Other than the obvious, it doesnt do much in terms of creative storytelling.
The set-pieces and the era created is more like an Om Shanti Om instead of say, a Guru. Everything is pretty to look at and creates a rosy picture but its hardly authentic. Dialogues are written for the sole purpose of enticing the masses and to evoke applause rather than shaping up characters.
Vidya was impressive but for the first time I felt Naseeruddin Shah was laboured in terms of his performance. Something was definitely missing in him. The less said about Tusshar the better. Emraan was okay.
All in all, its an okay film with nothing much to boast of. Its not bad, but would be slightly apprehensive of calling it good.
The Dirty Picture had a strong Saturday and held its collections at high levels all over. The film collected around 9.50 crore nett as per early estimates on Saturday takings its two day business to nearly 18.50 crore nett. Normally a film which is so strong at mass centres on day one that too with high collections is likely to see a fall on day two.
The Dirty Picture managed to show growth as appreciation is good at single screens and multiplexes. Sunday is likely to show good growth and collections could get to around 11 crore nett.
The Dirty Picture is likely to emerge one of the bigger hits of the year.
taran_adarsh taran adarsh
#TheDirtyPicture is rewriting rules of the game. Fri 9.54 cr, Sat 10.78 cr. Total: 20.32 cr nett. Should touch 11 cr on Sun, as per trends.
Regardless of the merits of the film, am stoked for Vidya.
She HAS taken risks and am glad to see here succeed.
Plus, it is such a stinging slap in SRK’ s face who had humiliated her at one of the awards.He/She who laughs the last , laughs the best.
I will believe BW has come of age if they let Vidya and some other female host the FF awards and let her rip into Ra.One.
she already has some remarkable moments in her career with this, Paa, Ishqiya, Parineeta. To be able to navigate yourself this way balancing critical and commercial success is quite remarkable..
And no way will they let her host FF and rip into Ra.One- Jietsh Pillai the editor of FF tweets in worship of SRK every day. He even parroted the same old line about Ra.One taking SFX in Bollywood to Hollywood levels in SRK’s defense.n
“Outstanding piece Baradwaj — thanks for this. With respect to the first three paragraphs, this is exactly the sort of “falseness” that was irritating about Om Shanti Om — as you’ve pointed out, not the absence of realism, but something like a note that is very “off” indeed.”
&
“PS — as for why the film had to be set in Madras, easy: because no matter what else changes about Bollywood, “the South” as a site for aesthetic “badness”, where Bollywood’s fantasies of all that is cringe-worthy about Indian popular cinema, endures. Be it Ra-One or Om Shanti Om or (I imagine) The Dirty Picture, that doesn’t seem to have changed one bit.”
“Be it Ra-One or Om Shanti Om or (I imagine) The Dirty Picture, that doesn’t seem to have changed one bit.””
This is what I’m most worried about with respect to TDP. I’ll give it a watch but Hindi cinema’s depiction of Southern (particularly Tamilian) characters and cinema at its worst echoes some of the gestures of early Hollywood’s depiction of African Americans – which is exactly what explains that execrable sequence in MNIK! I always rue Southern talents taking part in these circuses (as Rajini did in Ra.One) but I’m hoping Vidya’s performance (even if it doesn’t quite touch De Niro levels of brilliance!) avoids or overcomes this tradition in the same way that some powerful African American acting talents did in working within a problematic social context.
The criminality and sexuality ekta Kapoor exhibits in the movies she produces are the other side of the family values soap market she’s so famous for. The former confirms the latter!
What a a shallow review from Rangan! He just misses the key at which the film is being played. He is talking of Silk speaking Hindi in Madras and reading Stardust instead of Kumudam or whatever. My god that sort of realism is so school boyish and boring. The reason I watch Bollywood films is because they employ a different grammar from the Hollywood surface realism. Now he bases his entire review on these surface tivilaities rather than try to comment on how much of the inner truth of Silk’s character the film manages to capture. That’s why I have always said when it comes to mainstream films our audiences are much smarter and more perceptive than the critics, even the best of them .
Very well said Utkal- I’m really surprised at how superficial this is. I totally agreed with his criticisms of ZNMD but I was surprised at how he kept labouring his non-point that it would have been a different film if it was made in English. Where was his beloved realism when he praised Mausam?
And his dismissal of Balan’s performance on accounts of her role being merely symbolic are also very weak- it was a stupendous performance and you cannot take that away from her. The ‘storm in a D-cup comment’ makes it look like he hasn’t been able to get beyond the sleaziness in the film.
don’t think he’s arguing for realism at all.. he’s suggesting ‘implausibility’ within the terms the film has set up for itself.. it’s kind of like the criticism I had with respect to OSO where I found the 70s representations quite false.
And there so many things he gets totally wrong : ” We are not shown why this girl who, at heart, is a good-natured south Indian kid, who believes in god and her own sexuality, would begin to sabotage her career. ” Good-natured Soth-Indian kid? A girl who would sleep with a hero at the very first opportunity just to keep her role in a film..is ‘ good-natured’ south-Indian girl? Then who in this world is bad-natuted? And what has belief in God to do with someone being self-dstructive ? Everyone from a drug-peddler to a suicide bomber can bea beliver in god. And it is not as if she was sabotaging her career knowingly. Shew as just too dumb and too neurotic.
And he is out of his mind when he suggests that the Emtran Hashmi relationship should have been central to the film? What, this is Aditya Chpra / Sanjay Bhansali love story or something. THe reason I admired Rajat arora’s script spo much was the way he showcased her relationship with Suryakumar, Ramnkant and Abraham…making it a complete portarture of her complex psyche.. revealing the full breadth of effect her sexuality has on different men.
rangan was bang on in his review. i agree with whatever he’s said. it might appeal more to the masses than a ‘boring’ biopic, but i believe the film was more shallow than rangan’s take
Whether the heroes were balding and paunchy in the 70’s or 80’s is totally trivial. It would be something worth pointing out in a film which was aiming for that kind of rrealismn..which obviously it is not, by the evidence of incongruities Rangan himself pointed has out. In a film employing the grammar it does, the moot point is whether a genre of heroes portrayed by Naseer existed at all. That would be germane to the search for the inner truth that Luthria is trying to capture and present. Wasting tme on such ‘ Readers Don’t Digest’ is simply missing the woods for the trees. And that’s why I call it utterly shallow writing. There is so much happening cinematically in the film and he chooses to focus on these!
“The ‘storm in a D-cup comment’ makes it look like he hasn’t been able to get beyond the sleaziness in the film.”—haha
This is becoming interesting
Haven’t seen tdp but thought rangan has a recent histor of getting carried away eg
In delly belly he started seeing designs and a “revolutionary advance ” even with the mention of some basic “minor porn ” regulation stuff
Eg “masturbation” or “guy going down on a girl ” etc
I mea:n it may be new in mainstream Hindi cinema but far from “revolutionary life changing ” advance that rangan perceived it to be.
And lots of pseudo/ hyper intellectuals got a neck spasm nodding to him haha
Btw continuing the “debate” elsewhere about “lesser actresses” like nargis f
firstly let me admit my bias here
But the “point”(or two) here is that sometimes honed acting skills infact are a turn off
Lets try putting the hyper efficient actress vidya balan (even after a crash course in slimming) in rockstar–one can imagine the results
Let me again take the opportunity to shake utkal uncles hand (if it is free) and applaud him for /borrow his now patented “nabokovs diaphanous glow” when referring to nargis f performance
Bravo uncle–u seemingly showed off your decades of experience (in womanising –sorry -joking)
Also worthwhile to give the example of shekhars kapoors masoom–the kids performance there was picture perfect–not overdone but missing nothing
The recents hyper celebrated Hugo comes loaded with a great reputation (& most of it genuine)
The Hugo kid was quite competent –infact sometimes too nuanced for a kid
(Have a personal problem with over smart kids is besides the point)
A kid should be well, a kid….
Heers character in rockstar had complex shades but surprisingly in some junctures it was pulled off not by skill or wonderful technique but by the “immersion technique” of actually trying to feel it!!!
Alex- I think you are too biased to be seeing reason here 😉 I think ANYBODY would have been better than Nargis in that role. She was cringingly bad and ruined every scene that she was in. Her scenes with the husband were especially bad to the point of being comical- because his acting abilities were as abysmal as hers.
And the question here is not that of experience- those child actors acted convincingly. Nargis did not. And anyway Nargis is 32 – why bring children into this. If you want to compare inexperienced debutantes- and since you mention Vidya- just compare the calibre of Vidya’s performance in Parineeta to Nargis in Rockstar.
“Alex- I think you are too biased to be seeing reason here “—agree there haha—am “guilty” there lol–no excuses there
There is NO doubt that vidya balan in her first film was a better actress than nargis fakhri or any of her kids will ever be …..
The question is the appropriateness of placement of that acting ability (or other abilities)
What maybe an asset in parineeta or the dirty picture may not be in another eg rockstar, infact maybe counter productive
Can’t think of an appropriate analogy rite now
But like both Meryl Streep and Cameron diaz ( for different reasons)
Now take some forgettable films which had a few moments nonetheless eg –“bad teacher” & “knight and day”
Try putting the talent powerhouse Meryl Streep (even in a revamped version) in place of Diaz there
This is where a real “directors vision” (sic lol) comes in
That’s y believe in “auditions” and “casting clinics”
Hahaha
But that’s my point exactly- Nargis would be appropriate for some eye-candy roles that would not suit Vidya at all. But Heer was not an eye candy role- she was a complex, conflicted character.
And BTW even Cameron Diaz on her worst day is better than Nargis- there is no way Nargis could carry a film like Bad Teacher off. Cameron is a pretty good comic actress.
There are 1000 roles in Bollywood where a woman just has to look good in a bikini and maybe 10 where she has something more to do- why give one of those 10 roles to a swimsuit model when she is so much better suited for one of the other 1000?
Anyway- lets stop this debate now. I’m starting to sound like a Nargis hater and I’m really not. It’s just that you keep bringing up her performance in Rockstar as if it were a good thing. 😛
Tony montana, I also didn’t think much of the film. It’s just all surface and dialogue-baazi and Vidya’s performance imo is not the best thing since sliced bread.
I haven’t seen this film so I can’t offer an opinion on it but with Ranbir being compared to Bachchan one week and Vidya Balan to De Niro the next, I wonder if they’ve lately been slipping something into the popcorn at certain multiplexes….
Vidya is very obviously not on par with De Niro- but the comparison of this particular performance of hers to De Niro’s performance in The Raging Bull is quite apt.
I think when taken in context- of Vidya being a female actor in Bollywood- the role is going to be just as momentous and iconic as De Niro’s was.
If you watch the film I think you will get the similarity between the two roles. It’s not comparable to De Niro’s turn in The Raging Bull on a literal level- but given that Vidya is a Hindi actress acting in a Luthria film and not De Niro in a Scorsese picture- I think the comparison is justified.
I don’t think anyone is saying that Visya is going to be the next De Niro- which is the difference because with Ranbir people were talking about how he is going to be the next Bachchan.
All of this is fair and to be honest, my comment was mostly tongue in cheek, but the truth is (as I said with Ranbir) the audience these days doesn’t seem to be satisfied with plaudits alone– we’re always at the ready to overextend with superlatives. My main issue with this is that this sort of thing especially when it’s echoed in certain places actually detracts from a thoughtful and unique sort of examination of any kind of work. I haven’t seen TDP and I like Vidya Balan (though I think she’s a blander actress than she’s made out to be – very smart with her choices, yes, and an actress who knows her strengths) but I’m not looking for the next Raging Bull kind of performance here. Partly because I don’t expect Milan Luthria to draw out the kind of work one expects from Martin Scorsese!
The Dirty Picture has a had a huge Sunday with early collections suggesting a 11 crore nett Sunday or at least very close to 11 crore nett. The three day weekend is likely to finish in the 29-30 crore nett which is extraordinary for a film like The Dirty Picture.
The weekend will be the fifth or sixth biggest of the year and ahead of star studded films like Desi Boyz and Zindagi Na Milegi Dobara.
The film had done excellent business all over but it is the single screens in Maharashtra/Nizam area where Emraan Hashmi films tend to do better which have outperformed with phenomenal collections. Nagpur, Kolhapur, Latur, Aurangabad, etc have all recorded bumper collections.
The Dirty Picture will put up a big lifetime total as the film has tremendous appreciation especially at single screens and further aiding the film is an an open run at single screens for three weeks until the release of Don 2 as all releases till then are multiplex films. The release of Ladies v Rikcky Bahl will take multiplex screen space from it but it is a one horse race at single screens for the next few weeks.
ok as much as i was defending Hashmi…they keep mentioning him but how about mentioning vidya balan?? this is huge for her. this is essentially her opening weekend. no other actress in recent times can claim a 30cr opening weekend let alone a leading actor can claim that. big props to vidya. clearly the most interesting actress out there. This is her second “non lead hero” hit after Noone killed jessica. maybe im forgetting some films but to my mind the last female lead film that was a legit hit was ‘kya kehna’ with preity zinta. at that time saif was still in his slump and was a supporting actor in the movie and chandrachur(sp?) singh was the lead actor. it was preity’s hit film all the way. anyone else can think of a female oriented film that was a hit since 2000?
That is why BOI should shutup when they comment something like this..
“The top five are Kareena Kapoor, Katrina Kaif, Priyanka Chopra, Deepika Padukone and Anushka Sharma. Now after The Dirty Picture Vidya Balan will also be somewhere amongst the top five.”
You can replace Kareena or Katrina in their top grossers with anyone and result would be same. Priyanka’s good roles haven’t fetched good returns. DP and AS seriously…
”anyone else can think of a female oriented film that was a hit since 2000?”
I think Rani Mukerji was mostly responsible for the success of Hum Tum. Saif was popular only as a supporting actor from movies like DCH or KHNH.Kareena Kapoor was solely responsible for the success of Mujhe Kuch Kehna Hai (along with the film’s music of course).
Even Jab We Met was Kareena’s film all the way and it was successful at the BO.
In case of NOKJ, people are forgetting that even Rani was there in the film, she was the forefront during the film’s promotions and most prominent in all the songs and promos of the film. It’s not successful only due to Vidya Balan.
Still, it’s commendable for her to attempt such bold roles and promote her films without sounding apologetic about what she’s attempted.
In previous decade, there’s also Priyanka Chopra’s achievement in the success of Aitraaz. Quite a gutsy step for a new actress to attempt such a role so early in her career. Kareena was having only box office failures behind her and Akshay Kumar had success only in multistarrers like Khakee and Mujhse Shaadi Karogi prior to this film. The film released on the same day as Veer Zaara and I feel whatever success it managed is only and only due to Priyanka Chopra.
Agreed about BOI mentioning Emran Hashmi’s name all the time without even mentioning Vidya Balan even once! It’s outright ridiculous! What Emraan Hashmi? In previous weeks, it’s been Vidya Balan all over the media – she’s the one who promoted the film, she’s the main star of the film – it’s her film all the way! It was also laughable when they tried to talk about Imran Khan’s so-called ”following” or ”star power” in reports of IHLS and DB! Rubbish!
Respect to Vidya Balan for doing different things and getting success too. Other actresses only manage critical acclaim when the try something different, while she’s got both critical acclaim and BO success.
Desi Boyz collected 36.75 crore nett approx in week one. The first week distributor share is 19.50 crore approx. Below is the first week territorial breakdown of the film.
Rockstar grossed 3 crore nett approx in week three. The three week distributor share is 33.75 crore approx. Below is the third week territorial breakdown of the film.
Ekta is turning out to be a master producer with yet another success. She is quite an arrogant and illmannered lady otherwise have had the misfortune of meeting her during audition for one of her serials Kahin to Hoga. She was irritatingly abusive with constant usage of MC/BC and has this habit of spitting pan parag every now and then. Moreover, she gave me a piece of her mind after I stated that completion of my masters is my priority rather than wasting time in never ending auditions for her serial. Never ever visitied Balaji office after that. Neways hats off to her for her success.
December 4, 2011, 12:43 pm
Latest ‘Twilight’ Remains Leader at Box Office
By BROOKS BARNES
It was a weekend of Thanksgiving leftovers at the multiplex. With no new broad-audience movies arriving in theaters, “The Twilight Saga: Breaking Dawn — Part 1” (Summit Entertainment) repeated as the No. 1 picture in North America for the third weekend, taking in an estimated $16.9 million for a new total of $247.3 million. “The Muppets” (Walt Disney) was second with about $11.2 million in ticket sales, bringing its two-week total to $56.1 million, according to Hollywood.com, which compiles box office statistics.
“Hugo,” Martin Scorsese’s 3-D family film, expanded into more theaters and placed third, taking in about $7.6 million for Paramount Pictures, lifting its two-week total to $25.2 million. The animated “Arthur Christmas” (Sony Pictures Entertainment) continued to disappoint in fourth place, selling about $7.4 million in tickets for a two-week total of $25.3 million. “Happy Feet Two” (Warner Brothers) chugged along in fifth place, taking in an estimated $6 million for a three-week total of $51.8 million.
“She was irritatingly abusive with constant usage of MC/BC and has this habit of spitting pan parag every now and then. Moreover, she gave me a piece of her mind after I stated that completion of my masters is my priority rather than wasting time in never ending auditions for her serial.”—dino-intersting to hear. does she subject guyz to the casting couch
why dont u share your further experiences
btw hats off to both vidya n ekta—-carved their own niche
Hi Alex, yeah I have had some experiences with Balaji but casting couch and Ekta no way atleast of wht I have seen of her she is completely business minded although frankly she flirts more with girls than guys. She has quite a strict process of selection for even her serials and told me to audition 10 times atleast before she gives me the nod. I had my MBA exams approaching and requested her to postpone some auditions which sparked her off and she let out a barrage of abuses on me. Generally, problem with her is her attitude and terrible language usage u will be shocked at the abuses she constantly hurls. She made some girls auditioning for her serials cry by constantly mentioning to the girls that with their small assets they are not going to go anywhere in the industry. She was regularly making inappropriate remarks on girls assets in front of a predominantly male crowd and requesting them to get extra padding which is sick I must say. What reflects in her films like Love sex dhokha, Dirty picture etc is what one would exactly associate with Ekta the person. Of wht I heard on sets they say even in front of Jeetu and Sobha she stays the same . But see where she has reached today amazing transition from queen of small screen to queen of big screen.
Brilliant inside info dino
Lol@ small assets
Must be bad for those gals- not jokin– do what do they say or do
Wonder what the in house feminism champs like Amy hav to say
@AamirsFan – Lol maybe this attitude is her success mantra.
@ alex- it was pathetic seeing the gals given such treatment but then those who stick around and take her shit and outbursts go places in their career. Its the choices one makes.
LOL @ in house feminism champs 🙂 And what I have to say to what? Ekta Kapoor being uncouth? Or small assets? Don’t most actresses have small assets which they skillfully disguise to look bigger anyway? Like Deepika, PC, Sonam, even your favourite Nargis – don’t think that is a barrier to success.
And Ekta does not seem like a very nice person. I admire her for the success she has achieved- but I would not want to be her friend. She was acting quite embarrassingly on the ‘Walk the Talk’ episode someone posted on this blog.
“you keep bringing up her performance in Rockstar as if it were a good thing. “–lol eggjaktly: it was a good “thing”
the way she struggled to put in heavy duty emotions with no acting skillset made her look soo cute somehow
“where a woman just has to look good in a bikini” —incidentally and surprisingly not really interested in seeing her/ infact anyone in a bikini really
Talking of cameron diaz, revisited parts of “knight n day”—a guilty pleasure
Love tom cruise besides diaz
both senior citizens look fit and motivated me to be even more regular in the gymn !!!
knight and day for me was a good entertainer and i think would be a good remake in a hindi format. i actually thought tom cruise stayed within himself and acted well. i usually cant stand the guys acting(the last samurai is my fave movie of his and fave performance, also in tropic thunder he was awesome). akki or sallu bhai would be perfect for that role. and throw in kat in a bikini on the island and you have a instant hit.
Lol
Actually Tom hanks and castaway are amongst my
Perennial favorites
But not reached the “talking to Wilson ” stage yet (&hopw never do) haha
I’m looking for frank answers including from satyam (who may go for deepika/rani)
The Dirty Picture has sustained very well on Monday with collections around the 5 crore nett mark as per early estimates. This takes the five day total to around 34.25 crore nett for the Hindi version.
The film sustained well all over but the Maharashtra are was best with falls of just 30-40% from its Friday business. Delhi/UP also held up strongly as collections in UP were rock steady.
The collections on Tuesday should be similar to Monday or even show a bit of growth as it is a holiday for Muharram so the first week is likely to end in the 46-48 crore nett range and the film looking towards 70 crore nett for lifetime business.
Ya Tom cruise isn’t exactly a pensioner but not “young” either.
But like him
Think he still has starpower and has one of the best “facial cuts” on celluloid. Similarly Cameron Diaz is the “ageless wonder ” till now
“Don’t most actresses have small assets which they skillfully disguise to look bigger anyway? Like Deepika, PC, Sonam, even your favourite Nargis – don’t think that is a barrier to success.”—haha.Agree
Thanx for educating me about “small assets”
Can we have the list/ranking of those who are not deficient on this aspect for “educational” purposes
Having seen the film now I must say I agree completely with Rangan on this one. Leaving this aside I just found it to be a somewhat boring affair, hard to get through. Glad Vidya Balan’s getting an important success here but really her talents too are wasted playing essentially stereotype.
I think this is a singularly unique character, almost never before seen in Indian cinema. You should have heard Komal Nahta last night on ETC. channel. After listing the obvious positives such a s great script, dialogues, performance and music he tried to list a few negatives . The one he emphasized most was the fact that it was Silk who made the first move to seduce Suryakant without being actively pressurized. He said if Naseer had made a pass and tried to coerce her it would have made Vidya’s character a ‘ lachaar’ woman and taht would have taken the film’s business to another level! Fool! Dirty Picture is such a pleasure because it avoids such a stereotype.
Never before in Indian cinema there has been a woman character so driven by her own sexuality and so obsessed with her own sexual power. Men are just guinea pigs to test her own power of seduction. In tradition where even a vamp like Helen ha a soft corner fora hero like Amitabh, silk does not have a drop of feeling for any man. . Not for the lecher Suryakant, not for the callow Ramakant, not even for the romantic , sufiana Abraham. She cruises along merrily, and not so merrily, in her own autonomous erogenous zone. She is self made woman who self-destructs.
I haven’t quite seen a character like this in Indian fiction, let alone Indian films.
It is a bold, dynamite of a character and Vidya gives it all she has got. This is a truly Raging De Niro Bull moment in the history of Indian film acting. – performance that will not only resonate across the box office tills but also Television debates, sociological discussions and award nights as well.
I was thinking same of seeing Utkal’s comments. I will give credit to Vidya for this sort of opening. BUT I’ve expected this from Indian audience…. They go to see Hrithik/SK with no shirt, it is not surprising to go for Vidya..
Haven’t seen the film but the variation in its assessment from satyam and utkal is perplexing
But have to hand it to utkal uncle—brilliant stuff
Uncle u should write abstract homoerotic exotica
And an indepth understanding of women
And sexuality that perhaps satyam (&myself) lack in.
Inspite of not having seen it, can sense where u r cuming from!!!
Just look @ this masterly stuff
Again:utkal uncle :I’m proud of u
“Never before in Indian cinema there has been a woman character so driven by her own sexuality and so obsessed with her own sexual power. Men are just guinea pigs to test her own power of seduction. In tradition where even a vamp like Helen ha a soft corner fora hero like Amitabh, silk does not have a drop of feeling for any man. . Not for the lecher Suryakant, not for the callow Ramakant, not even for the romantic , sufiana Abraham. She cruises along merrily, and not so merrily, in her own autonomous erogenous zone. She is self made woman who self-destructs.”
Satyam, these are not my special insight pr anything. The character I have sketched is the one that is apparent in the basic narrative. Where really is the ‘ stereotype” Where is the Indian film with a lead woman like this? Even Umrao Jaan as a child was kidnapped as a child and sold to a brothel, even EUmrao Jaan as a grown up ( Rekha) falls in love with Nawab Sultan (Faroq Shaik) and is heartbroken when he marries to please his family. Not our deal Silk. Her exhilaration is her own making, as is her inner gloom. She is almost clinically DIFFERENT. She is a truly neurotic woman if you ask me with her brain chemistry a little off.
Utkal, you’ve misunderstood my original comment. Obviously the film is doing all of this at a literal level but it’s ultimately all fluff. The film never rises above this level. And let me risk saying something here — if it were actually the sort of film you’re describing it wouldn’t have been lapped up this way! This audience and this critical establishment (to greatly dignify them) isn’t generally happy to embrace truly radical gestures. This whole story of supposed female emancipation takes place within the confines of a film industry and references a yesteryear ‘vamp’ (just characterizing things here, not offering a judgment), that too by performing a class and looks upgrade on her, all of this is what the bourgeois audience already believes about the industry let alone about someone like Silk Smitha. They don’t find it in the least disturbing to see a woman flaunt her sexuality within that framework. This is a mindset where Meena Kumari is often referenced as a nymphomaniac (explicitly or implicitly.. as in that recent Outlook piece)! And the story of this TDP character is hardly a happy one. Where does it all end?! This isn’t some nuanced portrait or ‘biopic’ of an important actress where there is a ‘complicated’ look at things. It’s pure entertainment often bordering on titillation disguised as progressive thought-provoking cinema. I don’t have a great problem with it because it’s simply not serious enough to get that excited about. I am merely responding to you. However I do note once again how the Bombay (or whatever Bombay-Madras mix is intended here) film past is always presented in certain ‘hues’ (that are once again more about the triumphalist present and the undermining of what went before) that I find less than welcome.
By the way do you really believe Ekta Kapoor and Milan Luthria get together and create Scorsese-like cinema?
From what I understand, the film doesn’t include the driving facts of Silk Smitha’s life, namely her abusive marriage at an early age, from which she sought to escape by running away to Madras and ultimately joining films. That marriage is no less defining in her views on sexuality than Umrao Jaan’s kidnapping and being forced into a brothel. From this perspective, TDP’s Silk not caring for any man but merely using him as a victim/fodder for her sexuality makes perfect sense. If it was truly exploring a woman’s changing ideas about the power of her sexuality, I think the abusive marriage needs to be an important anchor point. By eliminating that fact, and focusing merely on a woman who is exuberantly aware of her sexuality and its power over men, I think the filmi character is no more than another male fantasy figure, who, predictably according to patriarchal norms, comes to a bad end. In such a narrative, there is nothing “bold” or “questioning” at all, only a “pushing of boundaries” in terms of what “respectable” actresses will portray on screen, or legitimizing what was previously derided.
I haven’t seen the film, so I’d like to hear the opinions of those who have on this aspect of how Silk’s character is portrayed.
Brilliant write up by sm—heavy duty stuff
Didn’t know sm had this grip on matters like sexuality
Though I haven’t seen the film, the “depth” of discussion this is inciting means there must be something special in the film
Satyam u need to pull up your socks–every one from Amy to sm to utkal has seen something “deeper” whilst u r still entangled in d-cups et al
Hahaha
SM – I totally agree with your comment. I’ve already mentioned that I found this film very flaws and this is why- it does not spend any time trying to make Silk a synpathetic character. If Silk had been a gray character with a problematic past- the audience would have related to her and cared about the injustice she was subjected to in the industry- thus driving home the point of how hypocritic and cruel to women the industry is.
As it stands- Silk is a woman who uses her sexuality ruthlessly and thoughtlessly and in the audience’s view- will deserve everything that comes to her.
It is not all as simplistic as that though- there is a certain amount of empowerment involved in the way Silk owns her sexuality- in the way that she is presented as a flamboyant, swashbuckling hero mouthing punch lines – and in the non-judgemental way that the film portrays her.
But as it stands- the film is a compromise to the very hypocrisy it condemns- as if it feared that such a sex siren’s behaviour could not be legitimised in anyway. It’s almost as if the director thought that all sexually liberated women should only be portrayed as shameless whores- and there really is no ‘proper’ reason for a woman to behave the way Silk does- she just has to be lustful to the point of being almost unhinged.
However- whatever complaints I have against the movie- it does not diminish Vidya Balan’s stupendous performance. It really was the finest lead performance I have seen in a Bolywood film in a very, very long time- perhaps ever. And it was extremely brave of her to accept such a role.
Satyam- I am not just talking of the calibre of Vidya’s performance. I’m also considering how brave it was of her, as a Hindi film heroine, to accept this role- how she rose above the limitations of the script- and how she still manages to maintain her dignity even thought the camera does it’s best to violate her. I can guarantee you if it had been Priyanka or Kareena or Chitrangadha or whoever else in this role- Silk would have been reduced to a lewd caricature- and I would have left the theatre feeling disgusted with them for accepting such a cheap film.
One final point to add- Naseer has a lot to say in the film that basically amounts to this- Silk is the perfect fantasy fodder but not in anyway a legitimate part of respectable society or of a respectable man’s life. Ironically- that is exactly what the film does.
Silk is a cartoonishly ’empowered’ woman who enjoys pleasuring men for the power it gives her over them. She’s a soft porn star- and perfect fantasy fodder- and even when she isn’t on the job- she acts in a pornographic way.
However she never was- at any point in her life- portayed as a normal part of mainstream society. If they had initally shown her as a regular woman who was so ill-treated by society that she grew disgusted with, and desentizied to, it’s hypocritical rules- then they would would have had a powerful film that attacked the double-standards of patriarchy.
And considering that Silk’s actual life seems to have this element to it- it does look like it was wilful negligence to add that on their part- therefore making them as hypocritical as the showbiz men they criticise so strongly in the film.
I don’t know – I kinda liked that they didn’t saddle Vidya’s character with a sad, abusive backstory to “justify” her exuberant sexuality. Indeed, I thought the *only* semi-progressive element of the movie was that a woman was shown to enjoy sex for *her* sake rather than simply using it as a tool to control/influence men. Of course, her fate in the end completely negates even this minor advancement, but at least for a brief moment a woman was allowed to enjoy and get away with wanton behavior.
I disagree with SM. It would have been stereotypical had they shown her abusive marriage.Vidya’s portrayal actually blurs the line between vamp and heroine . I agree with Satyam that story presentation is very “bollywoodish”. Little bit of seriousness would have made movie much better. I had similar problem with Once Upon a time in Mumbai and Raajneeti…everything is one cruise control…
Wasn’t aware about the marriage angle, SM. Reminds me of Phoolan Devi. Deviating a little, but how did Kapur deal with her sexuality in BQ? Authentic / exploitative ? (haven’t watched it in full..only a few scenes before boredom settled in and I switched off…)
he dealt it most voilently and that includes some of the real bad sufff and thats why in india it had lot of censor problem and never acheived full result but the character there was alive and had no problems with that ….
Satyam : with due respect : think utkal is operating in a different plane that u have probably (fortunately /unfortunately ) not experienced yet lol
Could also sense it when someone got the whole
Essence and concept of the “devdas syndrome ” wrong
Appreciatimg and perceiving certain things needs some resonance
–some get it with personal experience and age (like utkal)and some even at “young” age instinctively
Ps: utkal what is your reading on devdas and which version u like most
Actually ‘age’ and ‘experience’ are the most overrated thing around.. or the ‘experience’ that one acquires simply as a function of ‘age’ is to my mind fairly ‘uninteresting’.. authentic ‘experience’ is something else altogether.. The thing is that when one grows older one likes to think that there has been a ‘learning process’ that has somehow been worth the cost of ‘aging’. Unfortunately this is usually not so. People call a simple cause and effect pragmatic view of things that is acquired over time ‘experience’.
Finally to get to your Devdas point art isn’t about that sort of ‘autobiographical’ identification. Sometimes these factors inform our reception of a work but I am not exactly going to tell someone who didn’t like Rockstar that their experience of romance is lacking!
I prefer Vidya in Ishqiyan and Paa over Dirty Picture. The latter is such a loud and bombastic film that Vidya just doesn’t get to do much with her character except mouth filmy dialogues about herself in third-person. Come on, who talks that way?
Have you seen the ‘Don says’ trailers or any of the new mindless masala films? They do exactly this- and in a way that makes The Dirty Picture look like an intelligent masterpiece 😉
as for marriage thing tell you in the movie there is a scene in which vidya along with tushar goes to her home town and there she says “main shadi ki ek raat pehle bhaat gayi”
this is how much they distorted to make money
yes smitha was raunchy but not this much and she produced that movie to clean his image(which led to her downfall and was her real guilt in real life) further her rise from an extra would have been really compelling story but sleaze was focus and everyone knows why ….there are just lot of loopholes if one goes on
its sad to see people distorting someone’s life and cashing on it
and ya i have said earlier i have not that much respect for silk smitha and her brand of cinema(personal opinion) but her biopic on silver screen deserved something better
“I kinda liked that they didn’t saddle Vidya’s character with a sad, abusive backstory to “justify” her exuberant sexuality. Indeed, I thought the *only* semi-progressive element of the movie was that a woman was shown to enjoy sex for *her* sake rather than simply using it as a tool to control/influence men”
Insightful stuff Shalini( though find the writing style suspiciously familiar –satyam may check ip etc lol)
Am pleasantly impressed by some of the posts in this thread.
The “depth “(and length) grasped by some of the female writers here have left the male ones like satyam “gasping for breath” ( pun intended )
Haha–just being honest and unbiased here as ever—satyam how about some “real life experience ” to heighten your writing skills –just like in rockstar (incidentally im also thinking of the same lol)
Lol@ the “ip check” bit–scared u “Shalini”
Nobody has the inclination/motivation and above all, time , to do that
So chillax-& let em coming
Btw came across a name “Arthi”—is this the Hindi version of carrying a “coffin”–sorry for the innocent question
Was wondering how someone could keep that name
Cheers lol
‘Dirty’ makes a ‘Clean’ sweep
By Taran Adarsh, December 7, 2011 – 08:07 IST
THE DIRTY PICTURE is a game changer. Let me cite the vital reasons… Till a decade ago, a section of the industry strongly felt that comedies aren’t commercially viable. The market for laughathon doesn’t exist beyond Mumbai, they echoed. But the naysayers had to eat their words when a spate of comedies smashed all records and set new ones at the box-office. Similarly, a big section of the industry was of the opinion that heroine-oriented films or women-centric themes enjoy limited appeal at the ticket window. The myth lies shattered.
I’ve repeatedly heard the naysayers also remark that biopics or movies based on the film industry don’t work at the ticket window. These pessimists, who live in a cocoon, completely oblivious of the changing times, have cited inane and ridiculous reasons to prove their point. But the staggering business of THE DIRTY PICTURE has proved them wrong and how.
Also, generally speaking, films with an ‘A’ certificate have their limitations. But the fantastic business of films with the ‘Adults’ tag, like MURDER 2, DELHI BELLY and now THE DIRTY PICTURE, has made people realize that a well-made film knows no limitations, from the business point of view.
THE DIRTY PICTURE is re-writing the rules of the game and like DELHI BELLY, is a game changer. Ironically, the year 2011 commenced with a film that borrowed from real life [NO ONE KILLED JESSICA], with Rani Mukerji and Vidya Balan essaying pivotal parts, and before the curtains fall on the year, a movie inspired by the life and times of a South Indian actress, essayed by Balan again, is making a lot of noise. Has hit headlines, frankly.
The terrific start of THE DIRTY PICTURE can be attributed to several reasons…
* The catchy title.
* The buzz that it was based on the life of a well-known actress of the 80s.
* The hugely popular ‘Ooh La La’.
* The eye-catching promos.
* Last but not the least, the mind-blowing promotions, prior to the release of the film.
There’s yet another vital reason that attracted a sizable number of footfalls at plexes and single screens, both: Emraan Hashmi. This guy has a massive fan-following amongst youth and his movies have consistently attracted footfalls, bigger and better than so many in-demand stars. MURDER 2 occupies a prime place amongst the biggest openers of this year and so does THE DIRTY PICTURE. Emraan Hashmi is a star in the true sense.
Post release, the world couldn’t stop raving about Vidya Balan’s bravura performance, Rajat Aroraa’s watertight screenplay and power-packed dialogue and Milan Luthria’s handling of several dramatic sequences.
The fact that THE DIRTY PICTURE has fetched a bigger start than some of the biggest releases this year only goes to prove yet again that content and concept are of paramount importance. No film can survive on hype alone. It ought to have the material to stand on its feet after the first show concludes. Else, the collections would sink faster than Titanic even before Day 1 comes to a close. THE DIRTY PICTURE packed a solid weekend and is all set to post impressive numbers in Week 1, which only goes to reiterate the fact yet again: Movies in India work because of entertainment, entertainment and entertainment.
I’d like to single out Ekta Kapoor, who is the bravest film producer today. She backs biggies like SHOOTOUT AT LOKHANDWALA and ONCE UPON A TIME IN MUMBAAI, but also backs films like LOVE SEX AUR DHOKHA, RAGINI MMS, SHOR IN THE CITY and now THE DIRTY PICTURE. These films have not only garnered critical acclaim, but have also been success stories in terms of economics. I’d like to go to the extent of saying that Ekta is the Aamir Khan amongst producers. Gutsy, brave, enterprising and super-successful.
This could be in the 80-100 crore range depending on how week 2 shapes up. Unless it does a murder 2 (completely crashed out in the second week) which is unlikely here.
The Dirty Picture got the benefit of Muharram on Tuesday as collections were around 5.75 crore nett as against the 5 crore nett on Monday. The film had jumps of 20-30% in places like UP, CP Berar, CI and Rajasthan while other areas jumped less but still most were better than Monday.
The film has so far collected around 40 crore nett in five days and is likely to have a 48 crore nett week one. Adding the regional version collections and it will be a 50 crore nett week.
The Dirty Picture is a huge hit in the Maharashtra area and should do a 14 crore distributor share in Mumbai circuit and a 2.50 crore distributor share in CP Berar which in the case of CP Berar is the same as films like Dhoom 2 and Raajneeti.
Desi Boyz had a heavy drop of 80-85% in its second weekend as it grossed around 4-4.25 crore nett in its second weekend. The ten day business of the film is nearly 41 crore nett and after two weeks it will be around the 43.50 crore nett mark.
Desi Boyz should hit the 45 crore nett mark but has no chance to get to 50 crore nett mark for lifetime business.
In its second weekend it held up best in the North with East Punjab adding 50 lakhs nett and Delhi/UP contributing 1 crore nett plus. The likes of CP Berar and CI saw huge falls.
The distributor share of the film will be 23-24 crore which is less than the 2009 Akshay Kumar starrers like Kambakkht Ishq and De Dana Dan which were 1600 screen releases compared to 2250 screens of Desi Boyz.
I havent seen the film and may never see it but some of the objections raised here regarding the portrayal of Vidya’s characters leave me a little confused and scratching my head.
Lets examine them one by one:
1. The film is supposed to be loosely based on Silk’s life but they have taken liberties with the story line. But, it is only ‘loosely’ based. I dont think the makers have claimed an accurate portrayal of her life nor is there any creative/artistic criterion that demands that the naarative be as ‘accurate’ as possible.
2. There is no backstory to explain or ‘justify’ Vidya’s character. If any thing it is a plus. And, if there was same people would be screaming that it was there , so that the bourgeois audiences can find it more acceptable.
3. It pushes the envelope but not far enough. Really? Aamir has earned tremendous prestige doing exactly the same.
4. There is an expectedly not too happy end to the story of these ‘wanton’ woman, there by making it more palatable for the delicate audience mentality. How do you think these stories end in real life??
5. The film is conviniently about a character in movie industry , there by making her behaviour more acceptable in the public mind . Duh, Silk Smitha was a film actress not an executive in a multinational company.
The film may be ridden with faults and Vidya’s performance amy not be all that great. I have no idea. But, this is a problem I often have with critiques and reviews. Once our mind is made up to pan a film ( and hopefully the decision is made after viewing the film, tho some here are willing to bash the film without seeing it), we justify our stand with criticisms that do not stand the honesty test.
I would laud the film as it certainly seems to have gone where few films have gone. Nor, would I suggest that the BO is purely because of the sleaze factor. At some level the film seems to have resonated with the audience.
Very good points Rajen, exactly the feeling I was getting reading some of the comments….
Kuch different na karo- then you are confirming to Bourgeois values,
Kuch different karo- then not enough different, you are still in an indirect way confirming to Bourgeois values.
arrey – here is a movie not Yash Chopra/ Karan Johar style, Different yet entertaining, Enjoy it.
agree with Utkal too…Rangan’s objections are stupid to say the least……
But Rocky one can’t have it both ways. If it’s just entertainment that uses a bit of sleaze to ‘sell’ the movie that’s one thing. But if it is being celebrated as a coming of age of its industry in matters of female sexuality and if it is then critiqued on these grounds one cannot suddenly go back to the previous defense (hey it’s just silly but it’s fun).
I remember as a kid our Munim jee will say to us about our Father and uncles,( when yelled at by my dad)- agar dawaat ( Inkpot) humse gir jaye then babujee will yell at us- Andhe ho kya; lekin agar Dawaat babujee sey gir jaaye tau woh kahenge- yeh dawaat raastey mein kissne rakh dee…… LOL.
yahee haal iss blog par sala middle class ka hai, chaubees ghante galiyan khatey rehtey hain…..
Rajen, speaking for myself I was responding to Utkal’s specific comments. But as I also said there the film isn’t serious enough for me to be bothered too much by its other implications. However when the subject was raised that this was a Raging Bull moment I had to respond!
Firstly I don’t believe it’s comparable to many of the Aamir films I praise though note that I have always questioned something like RDB for its political muddles. On DB I had a similar sort of reaction to TDP, didn’t think it was a big deal in any sense, the rest was about Aamir’s marketing. But leaving this aside it’s all about contexts. If the claim is that TDP is an entertaining films that attempts a somewhat different subject I don’t have any problems with this. If however it is suggested that Bombay cinema is taking some great stride forward with this representation I disagree and for the reasons I’ve already provided. But again it’s about contexts. I am reminded of that famous joke from the 80s where the American guy tells the Soviet he has greater freedoms because he can stand in front of the WH and curse the president of the US and the Soviet guy responds ‘ what’s the big deal? I too can stand in front of the Kremlin and curse the president of the US’!
The point is that within the contexts of ‘today’ there is nothing about TDP that to my mind particularly pushes the envelope in this sense. We had Chetna more than 40 years ago where the guy falls in love with a prostitute who’s fairly unapologetic about things, who then marries her even after learning who she is. Of course we know the film is based on Silk’s life. But WHY is it based on her life? Why wasn’t the same representation of supposedly female emancipatory sexuality produced in some other context? If you recall I made the same point about Luthria’s OUATIM. So we get ‘classic Bombay’ of the 70s with a nod to certain masala conventions by way of a celebration of gangsters. Why not something else? Part of it is a marketing ploy, you latch onto a famous or notorious name and generate media attention that way. And you then sell nostalgia or progressive cinema, as the case might be. But these very same choices also make sense for ideological reasons. They are on the right side of the audience. And here the whole Silk smith frame is useful. If I am a director looking to explore female sexuality in certain ways I might or might not arrive at the Silk story. If however I feel the Silk subject makes for ‘spicy’ cinema specially with the right star in it and so on which I can then sell as ’emancipatory’ it’s something else altogether. Within the dominant ideological framework of the film’s audiences this story is relatively easy to account for.
I raise the same question again: does anyone really think that a truly daring exploration (and celebration) of female sexuality would generate these sorts of box office numbers?! This has never happened at a truly mass level even in Hollywood! But somehow the same in Bombay is on course (potentially) to get to a 100 crores? I’ll repeat another point — note how the same Ekta Kapoor who otherwise is legendary for her TV soaps extolling family values also produces films with a heavy emphasis on gangster violence or ‘perverse’ sexuality (not that which is so in itself but that which is likely to be regarded by its audiences as not the norm.. whether they support it or not they they will have a reaction to it because the films often presents this in sensationalist terms.. consider the sex in LSD or even a horror effort like Ragini MMS..) in the guise of the progressive. They are two sides of the very same coin. Again not arguing with the film that is, just the film that some are making it out to be. I found it fluff as I earlier said, nothing to look here (excuse the pun!), and so I am not really objecting to the film except if its labeled a new frontier in Hindi cinema!
In Deewar you have the lead pair living together, it’s all treated very casually, the female protagonist smokes in bed after sex (or so one of the scenes would lead one to believe), she has also been an escort, all of this never becomes a concern for her lover, at the end of it all we learn that her long suppressed dream has always been to get married in the traditional manner, her lover wishes to marry her as well once he learns she is pregnant, again the legitimacy of the child seems to be a clear issue as well. I’m going through all of this very quickly but note how ‘complicated’ all of this is. Specially with respect to the ways in which Vijay is otherwise questioning the entire socio-political order that has been so unjust to him.
I am not using unfairly a seminal film like Deewar as a model for TDP. Just trying to illustrate that this is the stuff that defines those new frontiers. Or something like Awara where you have a guy trying to kill his father in 1951! And you have of course a rather erotically conceived romance, so on and so forth. These are films that do not wait for the audience to lead them. Sometimes they work instantly because they strike a chord for all sorts of reasons, sometimes they take years or decades to be appreciated. But the gestures are always there to be noticed. when Raj Kapoor took a rather dark view of the Indian nation-state in the first decade of its Independence that was a far more potent gesture than Mehra doing the same in 2006 in RDB when everyone more or less agrees with him (at least at the level of criticizing political institutions which is what Mehra limited himself to). On the other hand when months after a sensational Maoist massacre of Indian army/security personnel a film is released (Raavan) that is actually sympathetic to it (the film opens with this ‘attack’.. it’s part of the montage) and even represents these ‘tribals’ as the other side of the Ram-Raavan debate and when the Ram is made to look somewhat less than heroic from the vantage point of Asokavanam that’s what the truly radical is really about. This is not what the audience is ready for (unlike D6, a film which was tonally not a commercial film, Raavan didn’t have that issue). So it doesn’t have to be great or ‘greatest’ films only. I’ve just gone from Chetna to Awara-Deewar to Raavan. All of this still doesn’t mean I have a problem with TDK. I was simply responding to Utkal’s comments calling it a seminal moment in Hindi cinema and a Scorsese-like deal and so on.
satyam proves that size (and length) does matter…^^^
Finally (and somewhat late) satyam is coming back to form..
Anyhow:once again, one needs to commend the high quality posts by certain female members (apparently) namely amy, sm and shalini who have “enhanced” the overall depth of discourse in this thread –and im not joking (for a change)…
Somehow the perception about this film is a problem. I cannot get myself to go to the big screen for something consrructed around cleavages and d-cups.
Also difficult to get willing company for this one since for the unintiated , this is still a skin show exercise –though many will rightly find deeper meanings here.
Inspite of all this and there being no credible “hero”. one needs to commend two feamles–
No ifs no buts–
Vidya balan and Ekta Kapoor for the type of box office performance.
i mean, for eg,
desi boys (for all its crapness) is looking like a low budget small film in its comparison
think this should serve as an “eye opener” for the other heroines who keep lamenting about lack of opportunities and boast about starring opposite xyz khans biggie. infact the main claim of fame for one is that she has starred opposite all khans —cmon go get a life
Just saw the box office figures of TDP and must say, vidya balan has surprised big time. When she arrived,many thought that she may go the gracie “lagaan” singh way who inspite of having two blockbusters, lagaan and munnabhai, petered out.
But slowly and surely , balan seems to be carving an aamir khan-esque career (though the dimensions, scale and impact is much different) built around certain principles—
a)recognise your limitations but dont be defensive / apologetic about them
b) choose the project correctly
c) back yourself up d)Dont accept secondary unimportant roles even in big “sureshot” projects
Talking of “superstar” heroines —
70s onwards–
Hema Malini
Sridevi
Madhuri dixit
Nil since
Simply ethereal–Aishwarya rai (occupies a separate slot for me)
Notable standout recent acts/ performances
Rani Mukherjee -Black (astounding)
Priyanka Chopra-Whats my raashi (obscenely under rated class act–not inferior to black imo)
Most beautiful female to ever grace indian screens–Aishwarya rai
Satyam: Your arguments for why TDP is not radical are really specious. One argument you put forward is : It is commercially successful, so it cannot be radical. Two: It cannot be radical because it is produced by Ekta Kapoor.
No one can argue against such pre-decided closed minds.
As far as I am concerned, truly interesting films can come from the likes of Anil Sharma or Sooraj Barjatya ( Gadar, Hum Aapke Hain Koun) just as unwatchable bad films can come from Mani Ratnam or Rakesh Mehra ( Raavan and Delhi 6) . Again for me, great or interesting films can films can be smashing box office success or total crashes ( 3 Idiots and Lagaan or Andaz Apna Apna and No smoking).
Of course, you contradict yourself when you site the example of radical films by your definition: Deewar and Awara, which incidentally was lapped up by the masses big time.
Of course I am tempted here that the ‘radical’ Dewar was cautious enough to show why Amitabh turned out the way he did … because the miscreants wrote ” Mera baap chor hai on his hand”. We all know why Shahrukh in Baazigar turned out the way he did. As far as Chetana and countless such films om prostitutes and courtesans , the men fall for them not for their magnetic sexual pull, but their lily as white hearts. Most of these ‘ prostitutes’ are forced into the profession by poverty, scheming villains or exploitative relatives.
Here comes TDP throwing all such conventions to the winds. ..to hell with justifications! My respect for the film is in large measure for this single BIG LEAP in authorial stance. Luthria may not even be aware of what he has done. ( Though I am sure Rajat Arora is quite clued in to what is happening here, though not perhaps fully aware of the philosophical import of that stance.) I am mighty impressed by the fact that they have removed the abusive husband as the reason for her moral profligacy, just as they have removed the exploitative boyfriend as the reason behind her finical
fracas. Silk Smitha’s actual life provided these obvious dramatic clutches. But Luthria and Arora have done away with them. And that was masterly. Not only because it provides a narrative freshness..but for deeper philosophical reasons as I see it.
In my reading of human psychology, these circumstances are incidental to the deviant behaviour. To a large extent, such behaviour is hardwired into certain characters. Circumstances just provide the spark. some women love to dance in strip clubs, some men love to handle guns and shoot people. It is middle class morality that seeks justification for such tendencies. Quite strangely people don’t seek justifications for saintly behaviour. Why do they need justifications for sinners? There is no sociological back-story sought for why Ramkarihns Pramahnsa left home to live in Kali Temple, or why Siddhartha left his beautiful wife and child to meditate. Ok, he saw a man sick and another dying. But so do all of us. So there is something within these men that make them act differently. why cant it be for women like Silk? Really refreshing to see this aspect on screen. I couldn’t believe my eyes as the story unfolded on screen. I was realy perked up. And my brain began to tick. The whole question of social contract between men and women, drawing lines of sexual behaviour for both, flashed in my mind.
Feminists or people with feminist sympathies are not happy that Silk commits suicide. Why? Does any left sympathizer feels bad because Che Guavera was killed? What is so great about growing old and dying? Everything comes at a price. Silk sure knows it. She had her chance to turn respectable and live the live of a hypocrite just by behaving well for one evening. But she spat on that opportunity. Not for her the dishonest compromise. She wanted to live and die on her terms.
And let’s not forget, even Vijay ion Deewar dies. ( though the real life counterparts like Haji Mstan or Dawood Ibrahim went on or go on living)
AS to killing of the wanton woman being regressive, let us not forget Anna Karenina died as did Madam Bovary. If Tolstoy and Flaubert are regressive, well, Luthria and Arora are in good company.
“As far as I am concerned, truly interesting films can come from the likes of Anil Sharma or Sooraj Barjatya ( Gadar, Hum Aapke Hain Koun) just as unwatchable bad films can come from Mani Ratnam or Rakesh Mehra ( Raavan and Delhi 6) . ”
I thought I would only be appalled with this sentence in your response (though I must admit I’ve still not gotten over the Raging Bull analogy) but then you followed it up with this:
“AS to killing of the wanton woman being regressive, let us not forget Anna Karenina died as did Madam Bovary. If Tolstoy and Flaubert are regressive, well, Luthria and Arora are in good company.”
The first sentence is just appalling, this last one constitutes criminal activity in my judgment. The crime being putting some of those names together in a sentence.
On ‘pre-decided closed’ minds thanks for leading by example..
(for the record you’re misreading most of my argument)
*Some spoilers
I tend to agree that subject and story are bold for mainstrean cinema but treatment is hackneyed. Last 45 minutes or so proceedings become too slow. There was no justification for Balan’s character turning from beseeching woman to one who turns down roles. Even the money problem was shown was director’s convenience to show cascading problems. Hashmi and Kapoor’s characters were barely written.
and to repeat ad nauseam I don’t really have an issue with the film. However if it’s going to be called something profound that’s a whole different story. On a related note I am quite pleased to see Balan get this big success though I certainly have preferred her performances elsewhere.
need a clarification—
havent seen the film and its quite late in the day to ask —but what is the “official” reason given for balans “wanton” behaviour—is it “circumstances” or “nymphomaniac tendencies” or what
“My all time vote might go to Suchitra Sen.”—good for being “different” but what is the criteria of this vote lol
IMO in the ALLTIME list—will include a very select group
this includes everything—grace, beauty, charisma, transcendence, popular appeal, ability, staying power and a certain x-factor
and the names are–in this order
Aishwaya Rai
Hema Malini
Madhuri Dixit
Madhubala
and thats it!!!
just added a video above which provides some glimpses. She did about half a dozen Hindi movies (among these there’s Devdas which came rather early in her career and Aandhi was rather late). But in Bengali cinema her status is completely singular. she was more or less the dominant star for two decades and her pair with Uttam Kumar in this period is in all probability the medium’s most prolific (ever!). Sadly I have only seen two dozen or so of her Bengali movies though many of these are very famous. But I find her an absolutely matchless combination of beauty, dignity and (dare I say!) an almost aristocratic grace. Also a great fan of younger a Aparna Sen.
Among actresses who’ve debuted over the last thirty years or so I am very partial to Shobhana:
But restricting myself to Hindi film actresses (which is hardly the same as ‘Indian’ ones) Hema Malini would possibly get my vote as the most gorgeous actress of all time. Of the classic era actresses I am not really a great fan of any of them though like some moments better than others. In the contemporary age Aishwarya’s beauty is undeniable (though prefer her older) but I’ve been more partial to Rani Mukherjee (before she blew up her career). But there’s no doubt that the truest female star of this industry in this age has been Aishwarya by a long shot. No one else quite has that aura (to the extent this is possible today).
By the way it’s not a question of being ‘different’ but one of ‘experience’! Ha!
yes I do find Deepika quite beautiful though she can also be rather plastic (kind of like an early Ash). Might get better with age. And Sharmila Tagore (can’t believe I forgot to mention her) is also one of my all time favorite stars. Again love Jaya Bachchan in most of her 70s stuff.
All south Indian stars who works in Bollywood looked plasttic at early ages due to cultural inhibitions except Rekha. I don’t know what it meant, by plastic just using what people use)
To me, Aishwarya is the most beautiful . I don’t care much about acting for actresses..
“All south Indian stars who works in Bollywood looked plasttic at early ages due to cultural inhibitions except Rekha.”
that’s an interesting point and something to think about.. though many older generation stars from the South were hardly ‘plastic’ in this sense whether it was Hema Malini or Vyjanthimala or Waheeda Rehman or whoever. I think the common link between Ash and Deepika might be modeling! I think the latter requires a more ‘frozen’ expressiveness and gesturality which is exactly the opposite of cinema. Models aim for the photographic (still) image which is very different from the ‘cinematographic’ one. Nonetheless your point deserves reflection.
Nothing against “regional” at all but it is quite difficult to compare it like to like all points considered due to “reach”, “appeal” etc
Aishwarya is a pretty non negotiable choice acc to me.
Don’t usually mention it since people may think Im bluffing or something. So a “scoop” for this blog–
had more than a bit of “discussion” with her on a flight.
Enuf to get more than a fleeting impression of a person
And she is down to earth, endearing and even humble.
Unlike some girls who know they are v good looking, she doesn’t make u aware of it.
On this flight, nobody in the crew knew about her celebrity status. She infact thought I’m a young Hollywood actor she had seen somewhere on telly….
Hahaha now don’t throw bricks at me —
Think I should stop there and not reveal anymore or else would appear incoherent and on drugs lol
ha.. that must have been the flight of your life.. no wonder you now have all these problems with Abhishek!
It’s difficult to compare regional with national without the proper exposure, true.. but which is a reason to restrict oneself to ‘Hindi’ cinema and not keep referring to ‘Indian’ cinema! LOL, you walked into this one..!
Alex Adams, you ask me about Devdas. Well it is agin the story of another self-destructive character , except that it is man this time. And once again no justification of his behavior pattern is given. He just loved to run away from things rater than stand up and do something about stemming the force of circumstances. .
I love the Bimal Roy – Dilip Kumar version, mainly because of Dilp Kumar’s performance. He made the character real . Loking at him I could belive that there could be a character who loved to make train his home as he drank himself to death. vyjayantimala wasa luminescent Chandramukhi, though Suchitra Sen beings the great Bengali actress could not bring much to the table as Paro. I even dare to say the Aishawray’s Paro was better in showcasing a certain hurt feminine pride and vulnerability at the same time.) Motilal as Devdas’s drinking friend was outstanding.
I could see that Saigal’s Barua version was god too. But it was made too long back and seeing it on a bad DVD print I could not relate to it fully. The Sharukh – Bhnsali version was the worst , bordering on bad. Sure it had its moments. But it never came anywhere close to grasping the essence of the story and the character of Devdas, Operatic, my foot! And Sharukh was pathetic. Fir an actor who is supposed to be known as a romantic hero , his performance was sorely lacking in passion. And at no print in the film , the name Devdas came to my lips when his character appeared on screen. Okay he was wearing trousers instead of dhoti. But even then he could have become Devads in some way. He was simply Sharukh of K3G or Ver Zara… not the effete Self-destructive Bengali Zamindar scion. A totally wasted opportunity. And songs like Dola Re Dola Re was worst than the most ill-time item song.
I also loved Dev D, which is easily among the most seminal love stories of Indian cinema. It features a stand-out performance by Abhay Deol, comparable with Dilp;s , and is ably supported by Mahi gill and Kalki. And the music! Best in the decade. And it is the most inventive use of music in an Indain film, that I have ever seen evn counting the best of them such as Mani Ratnam, Raj Kapor, Shankar or Manmohan Desai.
“I also loved Dev D, which is easily among the most seminal love stories of Indian cinema. It features a stand-out performance by Abhay Deol, comparable with Dilp;s , and is ably supported by Mahi gill and Kalki. And the music! Best in the decade. And it is the most inventive use of music in an Indain film, that I have ever seen evn counting the best of them such as Mani Ratnam, Raj Kapor, Shankar or Manmohan Desai.”
Utkal, hope you’re not trying out for Guinness the rate at which you’re turning out incredible statements like the one above.
Dev.D was very overrated and self indulgent in my opinion- but again like TDP- probably a watershed moment for the portrayal of women in Hindi commercial cinema.
And Abhay was totally overshadowed by Mahie Gill- she was fantastic in this- he was just average- Kalki was a bit inconsistent but creditable debut.
Utkal, where did you find a dvd of Saigal’s Devdas? I’ve been looking for it for ages, without any luck, so will really appreciate it if you could give me a clue. Thanks.
I haven’t seen P C Barua’s version with Saigal but Bimal Roy was the cinematographer on it and it’s supposed to be a frame by frame copy of the older film.
And I don’t know how much Utkal saw because I am pretty sure the complete film does not survive at all. In fact barely half of it does as far as I know. but here’s a clip on youtube:
Thanks very much, Satyam. You’ve truly answered a prayer! 🙂 There was reference to this version on the U of Iowa’s website, but the person who runs it had seen it once on a video, and couldn’t tell me where he got it from. I’ll now pursue this.
I did find the dvd of Saigal’s Tansen. Interestingly, as great as he sounds when singing, when speaking, I found his voice to be curiously weak, not quite suited for a “hero.” 🙂
“ha.. that must have been the flight of your life.. no wonder you now have all these problems with Abhishek”—hahaha
Have no problems with abhishrek—he is a v nice guy with a great background
But he simply doesn’t deserve ash—full stop
Btw this was before her marriage
don’t believe in taking autographs but should have gone for one here— forgot to get one —in all the talk.
Found her a very “normal” girl amidst everything
And dont want to get started now lol
Alex, according to me, Abhishek and Ash are the right combination Don’t bring he doesn’t deserve. Your and my only concern is his career.
We are seeing so many successful actors with no minimum ethics in Bollywood. I feel she is at right place.
Think that comment about abhishrek not deserving ash was a case of getting carried away
Could feel the positive energy and the aura –nothing to do with looks alone
Lol
“It’s pure entertainment often bordering on titillation disguised as progressive thought-provoking cinema.”
Don’t agree.
I think “It’s pure entertainment often bordering on titillation pitched as as pure entertainment often bordering on titillation.”
Progressive or not it sure has turned out to be thought-provoking, though I doubt the makers had it in their mind to be thought-provoking. And that’s a blessing.
Films that wear their profundity on their sleeves can be a so boring and predictable.
And just because a film aims to entertain does not mean it cannot be thought provoking or great art. Think Shakespeare. His plays have all the ingredients of mass entertainers.. buffoonery, ghosts, melodrama, bold and gore. But through all that are revealed great truths about human existence. Rajat Arora is not Shakespeare’s s league, but he is better than many stuffy art-film makers. But if we try to project who from the current Indian dramatists 200 years from now will be the Shakespeare equivalent, it is surely going to be one of the Hindi / Tamil Cinema mainstream greats rater than any of the art filmwals. ( My prime candidate for sucha poition ? Salim-Javed, on the strength of scripts like Deewar, Sholay, Shakti, Trishul, Majboor, Mr India , Don . ) Likewise, the future Mozart, Beethioven, Bach, Vivakdi are likely to be the likes of Rahman, Ilyaraja, RD Burman, Madan Mohan, Shankar Jaikishan.
I try not to be intimidated by big names be it Tolstaoy or Mani Ratnam and am open to the possibility that great artistic moments and revelation scan from any quarter.
( Having said that I must mention The Dirty Picture is not a fully realized piece of art. There is much that is sloppy. Much that is limp. The rebellious filmmaker Abraham and his love-hate relationship with Silk is not explored fully. The exchange of aphorisms as conversation is fine as a form. ( very Shakespearean.), but some of the double-entendres are not called for ( eg the scene where TRamakant is teaching her how to drive.)
But over all it takes deep stab at psychological truth at the core and follows an exciting narrative arc. It definitely is among the most thought-provoking films on female sexuality and the nature of sexual contract in society. I will take this over Bhumika any day.
” The film is brilliant at two levels. It is acute in its portrayal of male hypocrisy, but more so in its portrayal of how sexuality liberates women. The Dirty Picture is the stuff of sociology and the meat of a feminist critique of a male world. Beyond its sociological roots, however, it is a celebration of life, an ode to cinema and the liberating power of sexuality. This is a woman who enjoys sex and whose sexuality exudes power and freedom. The woman’s body becomes her way of being herself. When the body takes over and speaks its language, all society stops to watch and listen.
The Dirty Picture begins as nostalgia and ends as invention. It fails to recreate a legend, but instead creates a new mystique around Vidya Balan. Balan achieves what Silk Smitha failed to: a place in a male-dominated world. For once, the men are side shows as she grows from bit girl to star. As the two stories merge, one realises it is the legend of Vidya Balan that is being created on-screen, as she takes the Silk route to reinventing herself.”
Thanx for your cumments on devdas utkal uncle
Though for the first time found that u had missed a few connotations on this misunderstood character
There is a reason for its success inspite of being a loser and passive
Will get back in that when time permits
Alex Adams, someone who wants to drink himself to death has enormous appeal for all of us.
And by the way, I forgot another Devdas I really lied. It is called ” Leaving Las Vegas” starring Nicolas Cage and Elizabeth Shue. The synopsis: ” Ben Sanderson, an alcoholic Hollywood screenwriter who lost everything because of his drinking, arrives in Las Vegas to drink himself to death. There, he meets and forms an uneasy friendship and non-interference pact with prostitute Sera. ”
I realy loved the atmospheere of the film and Nicolas Cage.
I am quoting a little more from the review, because it is very well-writen. And out of all the Indian Devdases only Dev D manged to get into the heads and loins of the protagonists in the way this film dioes.
” Ben was a movie executive. Something bad happened in his life, and his wife and son are gone. Is he divorced? Are they dead? It is never made clear.
“I’m not sure if I lost my family because of my drinking, or if I’m drinking because I lost my family,” he muses. The details would not help, because this is not a case history but a sad love song.
Cage, a resourceful and daring actor, has never been better.
Consider an opening scene where Ben attempts to make jokey small talk with some former colleagues who have long since written him off as a lost cause. He desperately needs money because he needs a drink – now, right now! He is shaking. He may go into convulsions.
Yet he manufactures desperately inane chatter, dropping famous names.
Finally one of the former friends takes him aside, gives him some money and says, “I think it would be best if you didn’t contact me again.” Minutes later, brought back to life by alcohol, he is trying to pick up a woman at a bar: “You smell good,” he says. She catches a whiff of his breath: “You’ve been drinking all day.” What could possibly attract Sera, the prostitute, to this wounded man? We learn a little about her, in closeups where she talks about her life to an invisible therapist. She is proud of the way she controls her clients and sets the scenarios. She is adamant that none of them is ever really allowed to know her. She has an abusive relationship with a pimp (Julian Sands), and we can guess that she probably also had an abusive father; it usually works out that way.
The pimp is soon out of the picture, and “Leaving Las Vegas” becomes simply the story of two people. Perhaps she likes Ben because he is so desperate and honest. She takes him in as she might take in a wet puppy.
It is unclear to what extent he fully understands his circumstances. At times he hallucinates. He calls her his “angel” fancifully, but there are moments when she literally seems to be an angel. He hears voices behind the walls. He shakes uncontrollably. He asks her, “How did our evening go?” There is a curious, effective scene in which he tries to get a check cashed, and his hands shake too much to sign his name. He goes off to drink himself into steadiness, and then it seems he returns and makes obscene suggestions to the teller, but they all take place in his head.
Mike Figgis, who wrote, directed, and composed the music for this movie, is a filmmaker attracted to the far shores of behavior.
Here he began with a novel by a man named John O’Brien, whose autobiographical sources can be guessed by the information that he killed himself two weeks after selling the book rights. To be sure this project wasn’t compromised, Figgis shot it as an independent film, using Super 16 cameras to “grab” Las Vegas locations. The outdoor scenes feel unrehearsed and real.
The movie works as a love story, but really romance is not the point here, any more than sex is. The story is about two wounded, desperate, marginal people, and how they create for each other a measure of grace. One scene after another finds the right note. If there are two unplayable roles in the stock repertory, they are the drunk and the whore with a heart of gold. Cage and Shue make these cliches into unforgettable people. Cage’s drunkenness is inspired in part by a performance he studied, Albert Finney’s alcoholic consul in “Under the Volcano.” You sense an observant intelligence peering from inside the drunken man, seeing everything, clearly and sadly.
Shue’s prostitute is however the crucial role, because Sera is the one with a choice. She sees Ben clearly, and decides to stick with him for the rest of the ride. When he lets her down badly, toward the end of the movie, she goes out and does something that no hooker should do – gets herself into a motel room with a crowd of drunken college boys – and we see how she needed Ben because she desperately needed to do something good for somebody. He was her redemption, and when it seems he scorns her gift, she punishes herself.
“Leaving Las Vegas” is one of the best films of the year, deserving many Academy Award nominations. That such a film gets made is a miracle: One can see how this material could have been softened and compromised, and that would have been wrong. It is a pure, grand gesture. That he is an alcoholic and she works the streets are simply the turnings they have taken. Beneath their occupations are their souls. And because Ben essentially has given up on his, the film becomes Sera’s story, about how even in the face of certain defeat we can, at least, insist on loving, and trying. “
Good piece there utkal uncle
Seems interesting specially the opening scene
Will like this of and when I get a chance to watch it
Getting few min off and on to punch n type is ok but taking aside two hours plus gets difficult ESP when it is followed by “analysis” lol
Have a thing for opening scenes
Even loved the recent rockstar opening squence where jordan is shown pushing n shoving …..to attend his own concert
That sets the tone
Another one –Amitabh doing nothing in particular during the opening credits of akayla
The beauty of films as of any art is , the same work can have different appealfor different people. Doesnt make one neccessarily right or the other wrong. What is wrong is the insistence of one side that the other view point is flawed or somehow not legitimate. And, the line of argument/reasoning has to be consistent. If someone finds RNBDJ to be a masterpiece and Raavan to be horrible, obviously legitimate questions regarding the validity of that opinion be raised. But as far as TDP goes, I am fascinated by both Satyam and Utkal’s takes and dont have problem with either. I might just be motivated to see the film to see where I fall, myself.
Chennai Box-Office (Dec 2 to 4)
Wednesday, 07 December , 2011, 12:55
December has brought joy to Kollywood trade. The next three months (December to February) are normally the best at the box-office, with Christmas, New Year and Pongal holidays to follow.
The number one at the CBO this week is Selvaraghavan`s Mayakkam Enna, which is doing very well at the multiplexes. The big screen at a popular multiplex reported an awesome 92 % in the films second weekend. It is a city based hit.
At number two is Sasikumar`s Samuthirakani directed Porali which took an average opening as the film released on a Thursday (Dec 1) and reports were mixed.
In the third place is Vidya Balan`s The Dirty Picture in Hindi and its dubbed version in Tamil, which took a good opening.
At number four 7aum Arivu still continues to attract the family audiences due to good publicity by its producer Udhayanidhi Stalin. In the fifth place is Velayudham.
rocky : after srk its vidya only who has emerged from television and was ekta’s discovery in a serial called hum panch which was launched 16 years ago ….thats why there was controversy over her age and similarly there is nargis fakhri who arrived many years back in india in one of fashion shows( i guess she to is in mid thirtees)
The point being made about Silk being unapologetically sexual in the movie is completely untrue in my opinion. She only resorted to sexual behavior because she knew that her talent and looks were not enough to get her foot in the door. Not saying that makes the movie incompetent but like Satyam said, there is a big difference between the movie that certain people are describring here vs. what it actually is.
Utkal uncle —few people have done research theses sitting in foreign universities on the devdas appeal lol
Some exerpts—
One of the secrets of Saratchandra’s continuing popularity could well be his essential conservatism. Despite his reputation as a rebel, he never destabilised the basic middle class values regarding man-woman relationship. In his novels women achieve their salvation only through seva and sacrifice while men retain the right to act arbitrarily or not to act at all. Devdas’s self-indulgent path of ruin is exclusively a male prerogative. Parvati could not have chosen such an escape route. The physical wound Devdas wilfully inflicts on Parvati’s forehead and the verbal insults he hurls at Chandramukhi only make them more abject and self-abnegating. Whatever external changes might have taken place in the 21st Century, evidently these male fantasies still endure.
But that will not explain why in 2002 the novel was filmed at such enormous cost — and was enjoyed by so many people, or why the English translation of the novel is selling well. In our fiercely competitive and so-called globalised world, can passivity or inaction be still made to look attractive? What makes today’s viewer/reader still empathise with a hero who wills his own failure? These are not easy questions to answer. Seen simply as another variation of the archetypal story of unfulfilled love like Laila-Majnu or Sohni Mahiwal, Devdas could at the most be accorded a mythic status. But Saratchandra’s forte is social realism — not allegory. The novel is rooted in history, geography and local custom. The real reason why Parvati cannot be married to Devdas is that she comes from a family which takes bride-price — a practice which had a social stigma not attached to the more prevalent bridegroom-price or dowry. Devdas can afford to squander his unearned income because his family was the beneficiary of Lord Cornwallis’s Permanent Settlement of land in Bengal. Many such details tether the novel to specific place and time
A “senior” (perverted) uncle i know & respected (till now) saw tdp yesterday
He kept on going on and on about tdp
Cleavages and d cups
And to top it all: wants a note viewing and wishes me to also “enjoy”
Am fed up really
Is this what the “big screen” experience been reduced to
Against my “principles” hahah
Oh god- apparently after the success of Ragini MMS and The Dirty Picture, Ekta Kapoor has decided to ‘push the envelope’ with louder, cruder sex comedies. Here is the teaser for Tushar Kapoor- Ritesh Deshmukh starter Kya Super Kool Hai Hum:
Knowing Ekta’s marketing genius, this film will also do excellent business, and that will just lead to her making sleazier and sleazier films. Somebody save us all.
“Satyam and Rockstar- ” Bade”…achche lagte hain !!!
joke tha….probably was meant for Alex Adami and Rajen LOl!!”
Haha am trying to be a “good boy” as of now
And desisting from commenting on “bade”–as of now
Off topic—talking of female actors
Saw some initial part of fanaa
Could never see this movie earlier
Could manage only the first few
minutes —–am pleasantly impressed with kajol
She outacts everyone including aamir
Infact seldom have I seen a heroines “dictating ”
to aamir like this
Saw only few random scenes —but usually those are enuf
There were a few train scenes and kajol is literally ace.
Found her much much better here than mnik ….
In short : kajol can act really well when she wants and be the “mother ” of recent actresses—acting wise
Though she can be variable and a pity that she got engulfed in the chopra-kjo-“yash uncle” syndrome
Thought this was an instinctive actor(kajol) vs a prepared rehearsed “skilful ” actor (aamir)
Saw four five scenes in total—kajol won
(&tabu was horrible in her two scenes )
The second half got too wtf to continue
Had not heard this song before (unlike some other “hits”)—good
Kajol for me joins te list of actors who on their day can fc-uk anyone. On another day she may be the most irritating screecho (& have walked out of films only bcos of her (&srk)!!
Here saw aamir being given a demonstration of instinctive acting .
Maybe the few scenes I saw weren’t representative of the whole film but when the Kunal kohli-ism kicks in :couldn’t stand it anymore lol
In one wtf scene there was literally a “showdown” with both kajol and aamir pointing pistols at each other with aamir having to growl and gnarl ….but kajol Literally and cinematically shoots him down!!!
This film may have done v well but showed how Srk is the perfect “foil” for kajol –though abhor the films which formed the backdrop of this association and much of the over smartness involved In the part of the “directors”
One or two kajol scenes here nearly reached the standards of her all time best scene —
The pre interval song/scene of kuch kuch hota hai…..Which is legendary IMO kjo wise
Think it was placed between/around “tum pass aye “& the following “rain folk song”(don’t recall name)
Alex, I don’t think SRK is the perfect foil for Kajol. I think Aamir made a better pair with Kajol becoz there is just that little bit of animosity between them which makes the chemistry more palpable. Fanaa could have been a much better movie , but still the Aamir-Kajol romance is really one the better romances I have seen in recent times. Unfortunately, Aamir’s puffy appearance in the first half seems to put off people (which I think was intentional as he looked much better in the second half).
I agree with Latha. I found the Aamir-Kjol jodi more interesting than SRK-Kajol’;s recent outings together. One of the things that made Fanaa watchable was the performances of aamir and Kajol, especially in the scenes after aamir lands up at Kjaol’s place in the 2nd half. The songs were nice to watch too.
SATYAMSHOT 
December 1, 2011 at 6:51 PM
Nikhat Kazmi gives 4 stars:
http://timesofindia.indiatimes.com/entertainment/movie-reviews/hindi/The-Dirty-Picture/movie-review/10942329.cms
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December 1, 2011 at 8:41 PM
Reviews seem glowing so far.
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December 1, 2011 at 9:11 PM
it could put up bigger than expected numbers.
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December 2, 2011 at 12:07 AM
Not to sound as if I’m conducting a sociological survey, but do you think critical reviews account for this? I’ve wondered myself whether film criticism really influences the audiences outside of obvious extremes…I’d actually be genuinely surprised if a film like this did anything at the BO.
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December 2, 2011 at 9:04 AM
GF,
You are forgetting this film also features your most favorite actor next to Mohanlal. i.e Tusshar and you are underestimating his BO pull.
The business of this film is going to surprise people. Unfortunately, it is not going to be because of the merits of the film ( which seem to be substantial) but the sleaze factor.
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December 2, 2011 at 9:07 AM
GF,
Apologiesin advance if I made a mistake. I always forget if the order is – Mohanlal,Tusshar,Zayed or Mohanlal,Zayed,Tusshar.
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December 1, 2011 at 10:31 PM
Seems to be getting positive reviews, Milan luthria seems to have hit the bull’s eye again; i loved taxi no 9211 and OUTIM…even though the premise of the movie is not very interesting I might just check it out in the theater.
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December 2, 2011 at 1:37 AM
This is what i wrote 10 days back on TDP : http://bollybusiness.wordpress.com/2011/11/22/bheja-fry-what-are-chances-of-the-dirty-picture-at-box-office/
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December 2, 2011 at 3:07 AM
The reviews seem to be surprisingly positive even saccharin laden.
So vidya has booked the “best actress” award already
She may have done v well but this is the perfect trope/ device to trick audience onto believing a great role for a great “transformation ” (vidya as an unlikely silk) into a great performance
Though not seen t –so vidya may actually be v good
Reminds me of the the perfect such hoodwink IMO– saifs “great” performance as “langda tyagi” where even the hastily hidden but still onviois English accent was substituted for some deliberate crassness and “rusticness”–& most fell for it lol (proves it worked though for most :but not for me)
For me said is sublime and smooth in stuff like salaam namaste and LAK…..
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December 2, 2011 at 4:12 AM
Vidya just suits the character she must be awarded
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December 2, 2011 at 6:26 AM
The Dirty Picture Has Strong Start
Friday 2nd December 2011 12.00 IST
Boxofficeindia.Com Trade Network
The Dirty Picture had a strong start as it opened to 60-65% collections on average at multiplexes. The film was best in and around the Maharashtra area where the opening was 80%. Nizam was also very good with around 75%.
Delhi and Punjab opened to around 50-60% while Gujarat and Mysore were on the lower side. West Bengal also managed a good opening which is rare as not many films open well there.
The opening compares well with last weeks Desi Boyz and the film could put similar opening day collections or even better than that film despite a smaller release.
The presence of Emraan Hasmi has helped the film as he has a strong following in many mass pockets in the country and with multiplexes and single screens doing well it could turn out to be a very good first day.
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December 2, 2011 at 6:27 AM
“The presence of Emraan Hasmi has helped the film as he has a strong following in many mass pockets in the country”
Good to start the day with a joke..
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December 2, 2011 at 6:57 AM
lol!!!
aside- read somewhere- Vidya’s role in TDP is akin to Doordarshan turning into FTV….lol
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December 2, 2011 at 7:50 AM
Ha!
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December 2, 2011 at 8:40 AM
Im not a fan of the guy and have not seen any of his movies but i agree with this assessment. He does have BO pull. However small pull it is, i think it may have helped the film no doubt.
I’m happy for Vidya Balan, she has been giving decent successes without any front runner actor(unlike Katrina and Kareena who rely on the actors BO pull, especially Kareena). The last film of hers that relied on an actor and opened huge was prob HF. She is my fave actress after Preity Zinta disappeared all of a sudden, i really do miss her “spunk”.
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December 4, 2011 at 9:53 PM
i really felt and still feel preity zinta’s absence as well. she’s an anomaly in the sense that she IS both the girl-next-door type and a serious actress, usually most bollywood actresses are either or. i’m glad she’s making a comeback to films.
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December 2, 2011 at 6:31 AM
B.O. update: ‘The Dirty Picture’ has super-strong start, akin to a biggie
– By Taran Adarsh, December 2, 2011 – 13:03 IST
It’s often said in industry circles that heroine-oriented films don’t fetch a favorable start at the box-office. But THE DIRTY PICTURE is all set to prove this assumption wrong. The film embarked on a thunderous start in morning and noon shows, matching the opening of several biggies that have opened in the last few weeks. In fact, at several centres, the morning shows were in 85% to 90% range, which caught a lot of people in the film industry unaware. The film is expected to gather more speed during the course of the day, as per early trends.
Point to be noted is that the screen count of THE DIRTY PICTURE [1600 screens in India] is lower than ROCKSTAR [1900 screens in India] and DESI BOYZ [2200 screens in India], but looking at its terrific start and the tremendous audience feedback, this medium-cost film *may* turn out to be a bigger winner, in terms of box-office revenue.
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December 2, 2011 at 6:36 AM
rohansippy Rohan Sippy
Dirty Picture is great fun, it’s going to be loved:) huge congrats Milan & @rajatsaroraa, & hope Vidya has lots of room on her mantelpiece!
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December 2, 2011 at 8:42 AM
Rohan sippy reminds me–the way he suddenly killed off abhishrek in dmd—-tout it was counterproductive
The Bollywood audience or most of them have certain notions
They like their hero to be “heroic” and win and get the girl(s)
Think a dabang esque ending may have given him , abhishrek (&satyam) something to celebrate lol
Similarly it seems that when someone like vidya balan indulges in sleaze, certain people get more amusement!!! Lol
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December 2, 2011 at 8:47 AM
“after Preity Zinta disappeared all of a sudden, i really do miss her “spunk”.”—agree there
Liked preity zintas zing n spunk though she quickly got submerged in the “yash uncle syndrome” and then “IPL gate”
But did u mean Kareena has “spunk”–NOOO–if she has, it’s the wrong type of “spunk”
Nargis f has that now IMO
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December 2, 2011 at 8:59 AM
Yeah both Rani and preity got submerged into the ‘yash uncle syndrome’ as you put it. i shouldve appreciated these two more than i did. Vidya is the only interesting actress today for me. katrina has zero talent and kareena is down right annoying. ash is pretty much done i think with the baby and all. vidya is the only hope.
on kareena, i just merely mentioned she hasnt been bringing anything to the table for a while now. shes a freeloader of sorts. lol. riding on the khan’s successes. lol.
anyway i have not seen RS or nargis…so cant comment on her. sonam kapoor is another actress that interested me until i saw “thank you” and she was dreadful in it.
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December 2, 2011 at 9:10 AM
Agree there esp on Kareena being downright annoyingly irritating. Infact those who find her “hot” need to be scanned for hyper functional hormones and treated!!!
“katrina has zero talent”—ya but “talent” is not an essential criteria of the” job” description lol
Vidya is a v good actress but can never be a conventional topnotch heroine—the last such heroine was madhuri dixit who hasn’t been replaced yet
(trani came close after black etc but she is a textbook of how to ruin ones career)
Ps—just checked out this bit of the indiab big bro –mahesh batt met sunny leone
I mean , bhatt was “oldman perversion” personified–reminded me of someone lol
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December 2, 2011 at 9:35 AM
yes mads was unique no doubt. vidya tried to be ‘mainstream’ with her Hey Baby appearance. Anuska Sharma reminds me a lot of preity zinta. i liked her in Pataila House.
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December 2, 2011 at 9:49 AM
“shes a freeloader of sorts. lol. riding on the khan’s successes. lol.”
Would replace khans “success” by something else…..
Who is RS
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December 2, 2011 at 10:05 AM
LMAO! yeah when i read that to myself it did not look right. and RS is Rockstar. i have not seen the film so i cant comment on Nargis and her “spunk”. lol.
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December 2, 2011 at 9:56 AM
“shes a freeloader of sorts. lol. riding on the khan’s successes. lol.”–u should replace “successes” with something else
Who is RS
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December 2, 2011 at 8:50 AM
And yes :Imran hashmi seems to have some following
Though he is sick n weird but perhaps lots of single screen average joes consider him to be representing their “aspirations”&”angst”(in the absence of a better term for that)
He seems to be the brand ambassador of sorts of a particular type of demographics (&uncles lol)
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December 2, 2011 at 9:48 AM
don’t think he has any following.. he basically ‘signifies’ soft porn and good music.. that’s about it! And note how this was established when the Bhatts tried a couple of bigger films with him with more normal stories that then didn’t work!
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December 2, 2011 at 10:02 AM
‘don’t think he has any following.. ‘
come on…like i said im not a fan of the guy but you cant deny the success, murder 2 being the most recent. 35cr opening week is no joke. he has SOME kind of fan following.
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December 2, 2011 at 10:59 AM
Murder 2 was a sequel to a movie that had hugely popular music and was successful as well. Do you really think that’s where his films would normally open? If that were true he’d be one of the top stars!On day 1 Murder 2 opened more or less like ZNMD. What does that prove?! Hardly any film of his clears 10 crores barring Murder 2 and of course OUATIM where he’s not alone.
The other thing is that grosses, specially in a system that increasingly resembles Hollywood, have to be differently ‘read’ in different instances. When a star routinely throws up big numbers you know that he or she has a certain brandname which gets you something minimal irrespective of the film (within reason). But lots of ‘projects’ can throw up big numbers in the initial going. To sustain the numbers you still need major stars more often than not because there’s a large cross-section of the audience that won’t show up even for a film with good WOM if there aren’t major stars. Unless of course the WOM is stupendous which is rare. For the same reason you can get a number of films to a certain range which is impressive on its own but you can’t get the same films to say 80 or a 100 crores. In Hollywood a number of films do 100m and then a DiCaprio film does a 100m too. But no one thinks the guys in those other 100m films are stars of the same magnitude. In India, certainly in the Bombay media, everything is converted into a function of the male star’s appeal. There are many other factors that matter too. The whole Hashmi single screen appeal is pure nonsense (though BOI keeps peddling it). If you do those kinds of subjects the single screen audiences often show up.
The thing though about many of these box office debates is that leaving aside the media/trade agendas what’s often forgotten is that stars are just not the sum of their numbers. Obviously huge success and dramatic failure can alter narratives overnight but by and large a star paradoxically is quite often recognized as major not necessarily because of his (or her) box office numbers. In other words the box office is a minimal given but with similar grosses and/or critical attention sometimes one star moves onto bigger things, another star doesn’t. There is a lot of gray area here.
By the way the ‘proof’ on emran Hashmi is that no matter where he is in his career he gets the very same sort of film! At best he can be a supporting player with someone like Devgan around though most days people don’t even want to do this as it signifies loss of prestige!
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December 2, 2011 at 11:24 AM
So if you take out Hashmi from Murder 2, you are saying it would still do 35cr first week? this is highly doubtful. i dont know why im defending this guy but to say he has no fan following or completely disregard his pull is, with all due respect satyam bhai, a little ignorant. i am not saying this dude has major BO pull but he has a minute impact. he has a following, its been proven with Jannat, with Murder 2, with whatever other previous crap he has done.
Yes i agree he does some creepy soft porn stuff but thats HIS genre lol. he has created a niche and the audience is there for him. and this will certianly help and not hurt TDP and thats why i agreed with BOI assessment.
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December 2, 2011 at 11:49 AM
As I said he doesn’t clear 10 crores most of the time! Barring exceptions (jannat is one of them though not necessarily when you adjust for regular and multiplex inflation). The answer to your question is: would Emran Haashmi get to 35 crores without a sequel? On Dirty Picture everyone knows this is a heroine-centric films. It’s been all about Silk Smitha. If people are not interested enough to go for this reason I doubt Hashmi becomes the deciding vote!
But yes his genre is the one you’ve identified. He’s associated with it and he gets a certain audience for it. But I would not formulate this as having a pull because that suggests something along the normal spectrum. This guy isn’t going anywhere no matter how well or not he does relative to his standards. If he did have significant pull don’t you think that people would be casting him in at least more credible smaller projects?
No one on the other side of the screen has a ‘zero’ fan base. There are always some people who like what you do and this base can be maximized in the right circumstances.
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December 2, 2011 at 2:02 PM
Very unfair ‘analysis’ of Emraan Hashmi here. He may not be to everyone’s taste but to suggest he has no box office pull is laughable. He does. Also not really enjoying the suggestion that he’s some sort of weirdo/pervert for doing the films he does. Everyone has their own niche no? I don’t pretend to be a connoisseur of his filmography but I have seen Awaarapaan and thought his performance was good in that. And he was excellent in OUATIM. And while Vidya is walking away with the accolades for TDP, he’s come in for quite a few good reviews too. So, while it may pain some, a little credit where credit is due would not go amiss here.
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December 2, 2011 at 9:06 AM
‘Though he is sick n weird but perhaps lots of single screen average joes consider him to be representing their “aspirations”&”angst”(in the absence of a better term for that)’
yes completely agreed. i compare him having Govinda type following though obviously not as big as Govinda in his hey day. actually nevermind, i just realized i degraded Govinda. lol.
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December 2, 2011 at 9:49 AM
Indeed that is a royal insult for Govinda as it is for the single screen audience! Don’t think they have the aspirations he represents!
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December 2, 2011 at 2:03 PM
An insult? Really?
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December 3, 2011 at 12:31 AM
not only interiors but these days some campus crowds to srive for sleaze ( thats where a movie like delhi belly got his share)
can’t fault hashmi here …he has limited acting talent and limited scope and won’t last long … hardly get any offers outside bhatts movie and but ya it looks like they are offering him some as second lead ouside bhattthese days …he was somewhat decent in aawarapan but again i think that was his only big budget venture and that to bombed …people won’t accept him other way …btw this is his second ekta kapoor production earlier he played second lead to tushar sometime back
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December 2, 2011 at 9:20 AM
Well I think emraan hashmis “core” audience is slightly different .
The type of “mental/physical manipulation” going on these movies is targeted towards a specific audience who feel he is acting n their behalf
This audience also includes certain “uncles”
Hahaha
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December 2, 2011 at 9:26 AM
Unrelated —
But continuing my “artwork rounds” lol
Was looking at some expensive paintings
A certain dichotomous mentality strikes one
List of top ten most expensive paintings—unsurprisingly does feature the likes of van gogh and Picasso
http://www.karemar.com/blog/top-ten-10-most-expensive-paintings-all-time-w-pics
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December 2, 2011 at 10:50 AM
Indias majority interiors apparently don’t have strip joints/night clubs/legalised “adult entertainment” (or their equivalent)
The (pent up) result = hashmis success
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December 2, 2011 at 11:59 AM
For those saying that Vidya doesn’t have the glamour/ looks to be a top heroine- the thing is she doesn’t want to be a heroine- she wants to be a hero!
Vidya has managed her career very smartly and after the success of NOKJ and Ishqiya – Dirty Picture has the chance to be her ticket to becoming the first female actor with a strong box office draw.
I just saw Dirty Picture and she leaves all of her so-called contemporaries behind in dust. It’s pointless to even compare her to the likes of Katrina and Nargis.
The one recent performance I would compare hers to- in terms of caliber of acting and star making potential- is that of Ranbir in Rockstar- and she compares favourably. The reviews have also all been raving about her- even more than they did about Ranbir. Hers is the superior performance of the two for sure.
Especially now that heroines are more insubstantial / interchangeable than ever- I think there is need for at least one strong, brave and gifted female actor- and Vidya fills that gap admirably.
The most interesting aspect of the film was that dialogues. Vidya had these hardcore masala dialogues- of the kind that become iconic and become ‘signature lines’ for the heroes who utter them onscreen.
The film itself is heavily flawed- but Vidya has been given an adequate platform and she rises above and beyond the material and impresses you.
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December 2, 2011 at 12:39 PM
thanks for your impressions Ami.. yes it’s true Balan has poise and performance.. unfortunately she doesn’t inhabit an industry where she could truly be a ‘top’ actress.
Do think her pair with Abhishek could be explored quite a bit..
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December 2, 2011 at 1:41 PM
Thanks for your views Ami, Agred with most of what you have said, (minus your views on the movie, have not seen it yet so cant comment). Only thing that I don’t agree with you, is the fact that Vidya would be the first actress to have a box office pull,
‘ chance to be her ticket to becoming the first female actor with a strong box office draw.”
Not sure if you are familiar with an Actress called Rekha (Not being sarcastic here). If she had done Silk Smitha, even at this age, BO would have exploded even bigger than some of the lead actors can pull today. Take Khoon Bhari Maang for instance, Rakesh Roshan was merely a new director, yes he did have a Khudgarz behind him, but besides Rekha there was really NO ONE in the movie that you take notice of. The movie was all about Rekha. Khoon Bhari Maang was indeed a HIT purely on Rekha’s name and BO pull. Not denying that Vidya in today’s actresses is THE best of the lot (hands down) but such big claims, I am not too sure about that. I love Vidya, Loved her from her first album that she did with palash sen, I had a hunch then that she is gonna get somewhere, And she made me win my bet with my family. Then we still have Sridevi and Madhuri, movies used to sell on just their names, wait till Inglish Vinglish, it may be a small film a la cheeni kum, but let me claim this, it will do stupendous business on just Sridevi’s name.
Again, Not trying to be sarcacastic in tone here, just glad that you have opened up a good debate about the female BO pull. (these are the first 3 that come to my mind, anyone else care to add anymore)
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December 2, 2011 at 1:49 PM
Nice 2 hear from u kash
The only female with any “pull” that u should be worrying at the mo is at home–haha jokin
Is she ok
On a serious note : think Amy has a point
That CURRENTY no other actress can pull a film on acting skills (and not katrinas charms)
But yes rekha was one such complete package and after
Madhuri there hasn’t been a female superstar
(I exclude ash from such discussions)
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December 2, 2011 at 2:19 PM
Kash- I should have made myself clearer- I meant the first actress in recent times. 🙂 Actresses have certainly had a BO pull earlier- HAHK which is one of the biggest hits of all time is mostly credited to Madhuri after all. Even DDLJ was Kajol’s movie as much as it was SRK’s.
Sri Devi, Rekha, Hema Malini, Kajol- all these actresses were stars in their own right. Unfortunately- today’s ‘liberal’ multiplex audience has reduced it’s actresses to item girls. When I said Vidya would be the first- I meant from the current set.
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December 2, 2011 at 2:50 PM
Agreed on all points, Yeah, I figured that, But had to put my 2 cents..lol..But, No it does make for a good debate overall though. Hindi Film Industry is mostly male dominant, (Count in as in Influence wise within the industry or BO Pull). In that sense, the Ladies we just mentioned above are/were ahead of some male leads that were decent enough in pulling in a substantial crowd. But yes in today’s times, Vidya there are hardly any actresses that can claim the movie as their own, Which did happen in 80’s and 90’s, not too sure, but I dont think that was true for the women of 50, 60 and 70’s – Dont think they had that kind of pull that maybe Rekha did – (They may have a certain pull, But they were certainly not ahead of their male counterparts, Nargis and Madhubala maybe the biggest of the time, but certainly not ahead, 70’s I would think Jaya Bachchan had a certain crowd pull, does anyone rememeber Zanjeer 🙂 . I think Vidya maybe (just maybe, dont crucify me for comparing here) going the Jaya Bachchan way, doing some unconvential cinema at the same time getting commercial success for them well.
Alex, watsup Bud? All good here bro, Just been busy at work, Wifey is cool, Going nuts over what to get for xmas for her..lol..
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December 4, 2011 at 10:18 PM
i wouldn’t give kajol that much credit. she doesn’t deserve to be mentioned in the same sentence/tier as female superstars like sridevi, rekha and hema malini. they were huge all by themselves. kajol was far more of a SRK freeloader than a star/b.o. pull on her own merit. she owes her career to shah rukh, basically
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December 2, 2011 at 12:05 PM
Thanx Amy for that review
Must say u do catch films fdfs lol
Cuming from Amy , I do believe that vidya must have done a good “job” of an aspiring actress (no pun intended )
And agree that there should be more actresses of “substance” like her
Wasn’t gonna check out this movie
Also due to the ultra irritating song “ooh lala” –those vocals and leering Naseer and gyrating vidya are scary
But after Amy’s glowing words might just give it
But if it turns out bad–Amy will have to “pay” for it
Haha
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December 2, 2011 at 12:16 PM
Haha- I actually wait for reviews before watching films- especially Hindi. But a friend came to visit me at Uni and we went to Cineworld to watch My Week with Marilyn. The show timings didn’t suit us so we saw this instead.
The film is honestly not that great at all- but Vidya is really good. Worth watching for her alone.
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December 2, 2011 at 3:09 PM
YOU HAVE TO WATCH “My Week with Marilyn” if not for anything, then atleast for the performance by Michelle Williams, extraordinary, also the person who played Lawrence Olivier was outstanding, I smell atleast a nomination at the Oscars for these two.
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December 2, 2011 at 12:23 PM
http://economictimes.indiatimes.com/news/news-by-industry/media/entertainment-/entertainment/3-idiots-getting-hollywood-italian-remake-producer/articleshow/10959939.cms
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December 2, 2011 at 12:27 PM
I really do not think that 3 idiots will work in Hollywood…but maybe they will actually have college age boys play the students- which will be a lovely change 😉
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December 2, 2011 at 12:30 PM
And he is in talks with 3 Hollywood studios for the remake? LOL…sounds like VVC is overstating things a bit. I highly doubt that many studios are desperate to remake his film.
Nice to hear about it’s success in HK and China however.
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December 2, 2011 at 1:14 PM
“The show timings didn’t suit us so we saw this instead.”-Lol hmm ya is it bcos good girls should reach back home in good time ….
(And bad boys/girls prowl late lol)
Have been an “art auteur” recently–opera n art galleries lol
Enjoying it though—the provilege passes (&free commentary)
And did vidya say she had to gain weight for tdp –did she really have to –jokin
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December 2, 2011 at 1:19 PM
The Dirty Picture Is Excellent In Single Screens
Friday 2nd December 2011 17.00 IST
Boxofficeindia.Com Trade Network
The Dirty Picture took a good to very good opening at multiplexes but single screens were excellent with a 80-85% response. UP, CP, CI, Maharashtra and Nizam were all super strong.
The entertaining feel of the promos and the presence of Emraan Hashmi has really helped the single screens put up good numbers. All over the film opened better at single screens compared to multiplexes The Maharashtra belt is extraordinary with collections ahead of both Rockstar and Desi Boyz.
In Nagpur the biggest centre of CP Berar, Desi Boyz had a first day billing of 7 lakhs nett while The Dirty Picture is likely to cross 10 lakhs nett.
The single screens of Nizam have had fourth best opening this year after biggies like Bodyguard, Ra.One and Ready.
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December 2, 2011 at 1:20 PM
LOL, they keep peddling the Hashmi line!
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December 2, 2011 at 2:19 PM
just to get under your skin. 🙂 only joking!
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December 2, 2011 at 1:36 PM
C’mon Amy –was just pulling your leg
And yes hashmi has that ultra sleazy look–even scares guys lol
Anyhow all he asks for his a pair of..lips in every film
And seems he has quite a fan following
Btw don’t think kissing is a big deal on Indian screens anyhow now–satyam may provide details Lol
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December 2, 2011 at 2:40 PM
So guys n gals
Hugo3d vs twilight vs tdp?
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December 2, 2011 at 2:42 PM
Saw the dirty picture Vidya is truly a hero amongst the present day heroines what a performance. She Superbly enacted role of Silk Smitha. Uncles in the cinema were having a great time with all the excessive skin show and I don’t understand BOI comments ppl r going to see this movie for Vidya there is nothing for the other actors much Hashmi hardly has a substantial role even compared to Naserrudin let alone Vidya. Brave effort.
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December 3, 2011 at 12:36 AM
vidya is only of the current lot who can act and has indian look compared to most of the hybrid actress out there and thats what make her suitable to most roles ( and despite her southern origin she is very fluent in hindi as well)
from playing mother to big b to sleaz queen represents versatility
one hope she handles her career well and not be just another bimbo
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December 2, 2011 at 2:49 PM
Well said dino
“Uncles in the cinema were having a great time with all the excessive skin show “–rotflol
Theres one here as well
Currently away–maybe seeing a show lol
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December 2, 2011 at 3:16 PM
Anyhow folks
Going for Hugo 3D tonite
Let the action begin
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December 2, 2011 at 4:25 PM
great! Tell us what you think..
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December 2, 2011 at 4:38 PM
Was able to catch some movies in the last few days, J.Edgar, Hugo, and My Week with Marilyn, My pick out of the lot is My Week with Marilyn (Mostly for its performances, everyone was good, felt Michelle willams did an outstanding job as Monroe and so did the actor who played Lawrence Olivier, On the whole felt like was watching a Woody Allen film, every scene was well crafter from script to the excution level, engrossing, It was not just about the week with Marilyn, you come out with understanding a little more about Monroe). Felt, Hugo was a bit on the slower side (maybe I was expecting something else from the film, does not look liek a scorcese movie). J.Egar, As you have mentioned earlier, had the same feelings for the film as well, not the best work of Eastwood, but definitely another good perfomance from Leo, (I maybe exageratting here) But, I think Leo is today’s Brando, that guy can get into the skin of any character that he plays (Not his best work but indeed a bravado performance). Still need to watch many many more that I have missed. Will keep ya’ll posted (if interested that is)
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December 2, 2011 at 9:26 PM
““Uncles in the cinema were having a great time with all the excessive skin show “–rotflol
Theres one here as well
Currently away–maybe seeing a show lol”
Don’t bad mouth Satyam like this Alex!!!
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December 2, 2011 at 4:34 PM
BTW is there any other film industry in the world where there are no bonafide female stars with box office draw? All the industries I can think of have powerful female stars.
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December 2, 2011 at 4:45 PM
Pakistani Film Industry, Does it even have a bonafide male star with a boxoffice draw?
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December 2, 2011 at 5:04 PM
Haha…I mean established film industries. Are there any other like Bollywood/ Kollywood etc that have lots of big male stars but no female?
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December 2, 2011 at 6:36 PM
Bollywood has had its share o female stars with bo xoffice clout.
Madhuri, Sridevi in years gone by and Katrina at the present. Yes, they are in a minority in a male dominated industry. Even in Hollywood, right now, the only top BO draw amongst female leads is Ms.Jolie. Julia Roberts has somehow faded. And there ARE other popular female stars like Johansson, Ms.Theron, Megan Fox and other A-listers ut they are not that powerful as such.
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December 2, 2011 at 6:41 PM
and of course the queen of them all — Hema Malini!
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December 3, 2011 at 2:56 AM
Yeah, but in Hollywood it’s stil possible to have female-centric movies like Bridesmaids and The Help which gross huge amounts of money without the presence of a big female star.
And of course franchises like Twilight. Even in the other Asian film industries, a female-centric hit is not uncommon- China, South Korea etc. I should rephrase my question- any other film industry where female-centric hits are so rare and noteworthy?
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December 2, 2011 at 4:57 PM
Vidya Balan’s performance in TDP is kickass, Tushar Kapoor’s performance- somone please kick his ass……lol
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December 2, 2011 at 7:24 PM
Discovered this site a few months ago and since then, keeping track. Never felt like posting anything – what do I write when I cannot boast much about watching Hindi films, past or present.. About the present day, the fact that I read updates here nearly daily itself shocks me! (Never had much respect for KJo , Khans , and all of their ilk..so barely seen any…) I don’t think I’m going to run to the nearest theater or wait for the dvd for any of the films that you all discuss here but I like reading because Satyam you and the other writers / commenters offer a perspective not just of the film against a valid template (whatever it may be for each) but also generally about the industry / cinema on the whole. This is amazing!
One thing that this blog has done, something that I would never have ventured on my own. Upped my curiosity and respect for films older. I have got hold of a few , yet to watch though, but with new eyes of the mind, if you may…:)…..
Is it very difficult for a generation that hasn’t lived through that age or had it as its recent past to appreciate cinema of yore…I personally find it very tough to go to a Dilip Kumar, Amitabh B movie even though I’d read and go abs’ly wow if something meaningful is written about it. Recently there was this post here on Manzil (AB and Maushmi C), I was enticed. Got the film and it fizzled out..I mean I will watch it, but I find it very very easy to get hold of a contemporary film (like I braved the rain and went for Once upon a time in Anatolia but Manzil,, hmmm,,,ya sometime sure..)..
Yes, there is this interest factor too thats subjective (I could watch a seventies Japanese film but not Manzil. Thats bad isnt it ? ) and I dont have it for old Hindi films but still, I see this dilution quite prevalent…Hence maybe these remake of iconic films work and few years down the lane will wipe out the more significant original other…It would have been ok if the remake is not superficial and just glossed..created a meaning of its own…But that is not what is happening. The present..This is scary. FA’s Don and TDP are precisely doing that..and they work!
With what mindset you you all actually go and watch a film like TDP? Im genuinely asking. I looked at a promo here ad the pics and I’d rather go and watch Silk Smitha’s original videos on youtube and elsewhere. Heck, these guys are going just that – remaking the videos for today and more (even a song from Sagar is here rite, that red Sari thingy?..) .Do you really expect Milan L to make something authentic? Ha, bull. These guys are just cashing in. (Why else would Emraan Hashmi be in). So in this frame of things, how do we say, Vidya B is superb and atleast one watch is needed. Why? On what account? A genuine film about Silk Smitha needn’t have a single video that she filmed for on screen and it would have been very engaging nonetheless. But for these filmmakers, to research, understand the psyche, personalize it, respect the subject and make a movie is not a uphill doable task , its just not in their DNA.
Vidya Balan in one of her interviews (it wasn’t about this film but about whether Indian films are becoming bolder or some such) she said that even if people come to the theatre thinking that TDP has just sleaze and exposure, I’m perfectly fine with it.
The thing is I have no inhibitions to play to the masses such! [It would have been another thing if the movie actually delivers on delving into SS’s mind / heart messiness and VB confident enough about this material ..But not so..)
The fact that I’m not apologetic about this itself id an achievement!’ The woman today isn’t afraid and shameful / shy of her body being perceived as this’.
Now, with the intention of what TDP transpires to be , this negates it. And if she talks about being unaplo about her body , these days who is the demure type.. (esp talkin @ shbiz..) The sleazier the better has become the mantra of not just filmmakers but the women in from of the camera too..This is nothing new or revelatory .(Or is it because she for a change doesn’t subscribe to the size zero craze? Not quite, because she in TDP isn’t one of today but one who existed like what 20 yrs ago? )…
And I’m talking 2011 here. In the 80’s when there fewer channels for , er, such expression (targeted at men) Silk Smitha was the only one who opened the doors , albeit just so much , for the men to whistle and may be wiggle about in those run-down theaters. Today, these histrionics seem absurd if not viewed through the prism of that time gone by. Mr Luthria isn’t doing any such thing.
So what is going on here when we (us here, who have access to better cinema whatever the language; not the ppl who rite in the commercial domain) say we could go and watch TDP. I’m at a loss in understanding this…
Oh Dear Lord, didnt mean it to be so long…Apologies for this…Stopping now..
PS: Never come across such an AmitB devotee before. Mr. Satyam, no offence at all, your writing on his cinema (and on Bollywood on the whole) is phenomenal and is necessary in the sense to document that history but Abhishek and present day Senior [offscreen version too],,Well 🙂 , ill leave it at that fr now….
Thanks!
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December 2, 2011 at 10:12 PM
Thanks for this fantastic note Arthi.. do keep visiting and do keep commenting.. however long or short.. I prefer long!
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December 3, 2011 at 12:13 AM
haha..on last part 🙂 But even I can watch older foreign movies but not Hindi movies. Only old Hindi movies I can watch are Amol Palekar, Farooque Sheikh type movies..
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December 2, 2011 at 9:38 PM
This just proves that there are only 2 heroines with the pull today: Katrina and Vidya. The rest are all candyfloss who tag on to the coatlines of their male leads. Katrina has proved her mettle time and again at the BO. On the other hand, Kareena is indeed the biggest of the freeloaders out there.
Wait till the results of ETT, D3 and the new SRK-Katrina movies come out. Katrina will prove what a Khan-Katrina pairing can really do to the BO. Kareena will be forgotten by then.
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December 2, 2011 at 10:23 PM
Whatever happened to the promo of Agent Vinod being attached to TDP?(or was it suppose to be Desi Boyz?) Either case, nothing post the release of any of these releases, their hasn’t been a word on the promo of Agent Vinod.
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December 3, 2011 at 12:19 AM
Top 5: ‘Desi Boyz’ declines on weekdays
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December 3, 2011 at 1:11 AM
The Dirty Picture First Day Business
Saturday 3rd December 2011 11.00 IST
Boxofficeindia.Com Trade Network
The Dirty Picture (Hindi) had very good first day of around 8.25-8.50 crore nett as per early estimates. The film has done very well all over especially in Maharashtra. The single screens of Maharashtra, CP Berar and Nizam have recorded excellent collections. The film was also released in Telugu which probably added another 20-25 lakhs.
If we compare with last week’s Desi Boyz opening day, The Dirty Picture has collected better all over than that film apart from Delhi city, East Punjab and Gujarat.
The film will have a strong weekend and should collect around 27 crore nett. The film has done very well at mass centres so these areas will be very strong on Sunday.
http://www.boxofficeindia.com/boxnewsdetail.php?page=shownews&articleid=3764&nCat=
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December 3, 2011 at 9:05 AM
note how some of these recent openings are putting ZNMD in a different perspective. MBKD opened on par with ZNMD and kept pace with it for a week or more. Rockstar was well ahead. Now even Dirty Picture opens a bit higher than it. The point is that ZNMD trended superbly but the opening was good but not fantastic, even relative to genre. In any case this is a huge opening for Dirty Picture.
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December 3, 2011 at 4:41 AM
Hugo 3D
Setting -THE premier cinema where the original premier was held
There are certain films that one treads with caution and it’s this “tree of life ” like expectations which makes it difficult
These are films where you want to like them and give them a chance
But again highlights why/ how superlative reviews don’t hold for me/certain viewers
Dont get me wrong–all the usual points (mostly technical ) on which this film has been /surely will be celebrated are indeed magnificent
But didn’t really grip me throughout.
Then one wonders–Was it the heavy meal (or drinks ) or the usual sleep deprivation
But I was dozing off for more than half of it. Due to the lateral dozing off–The humans around me may have got some wrong ideas about the real intentions ….lol
My take usually is different mostly-so not that surprised ut didn’t expect it to be for this film
And don’t think the “slow” proceedings is to blame—have loved slower–infact static films in the past.
Also feel this is scorseses personal film having influences of his own childhood. Heard he couldnt go out as a child due to asthma. I am curious to know how many acts kids have loved this film–since I didn’t see any in the audience.
Plus there is this “herd mentality”
This will join the queue of films which one cannot dare to not love (vocally)–to heck with it!!!! I’m not on anyones payroll forget scorcese lol
For all its worthy intentions and technical brilliance, Hugo is a hard film to love: not only for children, who may find the largely immobile plot a slog, but also to viewers of any age who’d rather be charmed than merely wowed.
Technically film is brilliant and 3D well used
Special mention of the excellent depiction of Paris in that era.
Amongst the actors, could see only one and nothing else—the great sir Ben Kingsley . Needs another post to encapsulate what I feel about him as an actor and his understated act here. Incidentally his affect and mannerisms uncannily reminded me of bachchan (sr obviously)–never heard anyone mention it before
Late in the film, Scorsese draws an explicit parallel between cinema and magic tricks, and it’s painfully apt. For most parts, this is a coldly impressive contraption that provokes cries of “Ooh, that’s clever”, but not a great deal else.
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December 3, 2011 at 8:39 AM
Good comment here,Alex.
Yet to see the film but will probably the coming week.
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December 3, 2011 at 9:07 AM
thanks for your impressions.. though I had a different sense…
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December 3, 2011 at 12:23 PM
THE DIRTY PICTURE Has 5th Biggest Opening Of 2011
Saturday 3rd December 2011 16.00 IST
Boxofficeindia.Com Trade Network
The Dirty Picture has had the fifth biggest opening day of 2011. The top ten opening days of 2011 are as follows.
1. Bodyguard – 20.66 crore
2. Ra.One – 14.76 crore
3. Ready – 13.33 crore
4. Rockstar – 9.82 crore
5. The Dirty Picture – 8.85 crore (approx)
6. Singham – 8.77 crore
7. Desi Boyz – 8 crore (approx)
8. Yamla Pagla Deewana – 7.63 crore
9. Double Dhamaal – 7.58 crore
10. Zindagi Na Milegi Dobara – 7.52 crore
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December 3, 2011 at 1:23 PM
taran_adarsh taran adarsh
#TheDirtyPicture *Hindi* Fri 9.20 cr nett. Outstanding… *Telugu* 35 lacs… Total: Rs 9.55 cr nett. Xpecting close to 30 cr nett wknd.
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December 3, 2011 at 1:10 PM
These opening figures are inaccurate- According to Taran and Nahta it has opened better than Rockstar- around 9.5 crores.
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December 3, 2011 at 1:21 PM
yes but their Rockstar figures are also higher..
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December 3, 2011 at 3:15 PM
Yo man : had a chance to watch tdp tonite .
But still can’t reconcile watching a so called “skin flick” on a sat nite.
Plus don’t get decent company for this one.
When one mentions tdp, people esp girls look at u to
Check If u r ok
Hugo was enif yesterday (&the post hugo activities lol)
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December 3, 2011 at 4:13 PM
And I am quite impressed. I have thought of Milan Luthria a great talent from the days of Kachche Dhaage and Taxi No 9-2-11. Fortunately , first with OUATIM and now this , he has finally fulfilled his potential.
This indeed is a major achievement. Not really confir4ming to any kind of genre this is bold story telling with impressionistic strokes. And thank god for that! A neo-realistic docu-drama would have been so predictable and boring.
I had my doubts about the film working. A one note film on bold female sexuality can get boring. But the writer Rajat arora and director Luthria managed to hold my interest right from the crackling whip dance scene. The film never gests predictable because the writer-director duo serve the narrative flavoured with rare quirkiness. Take the strange dynamics of the relationship between Silk and Abraham. I was irritated by the pointlessness of it in the beginning. But how nicely it plays out in the end. Everything about this relationship graph, including the placement of the song ‘ Mera Ishq Sufiana’ is goes against conventional wisdom of film making. The scene where they share a drink is first rate and the lines are the best I have heard since ‘ Deewar”. Eg. : ” You will burn in hell.” ” Aur tum? Bonfire samajhke haath senkne aa jaoge.” ” Uparwale ne har ek aadmi ke liye ek khaas aurat banaya hai. Us se bch jaye to zindagi bach jaaye.” ” Sharab Utar gaya. Nashja utar gaya. Phir bhi tum achchhi lag rahi ho.”
The relationship with Ramakant is also interesting and is played in the right key, complete with the hyperkinetic dance to ‘ Oo La La’.
Scenes like Silk’s dance on the bonnet of a car or the nude interview from the bath tub given to the fledgling journalist display nice leaps directorial imagination, capturing the essential bravado of the Silk’s personality and her fatal overestimation of the power of female asexuality without the benefit of strategic thinking and some kind of cautionary wisdom.
Undoubtedly this a milestone in the history of acting in Hindi films , by a male or female actor. This is the Indian ‘ Raging Bull’. If I thought Ranbir in Rockstar was good, this is outstanding. Haven’t seen a more physically palpable, charismatic, entertaining and insightful performance in years. Naseer plays the perfect foil to her and is pitch perfect. Always thought Emran was a good actor and here too he delivers.
The Dirty Picture is a pleasure because it pushes the envelope, surprises you and shocks you and shakes you out of your predictable response while capturing the essence of a bold, colurful yet traumatic and tragic individual.
( So apart from predicting the Best actor trophy for Ranbir and Best Music for AR Rahman, I can safely say Vidya Balan is the Best Actress of the year for the film. But then that’s no big feat as anyone can predict that.)
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December 3, 2011 at 5:16 PM
Totally agree regarding your assessment of Vidya’s performance. But the film itself was not worthy of it. It had the potential to be a great film- but it squandered it- especially in the second half- I thought the Emraan Hashmi- Vidya Balan romantic track was an unnecessary eye sore. Nasser was predictably excellent – agreed about him being a good foil for Vidya.
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December 3, 2011 at 5:30 PM
thanks for your views on this. I’ve not seen it yet but I must confess I’ve never quite seen Luthria as a ‘great talent’. Think he has his brigght spots and is certainly way better than functional on a good day but wouldn’t give him more than this. In terms of his handling I like Taxi No 9211 more than anything else but the ‘influence’ of Rohan Sippy seems a bit strong here. Almost seems like a BM spinoff in some ways. Again like some of his work elsewhere. I’d say OUATIM is probably indicative of all his strengths and weaknesses.
All of this is incidentally not a knock on Luthria. Bollywood could do worse than breed more ‘solid’ directors like him. But ‘great talent’ to me is someone of a higher order. I haven’t quite spotted either the narrative virtues and/or story-telling fluidity in his work or on the other hand the visual strengths to give him more than this. He’s better than average for the most part and sometimes inspired. Of course it’s also true that the ‘above average’ in Bollywood is hard to spot too often, i.e. filmmakers who can put forth a minimal balance between their script needs and their visual aspirations.
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December 3, 2011 at 4:27 PM
Wow welcome back utkal uncle of the “Nabokov diaphanous glow” fame
So u have really enjoyed this one
Think I may check it in telly / DVD
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December 3, 2011 at 5:09 PM
Thought will check this on telly
Just read this—” ” Uparwale ne har ek aadmi ke liye ek khaas aurat banaya hai. Us se bch jaye to zindagi bach jaaye.”
” Sharab Utar gaya. Nashja utar gaya. Phir bhi tum achchhi lag rahi ho.”
Struck with the “depth” of this
Applause: what a dialogue
Wel said utkal uncle
Btw hav u checked out Hugo ( anyhow wrong question — Yu have checked out the expected film lol)
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December 3, 2011 at 5:27 PM
Actually just checked out the “Ishq sufiana” number –not
bad
Sense some “depth” here
But don’t check this sort of movies on big screen —against my “principles”—hahaha
Btw utkal uncle —I loved dev d and (heck) even “no smoking”(yes )
What are your views on them
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December 3, 2011 at 5:35 PM
Talking of Luthria: liked kachche dhage
And the saif-devgun banter
Saif was silken smooth there as the urbane half bro with effortless timing
Besides reminds me of a certain manisha ahem …
Luthria is def good–lost his way with deewar?'(which also had some moments)
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December 3, 2011 at 6:39 PM
Dont know where to post this but this is really Awesome
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December 3, 2011 at 6:48 PM
Thanx Bhuvan–that’s a good one.
Btw dedicated to certain uncle(s)—-
“where Viagra failed TDK (the dirty picture) works”
Hahah–sorry folks , couldn’t resist.
Dieclaimer:To be taken in the right spirit
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December 3, 2011 at 9:56 PM
Vidya Balan, Farhan Akhtar with Vir Sanghvi – HT Leadership Submit-
I enjoy and celebrate my body like Silk: Vidya Balan
http://ibnlive.in.com/videos/208361/i-enjoy-and-celebrate-my-body-like-silk-vidya.html
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December 3, 2011 at 10:50 PM
Nice watch- couple of observations-
The crowd was typical dilli “Babu” crowd
Farhan said that he and Salman have talked about getting Javed and Salim back together
Vidya has wona lot of new fans
Vir sanghvi is an a$$ as usual
Farhan said films should bemade from heart -really Don2?….
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December 4, 2011 at 5:29 AM
I saw The Dirty Picture last night.
My views:
The thing is – TDP doesnt go beyond being a predictable bland biopic. Everything falls so conveniently into the screenplay by means of plot that there are no surprises in store for you. It’s the same rise, fall, demise story associated with big people; it’s a story Madhur Bhandarkar would’ve felt proud of. Other than the obvious, it doesnt do much in terms of creative storytelling.
The set-pieces and the era created is more like an Om Shanti Om instead of say, a Guru. Everything is pretty to look at and creates a rosy picture but its hardly authentic. Dialogues are written for the sole purpose of enticing the masses and to evoke applause rather than shaping up characters.
Vidya was impressive but for the first time I felt Naseeruddin Shah was laboured in terms of his performance. Something was definitely missing in him. The less said about Tusshar the better. Emraan was okay.
All in all, its an okay film with nothing much to boast of. Its not bad, but would be slightly apprehensive of calling it good.
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December 4, 2011 at 6:18 AM
yes tonymontana–havent seen this film but this is what my impression is of this one
(though some here like amy and utkal uncle have loved it)
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December 4, 2011 at 8:38 AM
The Dirty Picture Has A Strong Saturday
Sunday 4th December 2011 12.00 IST
Boxofficeindia.Com Trade Network
The Dirty Picture had a strong Saturday and held its collections at high levels all over. The film collected around 9.50 crore nett as per early estimates on Saturday takings its two day business to nearly 18.50 crore nett. Normally a film which is so strong at mass centres on day one that too with high collections is likely to see a fall on day two.
The Dirty Picture managed to show growth as appreciation is good at single screens and multiplexes. Sunday is likely to show good growth and collections could get to around 11 crore nett.
The Dirty Picture is likely to emerge one of the bigger hits of the year.
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December 4, 2011 at 8:44 AM
taran_adarsh taran adarsh
#TheDirtyPicture is rewriting rules of the game. Fri 9.54 cr, Sat 10.78 cr. Total: 20.32 cr nett. Should touch 11 cr on Sun, as per trends.
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December 4, 2011 at 9:16 AM
Regardless of the merits of the film, am stoked for Vidya.
She HAS taken risks and am glad to see here succeed.
Plus, it is such a stinging slap in SRK’ s face who had humiliated her at one of the awards.He/She who laughs the last , laughs the best.
I will believe BW has come of age if they let Vidya and some other female host the FF awards and let her rip into Ra.One.
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December 4, 2011 at 9:19 AM
she already has some remarkable moments in her career with this, Paa, Ishqiya, Parineeta. To be able to navigate yourself this way balancing critical and commercial success is quite remarkable..
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December 4, 2011 at 9:22 AM
Oh my god! What did SRK say about her?
And no way will they let her host FF and rip into Ra.One- Jietsh Pillai the editor of FF tweets in worship of SRK every day. He even parroted the same old line about Ra.One taking SFX in Bollywood to Hollywood levels in SRK’s defense.n
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December 4, 2011 at 9:25 AM
I hope someone can produce a clip from those FF awards when SRK-Saif so mercilessly targetted here when she was new and had to take it with a grin.
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December 4, 2011 at 10:03 AM
I think he is referring to the comments made by SRK about her costumes in Heyy Baby at a FF award.
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December 4, 2011 at 10:23 AM
Latha: What did he say- that she looked fat?
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December 4, 2011 at 11:57 AM
No, it was something about her dress sense and though it may have been scripted, she looked uncomfortable. Will try to post the video
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December 4, 2011 at 12:33 PM
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December 4, 2011 at 10:15 AM
Yes Srk as always tried to mark fun of an easy target.
Credit to vidya for getting suxess @her terms
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December 4, 2011 at 10:49 AM
Rangan’s review
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December 4, 2011 at 10:58 AM
I think this is one of Rangan’s best pieces. And much that he’s talking about here could also be gleaned from the trailers..
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December 4, 2011 at 10:59 AM
has anyone seen the Malayalam film he’s referring to? I see it also stars Mammootty though of course he’s in the infancy of his career at that point.
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December 4, 2011 at 11:55 AM
He nailed it.. exactly my thoughts on The Dirty Picture
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December 4, 2011 at 11:22 PM
My comments on Rangan’s blog:
“Outstanding piece Baradwaj — thanks for this. With respect to the first three paragraphs, this is exactly the sort of “falseness” that was irritating about Om Shanti Om — as you’ve pointed out, not the absence of realism, but something like a note that is very “off” indeed.”
&
“PS — as for why the film had to be set in Madras, easy: because no matter what else changes about Bollywood, “the South” as a site for aesthetic “badness”, where Bollywood’s fantasies of all that is cringe-worthy about Indian popular cinema, endures. Be it Ra-One or Om Shanti Om or (I imagine) The Dirty Picture, that doesn’t seem to have changed one bit.”
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December 6, 2011 at 8:34 PM
“Be it Ra-One or Om Shanti Om or (I imagine) The Dirty Picture, that doesn’t seem to have changed one bit.””
This is what I’m most worried about with respect to TDP. I’ll give it a watch but Hindi cinema’s depiction of Southern (particularly Tamilian) characters and cinema at its worst echoes some of the gestures of early Hollywood’s depiction of African Americans – which is exactly what explains that execrable sequence in MNIK! I always rue Southern talents taking part in these circuses (as Rajini did in Ra.One) but I’m hoping Vidya’s performance (even if it doesn’t quite touch De Niro levels of brilliance!) avoids or overcomes this tradition in the same way that some powerful African American acting talents did in working within a problematic social context.
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December 6, 2011 at 9:58 PM
The criminality and sexuality ekta Kapoor exhibits in the movies she produces are the other side of the family values soap market she’s so famous for. The former confirms the latter!
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December 4, 2011 at 11:02 AM
What a a shallow review from Rangan! He just misses the key at which the film is being played. He is talking of Silk speaking Hindi in Madras and reading Stardust instead of Kumudam or whatever. My god that sort of realism is so school boyish and boring. The reason I watch Bollywood films is because they employ a different grammar from the Hollywood surface realism. Now he bases his entire review on these surface tivilaities rather than try to comment on how much of the inner truth of Silk’s character the film manages to capture. That’s why I have always said when it comes to mainstream films our audiences are much smarter and more perceptive than the critics, even the best of them .
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December 4, 2011 at 11:07 AM
Very well said Utkal- I’m really surprised at how superficial this is. I totally agreed with his criticisms of ZNMD but I was surprised at how he kept labouring his non-point that it would have been a different film if it was made in English. Where was his beloved realism when he praised Mausam?
And his dismissal of Balan’s performance on accounts of her role being merely symbolic are also very weak- it was a stupendous performance and you cannot take that away from her. The ‘storm in a D-cup comment’ makes it look like he hasn’t been able to get beyond the sleaziness in the film.
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December 4, 2011 at 11:11 AM
don’t think he’s arguing for realism at all.. he’s suggesting ‘implausibility’ within the terms the film has set up for itself.. it’s kind of like the criticism I had with respect to OSO where I found the 70s representations quite false.
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December 4, 2011 at 11:13 AM
UTkal, this piece might be a lot of things but assuredly not ‘shallow’!
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December 4, 2011 at 11:21 AM
And there so many things he gets totally wrong : ” We are not shown why this girl who, at heart, is a good-natured south Indian kid, who believes in god and her own sexuality, would begin to sabotage her career. ” Good-natured Soth-Indian kid? A girl who would sleep with a hero at the very first opportunity just to keep her role in a film..is ‘ good-natured’ south-Indian girl? Then who in this world is bad-natuted? And what has belief in God to do with someone being self-dstructive ? Everyone from a drug-peddler to a suicide bomber can bea beliver in god. And it is not as if she was sabotaging her career knowingly. Shew as just too dumb and too neurotic.
And he is out of his mind when he suggests that the Emtran Hashmi relationship should have been central to the film? What, this is Aditya Chpra / Sanjay Bhansali love story or something. THe reason I admired Rajat arora’s script spo much was the way he showcased her relationship with Suryakumar, Ramnkant and Abraham…making it a complete portarture of her complex psyche.. revealing the full breadth of effect her sexuality has on different men.
To put it mildly, he just does not get it.
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December 4, 2011 at 12:00 PM
rangan was bang on in his review. i agree with whatever he’s said. it might appeal more to the masses than a ‘boring’ biopic, but i believe the film was more shallow than rangan’s take
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December 4, 2011 at 11:50 AM
Whether the heroes were balding and paunchy in the 70’s or 80’s is totally trivial. It would be something worth pointing out in a film which was aiming for that kind of rrealismn..which obviously it is not, by the evidence of incongruities Rangan himself pointed has out. In a film employing the grammar it does, the moot point is whether a genre of heroes portrayed by Naseer existed at all. That would be germane to the search for the inner truth that Luthria is trying to capture and present. Wasting tme on such ‘ Readers Don’t Digest’ is simply missing the woods for the trees. And that’s why I call it utterly shallow writing. There is so much happening cinematically in the film and he chooses to focus on these!
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December 4, 2011 at 1:02 PM
“The ‘storm in a D-cup comment’ makes it look like he hasn’t been able to get beyond the sleaziness in the film.”—haha
This is becoming interesting
Haven’t seen tdp but thought rangan has a recent histor of getting carried away eg
In delly belly he started seeing designs and a “revolutionary advance ” even with the mention of some basic “minor porn ” regulation stuff
Eg “masturbation” or “guy going down on a girl ” etc
I mea:n it may be new in mainstream Hindi cinema but far from “revolutionary life changing ” advance that rangan perceived it to be.
And lots of pseudo/ hyper intellectuals got a neck spasm nodding to him haha
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December 4, 2011 at 1:21 PM
“And lots of pseudo/ hyper intellectuals got a neck spasm nodding to him haha”
better to be pseudo or hyper in matters of the mind than in those relating to the… (oh well won’t spell it out)..!
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December 4, 2011 at 1:37 PM
Lol^^^
Btw continuing the “debate” elsewhere about “lesser actresses” like nargis f
firstly let me admit my bias here
But the “point”(or two) here is that sometimes honed acting skills infact are a turn off
Lets try putting the hyper efficient actress vidya balan (even after a crash course in slimming) in rockstar–one can imagine the results
Let me again take the opportunity to shake utkal uncles hand (if it is free) and applaud him for /borrow his now patented “nabokovs diaphanous glow” when referring to nargis f performance
Bravo uncle–u seemingly showed off your decades of experience (in womanising –sorry -joking)
Also worthwhile to give the example of shekhars kapoors masoom–the kids performance there was picture perfect–not overdone but missing nothing
The recents hyper celebrated Hugo comes loaded with a great reputation (& most of it genuine)
The Hugo kid was quite competent –infact sometimes too nuanced for a kid
(Have a personal problem with over smart kids is besides the point)
A kid should be well, a kid….
Heers character in rockstar had complex shades but surprisingly in some junctures it was pulled off not by skill or wonderful technique but by the “immersion technique” of actually trying to feel it!!!
Wow–what a defence…haha
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December 4, 2011 at 1:54 PM
Alex- I think you are too biased to be seeing reason here 😉 I think ANYBODY would have been better than Nargis in that role. She was cringingly bad and ruined every scene that she was in. Her scenes with the husband were especially bad to the point of being comical- because his acting abilities were as abysmal as hers.
And the question here is not that of experience- those child actors acted convincingly. Nargis did not. And anyway Nargis is 32 – why bring children into this. If you want to compare inexperienced debutantes- and since you mention Vidya- just compare the calibre of Vidya’s performance in Parineeta to Nargis in Rockstar.
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December 4, 2011 at 2:13 PM
“Alex- I think you are too biased to be seeing reason here “—agree there haha—am “guilty” there lol–no excuses there
There is NO doubt that vidya balan in her first film was a better actress than nargis fakhri or any of her kids will ever be …..
The question is the appropriateness of placement of that acting ability (or other abilities)
What maybe an asset in parineeta or the dirty picture may not be in another eg rockstar, infact maybe counter productive
Can’t think of an appropriate analogy rite now
But like both Meryl Streep and Cameron diaz ( for different reasons)
Now take some forgettable films which had a few moments nonetheless eg –“bad teacher” & “knight and day”
Try putting the talent powerhouse Meryl Streep (even in a revamped version) in place of Diaz there
This is where a real “directors vision” (sic lol) comes in
That’s y believe in “auditions” and “casting clinics”
Hahaha
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December 4, 2011 at 8:55 PM
But that’s my point exactly- Nargis would be appropriate for some eye-candy roles that would not suit Vidya at all. But Heer was not an eye candy role- she was a complex, conflicted character.
And BTW even Cameron Diaz on her worst day is better than Nargis- there is no way Nargis could carry a film like Bad Teacher off. Cameron is a pretty good comic actress.
There are 1000 roles in Bollywood where a woman just has to look good in a bikini and maybe 10 where she has something more to do- why give one of those 10 roles to a swimsuit model when she is so much better suited for one of the other 1000?
Anyway- lets stop this debate now. I’m starting to sound like a Nargis hater and I’m really not. It’s just that you keep bringing up her performance in Rockstar as if it were a good thing. 😛
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December 4, 2011 at 8:20 PM
Tony montana, I also didn’t think much of the film. It’s just all surface and dialogue-baazi and Vidya’s performance imo is not the best thing since sliced bread.
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December 4, 2011 at 10:43 PM
I haven’t seen this film so I can’t offer an opinion on it but with Ranbir being compared to Bachchan one week and Vidya Balan to De Niro the next, I wonder if they’ve lately been slipping something into the popcorn at certain multiplexes….
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December 4, 2011 at 11:07 PM
Vidya is very obviously not on par with De Niro- but the comparison of this particular performance of hers to De Niro’s performance in The Raging Bull is quite apt.
I think when taken in context- of Vidya being a female actor in Bollywood- the role is going to be just as momentous and iconic as De Niro’s was.
If you watch the film I think you will get the similarity between the two roles. It’s not comparable to De Niro’s turn in The Raging Bull on a literal level- but given that Vidya is a Hindi actress acting in a Luthria film and not De Niro in a Scorsese picture- I think the comparison is justified.
I don’t think anyone is saying that Visya is going to be the next De Niro- which is the difference because with Ranbir people were talking about how he is going to be the next Bachchan.
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December 6, 2011 at 2:29 PM
All of this is fair and to be honest, my comment was mostly tongue in cheek, but the truth is (as I said with Ranbir) the audience these days doesn’t seem to be satisfied with plaudits alone– we’re always at the ready to overextend with superlatives. My main issue with this is that this sort of thing especially when it’s echoed in certain places actually detracts from a thoughtful and unique sort of examination of any kind of work. I haven’t seen TDP and I like Vidya Balan (though I think she’s a blander actress than she’s made out to be – very smart with her choices, yes, and an actress who knows her strengths) but I’m not looking for the next Raging Bull kind of performance here. Partly because I don’t expect Milan Luthria to draw out the kind of work one expects from Martin Scorsese!
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December 5, 2011 at 1:20 AM
The Dirty Picture Has Huge Sunday
Monday 5th December 2011 10.00 IST
Boxofficeindia.Com Trade Network
The Dirty Picture has a had a huge Sunday with early collections suggesting a 11 crore nett Sunday or at least very close to 11 crore nett. The three day weekend is likely to finish in the 29-30 crore nett which is extraordinary for a film like The Dirty Picture.
The weekend will be the fifth or sixth biggest of the year and ahead of star studded films like Desi Boyz and Zindagi Na Milegi Dobara.
The film had done excellent business all over but it is the single screens in Maharashtra/Nizam area where Emraan Hashmi films tend to do better which have outperformed with phenomenal collections. Nagpur, Kolhapur, Latur, Aurangabad, etc have all recorded bumper collections.
The Dirty Picture will put up a big lifetime total as the film has tremendous appreciation especially at single screens and further aiding the film is an an open run at single screens for three weeks until the release of Don 2 as all releases till then are multiplex films. The release of Ladies v Rikcky Bahl will take multiplex screen space from it but it is a one horse race at single screens for the next few weeks.
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December 5, 2011 at 2:12 AM
ok as much as i was defending Hashmi…they keep mentioning him but how about mentioning vidya balan?? this is huge for her. this is essentially her opening weekend. no other actress in recent times can claim a 30cr opening weekend let alone a leading actor can claim that. big props to vidya. clearly the most interesting actress out there. This is her second “non lead hero” hit after Noone killed jessica. maybe im forgetting some films but to my mind the last female lead film that was a legit hit was ‘kya kehna’ with preity zinta. at that time saif was still in his slump and was a supporting actor in the movie and chandrachur(sp?) singh was the lead actor. it was preity’s hit film all the way. anyone else can think of a female oriented film that was a hit since 2000?
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December 5, 2011 at 3:13 AM
That is why BOI should shutup when they comment something like this..
“The top five are Kareena Kapoor, Katrina Kaif, Priyanka Chopra, Deepika Padukone and Anushka Sharma. Now after The Dirty Picture Vidya Balan will also be somewhere amongst the top five.”
You can replace Kareena or Katrina in their top grossers with anyone and result would be same. Priyanka’s good roles haven’t fetched good returns. DP and AS seriously…
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December 5, 2011 at 6:43 AM
It’s nuts the way they keep mentioning him obsessively!
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December 5, 2011 at 4:21 PM
”anyone else can think of a female oriented film that was a hit since 2000?”
I think Rani Mukerji was mostly responsible for the success of Hum Tum. Saif was popular only as a supporting actor from movies like DCH or KHNH.Kareena Kapoor was solely responsible for the success of Mujhe Kuch Kehna Hai (along with the film’s music of course).
Even Jab We Met was Kareena’s film all the way and it was successful at the BO.
In case of NOKJ, people are forgetting that even Rani was there in the film, she was the forefront during the film’s promotions and most prominent in all the songs and promos of the film. It’s not successful only due to Vidya Balan.
Still, it’s commendable for her to attempt such bold roles and promote her films without sounding apologetic about what she’s attempted.
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December 5, 2011 at 4:33 PM
In previous decade, there’s also Priyanka Chopra’s achievement in the success of Aitraaz. Quite a gutsy step for a new actress to attempt such a role so early in her career. Kareena was having only box office failures behind her and Akshay Kumar had success only in multistarrers like Khakee and Mujhse Shaadi Karogi prior to this film. The film released on the same day as Veer Zaara and I feel whatever success it managed is only and only due to Priyanka Chopra.
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December 5, 2011 at 4:43 PM
Agreed about BOI mentioning Emran Hashmi’s name all the time without even mentioning Vidya Balan even once! It’s outright ridiculous! What Emraan Hashmi? In previous weeks, it’s been Vidya Balan all over the media – she’s the one who promoted the film, she’s the main star of the film – it’s her film all the way! It was also laughable when they tried to talk about Imran Khan’s so-called ”following” or ”star power” in reports of IHLS and DB! Rubbish!
Respect to Vidya Balan for doing different things and getting success too. Other actresses only manage critical acclaim when the try something different, while she’s got both critical acclaim and BO success.
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December 5, 2011 at 2:20 AM
AmirsFan: There was Isqiya as well that Vidya opened and took to respectable total without a hero. Super achievement for sure. .
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December 6, 2011 at 1:17 AM
oh yes ishqiya…it was a decent earner. the movie pretty much revolved around her character.
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December 5, 2011 at 6:47 AM
The Dirty Picture First Weekend Territorial Breakdown
Monday 5th December 2011 16.00 IST
Boxofficeindia.Com Trade Network
The Dirty Picture (Hindi) grossed an excellent 29.25 crore nett on its first weekend. The territorial breakdown of the first weekend is as follows.
Mumbai – 11.36 crore
Delhi/UP – 5.18 crore
East Punjab – 2.39 lakhs
West Bengal – 1.40 crore
Bihar – 67 lakhs
Assam/Orissa – 43 lakhs
CP Berar – 1.65 crore
CI – 1.21 crore
Rajasthan – 1.49 crore
Nizam – 1.56 crore
Mysore – 1.48 crore
Tamil Nadu/Kerala – 32 lakhs
TOTAL – 29.14 crore
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December 5, 2011 at 6:48 AM
Desi Boyz Week One Territorial Breakdown
Monday 5th December 2011 12.00 IST
Boxofficeindia.Com Trade Network
Desi Boyz collected 36.75 crore nett approx in week one. The first week distributor share is 19.50 crore approx. Below is the first week territorial breakdown of the film.
Mumbai/Thane – 5.16 crore
Gujarat – 4.21 crore
Saurashtra – 98 lakhs
Maharashtra – 2.42 crore
N Karnataka/Goa – 45 lakhs
Mumbai Circuit – 13.22 crore
Delhi City – 4.16 crore
Delhi/UP – 7.89 crore
East Punjab – 3.82 crore
West Bengal – 1.46 crore
Bihar – 61 lakhs
CP Berar – 1.69 crore
CI – 1.55 crore
Rajasthan – 2.79 crore
Nizam/Andhra – 1.61 crore
Mysore – 1.48 crore
Others – 65 lakhs
TOTAL – 36.77 crore
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December 5, 2011 at 6:48 AM
Rockstar Week Three Territorial Breakdown
Monday 5th November 2011 11.00 IST
Boxofficeindia.Com Trade Network
Rockstar grossed 3 crore nett approx in week three. The three week distributor share is 33.75 crore approx. Below is the third week territorial breakdown of the film.
Mumbai/Thane – 43 lakhs
Gujarat – 18 lakhs
Saurashtra – 2 lakhs
Maharashtra – 13 lakhs
N Karnataka/Goa – 2 lakhs
Mumbai Circuit – 78 lakhs
Delhi City – 51 lakhs
Delhi/UP – 84 lakhs
East Punjab – 38 lakhs
West Bengal – 11 lakhs
Bihar – 5 lakhs
CP Berar – 13 lakhs
CI – 11 lakhs
Rajasthan – 16 lakhs
Nizam/Andhra – 15 lakhs
Mysore – 18 lakhs
Others – 7 lakhs
TOTAL – 2.96 crore
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December 5, 2011 at 6:53 AM
Midweek: ‘The Dirty Picture’ is exceptional, has Rs 32.32 cr weekend
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December 5, 2011 at 10:06 AM
Looks like The Dirty Picture will probably be the most profitable film of the year.
Gotta give it to Ekta Kapoor – she has basically created a super hit out of her own will.
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December 5, 2011 at 2:30 PM
Ekta is turning out to be a master producer with yet another success. She is quite an arrogant and illmannered lady otherwise have had the misfortune of meeting her during audition for one of her serials Kahin to Hoga. She was irritatingly abusive with constant usage of MC/BC and has this habit of spitting pan parag every now and then. Moreover, she gave me a piece of her mind after I stated that completion of my masters is my priority rather than wasting time in never ending auditions for her serial. Never ever visitied Balaji office after that. Neways hats off to her for her success.
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December 5, 2011 at 2:59 PM
December 4, 2011, 12:43 pm
Latest ‘Twilight’ Remains Leader at Box Office
By BROOKS BARNES
It was a weekend of Thanksgiving leftovers at the multiplex. With no new broad-audience movies arriving in theaters, “The Twilight Saga: Breaking Dawn — Part 1” (Summit Entertainment) repeated as the No. 1 picture in North America for the third weekend, taking in an estimated $16.9 million for a new total of $247.3 million. “The Muppets” (Walt Disney) was second with about $11.2 million in ticket sales, bringing its two-week total to $56.1 million, according to Hollywood.com, which compiles box office statistics.
“Hugo,” Martin Scorsese’s 3-D family film, expanded into more theaters and placed third, taking in about $7.6 million for Paramount Pictures, lifting its two-week total to $25.2 million. The animated “Arthur Christmas” (Sony Pictures Entertainment) continued to disappoint in fourth place, selling about $7.4 million in tickets for a two-week total of $25.3 million. “Happy Feet Two” (Warner Brothers) chugged along in fifth place, taking in an estimated $6 million for a three-week total of $51.8 million.
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December 5, 2011 at 3:47 PM
“She was irritatingly abusive with constant usage of MC/BC and has this habit of spitting pan parag every now and then. Moreover, she gave me a piece of her mind after I stated that completion of my masters is my priority rather than wasting time in never ending auditions for her serial.”—dino-intersting to hear. does she subject guyz to the casting couch
why dont u share your further experiences
btw hats off to both vidya n ekta—-carved their own niche
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December 6, 2011 at 1:16 AM
Hi Alex, yeah I have had some experiences with Balaji but casting couch and Ekta no way atleast of wht I have seen of her she is completely business minded although frankly she flirts more with girls than guys. She has quite a strict process of selection for even her serials and told me to audition 10 times atleast before she gives me the nod. I had my MBA exams approaching and requested her to postpone some auditions which sparked her off and she let out a barrage of abuses on me. Generally, problem with her is her attitude and terrible language usage u will be shocked at the abuses she constantly hurls. She made some girls auditioning for her serials cry by constantly mentioning to the girls that with their small assets they are not going to go anywhere in the industry. She was regularly making inappropriate remarks on girls assets in front of a predominantly male crowd and requesting them to get extra padding which is sick I must say. What reflects in her films like Love sex dhokha, Dirty picture etc is what one would exactly associate with Ekta the person. Of wht I heard on sets they say even in front of Jeetu and Sobha she stays the same . But see where she has reached today amazing transition from queen of small screen to queen of big screen.
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December 6, 2011 at 1:21 AM
damn…that is interesting stuff. but with a attitude like that…karma is going to come bite her on her bi*chy ass.
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December 6, 2011 at 2:36 AM
Brilliant inside info dino
Lol@ small assets
Must be bad for those gals- not jokin– do what do they say or do
Wonder what the in house feminism champs like Amy hav to say
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December 6, 2011 at 3:50 AM
@AamirsFan – Lol maybe this attitude is her success mantra.
@ alex- it was pathetic seeing the gals given such treatment but then those who stick around and take her shit and outbursts go places in their career. Its the choices one makes.
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December 6, 2011 at 6:05 AM
LOL @ in house feminism champs 🙂 And what I have to say to what? Ekta Kapoor being uncouth? Or small assets? Don’t most actresses have small assets which they skillfully disguise to look bigger anyway? Like Deepika, PC, Sonam, even your favourite Nargis – don’t think that is a barrier to success.
And Ekta does not seem like a very nice person. I admire her for the success she has achieved- but I would not want to be her friend. She was acting quite embarrassingly on the ‘Walk the Talk’ episode someone posted on this blog.
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December 5, 2011 at 4:09 PM
“you keep bringing up her performance in Rockstar as if it were a good thing. “–lol eggjaktly: it was a good “thing”
the way she struggled to put in heavy duty emotions with no acting skillset made her look soo cute somehow
“where a woman just has to look good in a bikini” —incidentally and surprisingly not really interested in seeing her/ infact anyone in a bikini really
Talking of cameron diaz, revisited parts of “knight n day”—a guilty pleasure
Love tom cruise besides diaz
both senior citizens look fit and motivated me to be even more regular in the gymn !!!
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December 6, 2011 at 1:14 AM
lol…yes those guys are in damn good shape.
knight and day for me was a good entertainer and i think would be a good remake in a hindi format. i actually thought tom cruise stayed within himself and acted well. i usually cant stand the guys acting(the last samurai is my fave movie of his and fave performance, also in tropic thunder he was awesome). akki or sallu bhai would be perfect for that role. and throw in kat in a bikini on the island and you have a instant hit.
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December 6, 2011 at 2:31 AM
Lol @ Kat on an island in a bikini
So an open q for all guys n gals
Who will u Like to be stranded with on an island lol
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December 6, 2011 at 4:26 AM
wilson. lol. tom hanks made it seem ok to talk to a volleyball. lol.
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December 6, 2011 at 5:14 AM
Lol
Actually Tom hanks and castaway are amongst my
Perennial favorites
But not reached the “talking to Wilson ” stage yet (&hopw never do) haha
I’m looking for frank answers including from satyam (who may go for deepika/rani)
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December 6, 2011 at 6:57 AM
The Dirty Picture Sustains Very Well On Monday
Tuesday 5th December 2011 11.30 IST
Boxofficeindia.Com Trade Network
The Dirty Picture has sustained very well on Monday with collections around the 5 crore nett mark as per early estimates. This takes the five day total to around 34.25 crore nett for the Hindi version.
The film sustained well all over but the Maharashtra are was best with falls of just 30-40% from its Friday business. Delhi/UP also held up strongly as collections in UP were rock steady.
The collections on Tuesday should be similar to Monday or even show a bit of growth as it is a holiday for Muharram so the first week is likely to end in the 46-48 crore nett range and the film looking towards 70 crore nett for lifetime business.
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December 6, 2011 at 8:29 AM
Alex,harrison ford has given many big hits in his 50s.I dont think Tom Cruise is that old.Yes,he lost his stardom now.
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December 6, 2011 at 10:28 AM
Ya Tom cruise isn’t exactly a pensioner but not “young” either.
But like him
Think he still has starpower and has one of the best “facial cuts” on celluloid. Similarly Cameron Diaz is the “ageless wonder ” till now
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December 6, 2011 at 10:31 AM
“Don’t most actresses have small assets which they skillfully disguise to look bigger anyway? Like Deepika, PC, Sonam, even your favourite Nargis – don’t think that is a barrier to success.”—haha.Agree
Thanx for educating me about “small assets”
Can we have the list/ranking of those who are not deficient on this aspect for “educational” purposes
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December 6, 2011 at 10:44 AM
I’d disagree.. Diaz is definitely showing her age.. and there’s something spent about Cruise as well.
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December 6, 2011 at 11:02 AM
Having seen the film now I must say I agree completely with Rangan on this one. Leaving this aside I just found it to be a somewhat boring affair, hard to get through. Glad Vidya Balan’s getting an important success here but really her talents too are wasted playing essentially stereotype.
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December 6, 2011 at 1:21 PM
So satyam u don’t seem to have liked it even in the big screen
Anyhow
Director convinced with nargis f
http://www.hindustantimes.com/Entertainment/Bollywood/Nargis-Fakhri-is-right-choice-for-Rockstar-Imtiaz/Article1-778416.aspx
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December 6, 2011 at 2:09 PM
Did not see it on the big screen! I guess I might have been more seduced if I had!
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December 6, 2011 at 2:07 PM
Stereotype, Satyam?
I think this is a singularly unique character, almost never before seen in Indian cinema. You should have heard Komal Nahta last night on ETC. channel. After listing the obvious positives such a s great script, dialogues, performance and music he tried to list a few negatives . The one he emphasized most was the fact that it was Silk who made the first move to seduce Suryakant without being actively pressurized. He said if Naseer had made a pass and tried to coerce her it would have made Vidya’s character a ‘ lachaar’ woman and taht would have taken the film’s business to another level! Fool! Dirty Picture is such a pleasure because it avoids such a stereotype.
Never before in Indian cinema there has been a woman character so driven by her own sexuality and so obsessed with her own sexual power. Men are just guinea pigs to test her own power of seduction. In tradition where even a vamp like Helen ha a soft corner fora hero like Amitabh, silk does not have a drop of feeling for any man. . Not for the lecher Suryakant, not for the callow Ramakant, not even for the romantic , sufiana Abraham. She cruises along merrily, and not so merrily, in her own autonomous erogenous zone. She is self made woman who self-destructs.
I haven’t quite seen a character like this in Indian fiction, let alone Indian films.
It is a bold, dynamite of a character and Vidya gives it all she has got. This is a truly Raging De Niro Bull moment in the history of Indian film acting. – performance that will not only resonate across the box office tills but also Television debates, sociological discussions and award nights as well.
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December 6, 2011 at 2:09 PM
Utkal.. I am afraid I am have missed the film you have seen..
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December 6, 2011 at 7:33 PM
I was thinking same of seeing Utkal’s comments. I will give credit to Vidya for this sort of opening. BUT I’ve expected this from Indian audience…. They go to see Hrithik/SK with no shirt, it is not surprising to go for Vidya..
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December 6, 2011 at 2:27 PM
Haven’t seen the film but the variation in its assessment from satyam and utkal is perplexing
But have to hand it to utkal uncle—brilliant stuff
Uncle u should write abstract homoerotic exotica
And an indepth understanding of women
And sexuality that perhaps satyam (&myself) lack in.
Inspite of not having seen it, can sense where u r cuming from!!!
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December 6, 2011 at 7:58 PM
LOL – Alex 2 questions- what is so homoerotic about Utkal’s comment? And what exactly is exotica? 😛
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December 6, 2011 at 2:29 PM
Just look @ this masterly stuff
Again:utkal uncle :I’m proud of u
“Never before in Indian cinema there has been a woman character so driven by her own sexuality and so obsessed with her own sexual power. Men are just guinea pigs to test her own power of seduction. In tradition where even a vamp like Helen ha a soft corner fora hero like Amitabh, silk does not have a drop of feeling for any man. . Not for the lecher Suryakant, not for the callow Ramakant, not even for the romantic , sufiana Abraham. She cruises along merrily, and not so merrily, in her own autonomous erogenous zone. She is self made woman who self-destructs.”
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December 6, 2011 at 2:31 PM
Satyam, these are not my special insight pr anything. The character I have sketched is the one that is apparent in the basic narrative. Where really is the ‘ stereotype” Where is the Indian film with a lead woman like this? Even Umrao Jaan as a child was kidnapped as a child and sold to a brothel, even EUmrao Jaan as a grown up ( Rekha) falls in love with Nawab Sultan (Faroq Shaik) and is heartbroken when he marries to please his family. Not our deal Silk. Her exhilaration is her own making, as is her inner gloom. She is almost clinically DIFFERENT. She is a truly neurotic woman if you ask me with her brain chemistry a little off.
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December 6, 2011 at 3:14 PM
Utkal, you’ve misunderstood my original comment. Obviously the film is doing all of this at a literal level but it’s ultimately all fluff. The film never rises above this level. And let me risk saying something here — if it were actually the sort of film you’re describing it wouldn’t have been lapped up this way! This audience and this critical establishment (to greatly dignify them) isn’t generally happy to embrace truly radical gestures. This whole story of supposed female emancipation takes place within the confines of a film industry and references a yesteryear ‘vamp’ (just characterizing things here, not offering a judgment), that too by performing a class and looks upgrade on her, all of this is what the bourgeois audience already believes about the industry let alone about someone like Silk Smitha. They don’t find it in the least disturbing to see a woman flaunt her sexuality within that framework. This is a mindset where Meena Kumari is often referenced as a nymphomaniac (explicitly or implicitly.. as in that recent Outlook piece)! And the story of this TDP character is hardly a happy one. Where does it all end?! This isn’t some nuanced portrait or ‘biopic’ of an important actress where there is a ‘complicated’ look at things. It’s pure entertainment often bordering on titillation disguised as progressive thought-provoking cinema. I don’t have a great problem with it because it’s simply not serious enough to get that excited about. I am merely responding to you. However I do note once again how the Bombay (or whatever Bombay-Madras mix is intended here) film past is always presented in certain ‘hues’ (that are once again more about the triumphalist present and the undermining of what went before) that I find less than welcome.
By the way do you really believe Ekta Kapoor and Milan Luthria get together and create Scorsese-like cinema?
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December 6, 2011 at 5:22 PM
From what I understand, the film doesn’t include the driving facts of Silk Smitha’s life, namely her abusive marriage at an early age, from which she sought to escape by running away to Madras and ultimately joining films. That marriage is no less defining in her views on sexuality than Umrao Jaan’s kidnapping and being forced into a brothel. From this perspective, TDP’s Silk not caring for any man but merely using him as a victim/fodder for her sexuality makes perfect sense. If it was truly exploring a woman’s changing ideas about the power of her sexuality, I think the abusive marriage needs to be an important anchor point. By eliminating that fact, and focusing merely on a woman who is exuberantly aware of her sexuality and its power over men, I think the filmi character is no more than another male fantasy figure, who, predictably according to patriarchal norms, comes to a bad end. In such a narrative, there is nothing “bold” or “questioning” at all, only a “pushing of boundaries” in terms of what “respectable” actresses will portray on screen, or legitimizing what was previously derided.
I haven’t seen the film, so I’d like to hear the opinions of those who have on this aspect of how Silk’s character is portrayed.
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December 6, 2011 at 5:53 PM
Brilliant write up by sm—heavy duty stuff
Didn’t know sm had this grip on matters like sexuality
Though I haven’t seen the film, the “depth” of discussion this is inciting means there must be something special in the film
Satyam u need to pull up your socks–every one from Amy to sm to utkal has seen something “deeper” whilst u r still entangled in d-cups et al
Hahaha
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December 6, 2011 at 6:21 PM
excellent comment here SM and I agree completely..
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December 6, 2011 at 6:40 PM
SM – I totally agree with your comment. I’ve already mentioned that I found this film very flaws and this is why- it does not spend any time trying to make Silk a synpathetic character. If Silk had been a gray character with a problematic past- the audience would have related to her and cared about the injustice she was subjected to in the industry- thus driving home the point of how hypocritic and cruel to women the industry is.
As it stands- Silk is a woman who uses her sexuality ruthlessly and thoughtlessly and in the audience’s view- will deserve everything that comes to her.
It is not all as simplistic as that though- there is a certain amount of empowerment involved in the way Silk owns her sexuality- in the way that she is presented as a flamboyant, swashbuckling hero mouthing punch lines – and in the non-judgemental way that the film portrays her.
But as it stands- the film is a compromise to the very hypocrisy it condemns- as if it feared that such a sex siren’s behaviour could not be legitimised in anyway. It’s almost as if the director thought that all sexually liberated women should only be portrayed as shameless whores- and there really is no ‘proper’ reason for a woman to behave the way Silk does- she just has to be lustful to the point of being almost unhinged.
However- whatever complaints I have against the movie- it does not diminish Vidya Balan’s stupendous performance. It really was the finest lead performance I have seen in a Bolywood film in a very, very long time- perhaps ever. And it was extremely brave of her to accept such a role.
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December 6, 2011 at 6:48 PM
Ami, your otherwise very useful comment is I think marred by what I can only call an incredible statement:
“It really was the finest lead performance I have seen in a Bolywood film in a very, very long time- perhaps ever.”
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December 6, 2011 at 6:56 PM
Satyam- I am not just talking of the calibre of Vidya’s performance. I’m also considering how brave it was of her, as a Hindi film heroine, to accept this role- how she rose above the limitations of the script- and how she still manages to maintain her dignity even thought the camera does it’s best to violate her. I can guarantee you if it had been Priyanka or Kareena or Chitrangadha or whoever else in this role- Silk would have been reduced to a lewd caricature- and I would have left the theatre feeling disgusted with them for accepting such a cheap film.
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December 6, 2011 at 7:10 PM
One final point to add- Naseer has a lot to say in the film that basically amounts to this- Silk is the perfect fantasy fodder but not in anyway a legitimate part of respectable society or of a respectable man’s life. Ironically- that is exactly what the film does.
Silk is a cartoonishly ’empowered’ woman who enjoys pleasuring men for the power it gives her over them. She’s a soft porn star- and perfect fantasy fodder- and even when she isn’t on the job- she acts in a pornographic way.
However she never was- at any point in her life- portayed as a normal part of mainstream society. If they had initally shown her as a regular woman who was so ill-treated by society that she grew disgusted with, and desentizied to, it’s hypocritical rules- then they would would have had a powerful film that attacked the double-standards of patriarchy.
And considering that Silk’s actual life seems to have this element to it- it does look like it was wilful negligence to add that on their part- therefore making them as hypocritical as the showbiz men they criticise so strongly in the film.
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December 6, 2011 at 8:59 PM
I don’t know – I kinda liked that they didn’t saddle Vidya’s character with a sad, abusive backstory to “justify” her exuberant sexuality. Indeed, I thought the *only* semi-progressive element of the movie was that a woman was shown to enjoy sex for *her* sake rather than simply using it as a tool to control/influence men. Of course, her fate in the end completely negates even this minor advancement, but at least for a brief moment a woman was allowed to enjoy and get away with wanton behavior.
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December 7, 2011 at 1:35 AM
I disagree with SM. It would have been stereotypical had they shown her abusive marriage.Vidya’s portrayal actually blurs the line between vamp and heroine . I agree with Satyam that story presentation is very “bollywoodish”. Little bit of seriousness would have made movie much better. I had similar problem with Once Upon a time in Mumbai and Raajneeti…everything is one cruise control…
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December 7, 2011 at 8:30 AM
“I had similar problem with Once Upon a time in Mumbai and Raajneeti…everything is one cruise control…”
very true..
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December 7, 2011 at 4:31 AM
Wasn’t aware about the marriage angle, SM. Reminds me of Phoolan Devi. Deviating a little, but how did Kapur deal with her sexuality in BQ? Authentic / exploitative ? (haven’t watched it in full..only a few scenes before boredom settled in and I switched off…)
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December 7, 2011 at 8:17 AM
he dealt it most voilently and that includes some of the real bad sufff and thats why in india it had lot of censor problem and never acheived full result but the character there was alive and had no problems with that ….
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December 6, 2011 at 2:37 PM
Satyam : with due respect : think utkal is operating in a different plane that u have probably (fortunately /unfortunately ) not experienced yet lol
Could also sense it when someone got the whole
Essence and concept of the “devdas syndrome ” wrong
Appreciatimg and perceiving certain things needs some resonance
–some get it with personal experience and age (like utkal)and some even at “young” age instinctively
Ps: utkal what is your reading on devdas and which version u like most
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December 6, 2011 at 3:24 PM
Actually ‘age’ and ‘experience’ are the most overrated thing around.. or the ‘experience’ that one acquires simply as a function of ‘age’ is to my mind fairly ‘uninteresting’.. authentic ‘experience’ is something else altogether.. The thing is that when one grows older one likes to think that there has been a ‘learning process’ that has somehow been worth the cost of ‘aging’. Unfortunately this is usually not so. People call a simple cause and effect pragmatic view of things that is acquired over time ‘experience’.
Finally to get to your Devdas point art isn’t about that sort of ‘autobiographical’ identification. Sometimes these factors inform our reception of a work but I am not exactly going to tell someone who didn’t like Rockstar that their experience of romance is lacking!
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December 6, 2011 at 6:36 PM
“It’s pure entertainment often bordering on titillation disguised as progressive thought-provoking cinema.”
Well-said. Best description I have read of the film.
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December 6, 2011 at 6:58 PM
I prefer Vidya in Ishqiyan and Paa over Dirty Picture. The latter is such a loud and bombastic film that Vidya just doesn’t get to do much with her character except mouth filmy dialogues about herself in third-person. Come on, who talks that way?
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December 6, 2011 at 7:03 PM
‘Come on, who talks that way?’
Have you seen the ‘Don says’ trailers or any of the new mindless masala films? They do exactly this- and in a way that makes The Dirty Picture look like an intelligent masterpiece 😉
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December 6, 2011 at 7:05 PM
Not a fan of the Don says trailers either. Not exactly awaiting that film.
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December 7, 2011 at 2:32 AM
thanks for pointing out sm :
as for marriage thing tell you in the movie there is a scene in which vidya along with tushar goes to her home town and there she says “main shadi ki ek raat pehle bhaat gayi”
this is how much they distorted to make money
yes smitha was raunchy but not this much and she produced that movie to clean his image(which led to her downfall and was her real guilt in real life) further her rise from an extra would have been really compelling story but sleaze was focus and everyone knows why ….there are just lot of loopholes if one goes on
its sad to see people distorting someone’s life and cashing on it
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December 7, 2011 at 2:42 AM
and ya i have said earlier i have not that much respect for silk smitha and her brand of cinema(personal opinion) but her biopic on silver screen deserved something better
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December 7, 2011 at 5:10 AM
“I kinda liked that they didn’t saddle Vidya’s character with a sad, abusive backstory to “justify” her exuberant sexuality. Indeed, I thought the *only* semi-progressive element of the movie was that a woman was shown to enjoy sex for *her* sake rather than simply using it as a tool to control/influence men”
Insightful stuff Shalini( though find the writing style suspiciously familiar –satyam may check ip etc lol)
Am pleasantly impressed by some of the posts in this thread.
The “depth “(and length) grasped by some of the female writers here have left the male ones like satyam “gasping for breath” ( pun intended )
Haha–just being honest and unbiased here as ever—satyam how about some “real life experience ” to heighten your writing skills –just like in rockstar (incidentally im also thinking of the same lol)
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December 7, 2011 at 6:33 AM
Lol@ the “ip check” bit–scared u “Shalini”
Nobody has the inclination/motivation and above all, time , to do that
So chillax-& let em coming
Btw came across a name “Arthi”—is this the Hindi version of carrying a “coffin”–sorry for the innocent question
Was wondering how someone could keep that name
Cheers lol
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December 7, 2011 at 8:53 AM
taran_adarsh taran adarsh
#TheDirtyPicture *actuals* Fri 9.54 cr, Sat 10.78 cr, Sun 12.38 cr, Mon 5.72 cr, Tue 6.21 cr. Total: Rs 44.63 cr nett. Superb!
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December 7, 2011 at 8:54 AM
‘Dirty’ makes a ‘Clean’ sweep
By Taran Adarsh, December 7, 2011 – 08:07 IST
THE DIRTY PICTURE is a game changer. Let me cite the vital reasons… Till a decade ago, a section of the industry strongly felt that comedies aren’t commercially viable. The market for laughathon doesn’t exist beyond Mumbai, they echoed. But the naysayers had to eat their words when a spate of comedies smashed all records and set new ones at the box-office. Similarly, a big section of the industry was of the opinion that heroine-oriented films or women-centric themes enjoy limited appeal at the ticket window. The myth lies shattered.
I’ve repeatedly heard the naysayers also remark that biopics or movies based on the film industry don’t work at the ticket window. These pessimists, who live in a cocoon, completely oblivious of the changing times, have cited inane and ridiculous reasons to prove their point. But the staggering business of THE DIRTY PICTURE has proved them wrong and how.
Also, generally speaking, films with an ‘A’ certificate have their limitations. But the fantastic business of films with the ‘Adults’ tag, like MURDER 2, DELHI BELLY and now THE DIRTY PICTURE, has made people realize that a well-made film knows no limitations, from the business point of view.
THE DIRTY PICTURE is re-writing the rules of the game and like DELHI BELLY, is a game changer. Ironically, the year 2011 commenced with a film that borrowed from real life [NO ONE KILLED JESSICA], with Rani Mukerji and Vidya Balan essaying pivotal parts, and before the curtains fall on the year, a movie inspired by the life and times of a South Indian actress, essayed by Balan again, is making a lot of noise. Has hit headlines, frankly.
The terrific start of THE DIRTY PICTURE can be attributed to several reasons…
* The catchy title.
* The buzz that it was based on the life of a well-known actress of the 80s.
* The hugely popular ‘Ooh La La’.
* The eye-catching promos.
* Last but not the least, the mind-blowing promotions, prior to the release of the film.
There’s yet another vital reason that attracted a sizable number of footfalls at plexes and single screens, both: Emraan Hashmi. This guy has a massive fan-following amongst youth and his movies have consistently attracted footfalls, bigger and better than so many in-demand stars. MURDER 2 occupies a prime place amongst the biggest openers of this year and so does THE DIRTY PICTURE. Emraan Hashmi is a star in the true sense.
Post release, the world couldn’t stop raving about Vidya Balan’s bravura performance, Rajat Aroraa’s watertight screenplay and power-packed dialogue and Milan Luthria’s handling of several dramatic sequences.
The fact that THE DIRTY PICTURE has fetched a bigger start than some of the biggest releases this year only goes to prove yet again that content and concept are of paramount importance. No film can survive on hype alone. It ought to have the material to stand on its feet after the first show concludes. Else, the collections would sink faster than Titanic even before Day 1 comes to a close. THE DIRTY PICTURE packed a solid weekend and is all set to post impressive numbers in Week 1, which only goes to reiterate the fact yet again: Movies in India work because of entertainment, entertainment and entertainment.
I’d like to single out Ekta Kapoor, who is the bravest film producer today. She backs biggies like SHOOTOUT AT LOKHANDWALA and ONCE UPON A TIME IN MUMBAAI, but also backs films like LOVE SEX AUR DHOKHA, RAGINI MMS, SHOR IN THE CITY and now THE DIRTY PICTURE. These films have not only garnered critical acclaim, but have also been success stories in terms of economics. I’d like to go to the extent of saying that Ekta is the Aamir Khan amongst producers. Gutsy, brave, enterprising and super-successful.
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December 7, 2011 at 8:54 AM
This could be in the 80-100 crore range depending on how week 2 shapes up. Unless it does a murder 2 (completely crashed out in the second week) which is unlikely here.
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December 7, 2011 at 8:55 AM
The Dirty Picture Collections Jump On Tuesday
Wednesday 7th December 2011 11.30 IST
Boxofficeindia.Com Trade Network
The Dirty Picture got the benefit of Muharram on Tuesday as collections were around 5.75 crore nett as against the 5 crore nett on Monday. The film had jumps of 20-30% in places like UP, CP Berar, CI and Rajasthan while other areas jumped less but still most were better than Monday.
The film has so far collected around 40 crore nett in five days and is likely to have a 48 crore nett week one. Adding the regional version collections and it will be a 50 crore nett week.
The Dirty Picture is a huge hit in the Maharashtra area and should do a 14 crore distributor share in Mumbai circuit and a 2.50 crore distributor share in CP Berar which in the case of CP Berar is the same as films like Dhoom 2 and Raajneeti.
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December 7, 2011 at 8:55 AM
Desi Boyz Has Heavy Drop In Second Weekend
Wednesday 7th December 2011 10.00 IST
Boxofficeindia.Com Trade Network
Desi Boyz had a heavy drop of 80-85% in its second weekend as it grossed around 4-4.25 crore nett in its second weekend. The ten day business of the film is nearly 41 crore nett and after two weeks it will be around the 43.50 crore nett mark.
Desi Boyz should hit the 45 crore nett mark but has no chance to get to 50 crore nett mark for lifetime business.
In its second weekend it held up best in the North with East Punjab adding 50 lakhs nett and Delhi/UP contributing 1 crore nett plus. The likes of CP Berar and CI saw huge falls.
The distributor share of the film will be 23-24 crore which is less than the 2009 Akshay Kumar starrers like Kambakkht Ishq and De Dana Dan which were 1600 screen releases compared to 2250 screens of Desi Boyz.
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December 7, 2011 at 10:50 AM
I havent seen the film and may never see it but some of the objections raised here regarding the portrayal of Vidya’s characters leave me a little confused and scratching my head.
Lets examine them one by one:
1. The film is supposed to be loosely based on Silk’s life but they have taken liberties with the story line. But, it is only ‘loosely’ based. I dont think the makers have claimed an accurate portrayal of her life nor is there any creative/artistic criterion that demands that the naarative be as ‘accurate’ as possible.
2. There is no backstory to explain or ‘justify’ Vidya’s character. If any thing it is a plus. And, if there was same people would be screaming that it was there , so that the bourgeois audiences can find it more acceptable.
3. It pushes the envelope but not far enough. Really? Aamir has earned tremendous prestige doing exactly the same.
4. There is an expectedly not too happy end to the story of these ‘wanton’ woman, there by making it more palatable for the delicate audience mentality. How do you think these stories end in real life??
5. The film is conviniently about a character in movie industry , there by making her behaviour more acceptable in the public mind . Duh, Silk Smitha was a film actress not an executive in a multinational company.
The film may be ridden with faults and Vidya’s performance amy not be all that great. I have no idea. But, this is a problem I often have with critiques and reviews. Once our mind is made up to pan a film ( and hopefully the decision is made after viewing the film, tho some here are willing to bash the film without seeing it), we justify our stand with criticisms that do not stand the honesty test.
I would laud the film as it certainly seems to have gone where few films have gone. Nor, would I suggest that the BO is purely because of the sleaze factor. At some level the film seems to have resonated with the audience.
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December 7, 2011 at 11:13 AM
Very good points Rajen, exactly the feeling I was getting reading some of the comments….
Kuch different na karo- then you are confirming to Bourgeois values,
Kuch different karo- then not enough different, you are still in an indirect way confirming to Bourgeois values.
arrey – here is a movie not Yash Chopra/ Karan Johar style, Different yet entertaining, Enjoy it.
agree with Utkal too…Rangan’s objections are stupid to say the least……
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December 7, 2011 at 11:52 AM
But Rocky one can’t have it both ways. If it’s just entertainment that uses a bit of sleaze to ‘sell’ the movie that’s one thing. But if it is being celebrated as a coming of age of its industry in matters of female sexuality and if it is then critiqued on these grounds one cannot suddenly go back to the previous defense (hey it’s just silly but it’s fun).
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December 7, 2011 at 11:25 AM
I remember as a kid our Munim jee will say to us about our Father and uncles,( when yelled at by my dad)- agar dawaat ( Inkpot) humse gir jaye then babujee will yell at us- Andhe ho kya; lekin agar Dawaat babujee sey gir jaaye tau woh kahenge- yeh dawaat raastey mein kissne rakh dee…… LOL.
yahee haal iss blog par sala middle class ka hai, chaubees ghante galiyan khatey rehtey hain…..
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December 7, 2011 at 11:46 AM
Rajen, speaking for myself I was responding to Utkal’s specific comments. But as I also said there the film isn’t serious enough for me to be bothered too much by its other implications. However when the subject was raised that this was a Raging Bull moment I had to respond!
Firstly I don’t believe it’s comparable to many of the Aamir films I praise though note that I have always questioned something like RDB for its political muddles. On DB I had a similar sort of reaction to TDP, didn’t think it was a big deal in any sense, the rest was about Aamir’s marketing. But leaving this aside it’s all about contexts. If the claim is that TDP is an entertaining films that attempts a somewhat different subject I don’t have any problems with this. If however it is suggested that Bombay cinema is taking some great stride forward with this representation I disagree and for the reasons I’ve already provided. But again it’s about contexts. I am reminded of that famous joke from the 80s where the American guy tells the Soviet he has greater freedoms because he can stand in front of the WH and curse the president of the US and the Soviet guy responds ‘ what’s the big deal? I too can stand in front of the Kremlin and curse the president of the US’!
The point is that within the contexts of ‘today’ there is nothing about TDP that to my mind particularly pushes the envelope in this sense. We had Chetna more than 40 years ago where the guy falls in love with a prostitute who’s fairly unapologetic about things, who then marries her even after learning who she is. Of course we know the film is based on Silk’s life. But WHY is it based on her life? Why wasn’t the same representation of supposedly female emancipatory sexuality produced in some other context? If you recall I made the same point about Luthria’s OUATIM. So we get ‘classic Bombay’ of the 70s with a nod to certain masala conventions by way of a celebration of gangsters. Why not something else? Part of it is a marketing ploy, you latch onto a famous or notorious name and generate media attention that way. And you then sell nostalgia or progressive cinema, as the case might be. But these very same choices also make sense for ideological reasons. They are on the right side of the audience. And here the whole Silk smith frame is useful. If I am a director looking to explore female sexuality in certain ways I might or might not arrive at the Silk story. If however I feel the Silk subject makes for ‘spicy’ cinema specially with the right star in it and so on which I can then sell as ’emancipatory’ it’s something else altogether. Within the dominant ideological framework of the film’s audiences this story is relatively easy to account for.
I raise the same question again: does anyone really think that a truly daring exploration (and celebration) of female sexuality would generate these sorts of box office numbers?! This has never happened at a truly mass level even in Hollywood! But somehow the same in Bombay is on course (potentially) to get to a 100 crores? I’ll repeat another point — note how the same Ekta Kapoor who otherwise is legendary for her TV soaps extolling family values also produces films with a heavy emphasis on gangster violence or ‘perverse’ sexuality (not that which is so in itself but that which is likely to be regarded by its audiences as not the norm.. whether they support it or not they they will have a reaction to it because the films often presents this in sensationalist terms.. consider the sex in LSD or even a horror effort like Ragini MMS..) in the guise of the progressive. They are two sides of the very same coin. Again not arguing with the film that is, just the film that some are making it out to be. I found it fluff as I earlier said, nothing to look here (excuse the pun!), and so I am not really objecting to the film except if its labeled a new frontier in Hindi cinema!
In Deewar you have the lead pair living together, it’s all treated very casually, the female protagonist smokes in bed after sex (or so one of the scenes would lead one to believe), she has also been an escort, all of this never becomes a concern for her lover, at the end of it all we learn that her long suppressed dream has always been to get married in the traditional manner, her lover wishes to marry her as well once he learns she is pregnant, again the legitimacy of the child seems to be a clear issue as well. I’m going through all of this very quickly but note how ‘complicated’ all of this is. Specially with respect to the ways in which Vijay is otherwise questioning the entire socio-political order that has been so unjust to him.
I am not using unfairly a seminal film like Deewar as a model for TDP. Just trying to illustrate that this is the stuff that defines those new frontiers. Or something like Awara where you have a guy trying to kill his father in 1951! And you have of course a rather erotically conceived romance, so on and so forth. These are films that do not wait for the audience to lead them. Sometimes they work instantly because they strike a chord for all sorts of reasons, sometimes they take years or decades to be appreciated. But the gestures are always there to be noticed. when Raj Kapoor took a rather dark view of the Indian nation-state in the first decade of its Independence that was a far more potent gesture than Mehra doing the same in 2006 in RDB when everyone more or less agrees with him (at least at the level of criticizing political institutions which is what Mehra limited himself to). On the other hand when months after a sensational Maoist massacre of Indian army/security personnel a film is released (Raavan) that is actually sympathetic to it (the film opens with this ‘attack’.. it’s part of the montage) and even represents these ‘tribals’ as the other side of the Ram-Raavan debate and when the Ram is made to look somewhat less than heroic from the vantage point of Asokavanam that’s what the truly radical is really about. This is not what the audience is ready for (unlike D6, a film which was tonally not a commercial film, Raavan didn’t have that issue). So it doesn’t have to be great or ‘greatest’ films only. I’ve just gone from Chetna to Awara-Deewar to Raavan. All of this still doesn’t mean I have a problem with TDK. I was simply responding to Utkal’s comments calling it a seminal moment in Hindi cinema and a Scorsese-like deal and so on.
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December 7, 2011 at 1:01 PM
satyam proves that size (and length) does matter…^^^
Finally (and somewhat late) satyam is coming back to form..
Anyhow:once again, one needs to commend the high quality posts by certain female members (apparently) namely amy, sm and shalini who have “enhanced” the overall depth of discourse in this thread –and im not joking (for a change)…
Somehow the perception about this film is a problem. I cannot get myself to go to the big screen for something consrructed around cleavages and d-cups.
Also difficult to get willing company for this one since for the unintiated , this is still a skin show exercise –though many will rightly find deeper meanings here.
Inspite of all this and there being no credible “hero”. one needs to commend two feamles–
No ifs no buts–
Vidya balan and Ekta Kapoor for the type of box office performance.
i mean, for eg,
desi boys (for all its crapness) is looking like a low budget small film in its comparison
think this should serve as an “eye opener” for the other heroines who keep lamenting about lack of opportunities and boast about starring opposite xyz khans biggie. infact the main claim of fame for one is that she has starred opposite all khans —cmon go get a life
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December 7, 2011 at 1:10 PM
Just saw the box office figures of TDP and must say, vidya balan has surprised big time. When she arrived,many thought that she may go the gracie “lagaan” singh way who inspite of having two blockbusters, lagaan and munnabhai, petered out.
But slowly and surely , balan seems to be carving an aamir khan-esque career (though the dimensions, scale and impact is much different) built around certain principles—
a)recognise your limitations but dont be defensive / apologetic about them
b) choose the project correctly
c) back yourself up d)Dont accept secondary unimportant roles even in big “sureshot” projects
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December 7, 2011 at 1:37 PM
Heroine sweepstakes (recent ready reckoner)
Talking of “superstar” heroines —
70s onwards–
Hema Malini
Sridevi
Madhuri dixit
Nil since
Simply ethereal–Aishwarya rai (occupies a separate slot for me)
Notable standout recent acts/ performances
Rani Mukherjee -Black (astounding)
Priyanka Chopra-Whats my raashi (obscenely under rated class act–not inferior to black imo)
Most beautiful female to ever grace indian screens–Aishwarya rai
Special mention–Preity Zinta (early phase only)
Current curiosity/ interest–Nargis Fakhri
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December 7, 2011 at 2:10 PM
My all time vote might go to Suchitra Sen.
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December 7, 2011 at 1:52 PM
Satyam: Your arguments for why TDP is not radical are really specious. One argument you put forward is : It is commercially successful, so it cannot be radical. Two: It cannot be radical because it is produced by Ekta Kapoor.
No one can argue against such pre-decided closed minds.
As far as I am concerned, truly interesting films can come from the likes of Anil Sharma or Sooraj Barjatya ( Gadar, Hum Aapke Hain Koun) just as unwatchable bad films can come from Mani Ratnam or Rakesh Mehra ( Raavan and Delhi 6) . Again for me, great or interesting films can films can be smashing box office success or total crashes ( 3 Idiots and Lagaan or Andaz Apna Apna and No smoking).
Of course, you contradict yourself when you site the example of radical films by your definition: Deewar and Awara, which incidentally was lapped up by the masses big time.
Of course I am tempted here that the ‘radical’ Dewar was cautious enough to show why Amitabh turned out the way he did … because the miscreants wrote ” Mera baap chor hai on his hand”. We all know why Shahrukh in Baazigar turned out the way he did. As far as Chetana and countless such films om prostitutes and courtesans , the men fall for them not for their magnetic sexual pull, but their lily as white hearts. Most of these ‘ prostitutes’ are forced into the profession by poverty, scheming villains or exploitative relatives.
Here comes TDP throwing all such conventions to the winds. ..to hell with justifications! My respect for the film is in large measure for this single BIG LEAP in authorial stance. Luthria may not even be aware of what he has done. ( Though I am sure Rajat Arora is quite clued in to what is happening here, though not perhaps fully aware of the philosophical import of that stance.) I am mighty impressed by the fact that they have removed the abusive husband as the reason for her moral profligacy, just as they have removed the exploitative boyfriend as the reason behind her finical
fracas. Silk Smitha’s actual life provided these obvious dramatic clutches. But Luthria and Arora have done away with them. And that was masterly. Not only because it provides a narrative freshness..but for deeper philosophical reasons as I see it.
In my reading of human psychology, these circumstances are incidental to the deviant behaviour. To a large extent, such behaviour is hardwired into certain characters. Circumstances just provide the spark. some women love to dance in strip clubs, some men love to handle guns and shoot people. It is middle class morality that seeks justification for such tendencies. Quite strangely people don’t seek justifications for saintly behaviour. Why do they need justifications for sinners? There is no sociological back-story sought for why Ramkarihns Pramahnsa left home to live in Kali Temple, or why Siddhartha left his beautiful wife and child to meditate. Ok, he saw a man sick and another dying. But so do all of us. So there is something within these men that make them act differently. why cant it be for women like Silk? Really refreshing to see this aspect on screen. I couldn’t believe my eyes as the story unfolded on screen. I was realy perked up. And my brain began to tick. The whole question of social contract between men and women, drawing lines of sexual behaviour for both, flashed in my mind.
Feminists or people with feminist sympathies are not happy that Silk commits suicide. Why? Does any left sympathizer feels bad because Che Guavera was killed? What is so great about growing old and dying? Everything comes at a price. Silk sure knows it. She had her chance to turn respectable and live the live of a hypocrite just by behaving well for one evening. But she spat on that opportunity. Not for her the dishonest compromise. She wanted to live and die on her terms.
And let’s not forget, even Vijay ion Deewar dies. ( though the real life counterparts like Haji Mstan or Dawood Ibrahim went on or go on living)
AS to killing of the wanton woman being regressive, let us not forget Anna Karenina died as did Madam Bovary. If Tolstoy and Flaubert are regressive, well, Luthria and Arora are in good company.
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December 7, 2011 at 2:09 PM
“As far as I am concerned, truly interesting films can come from the likes of Anil Sharma or Sooraj Barjatya ( Gadar, Hum Aapke Hain Koun) just as unwatchable bad films can come from Mani Ratnam or Rakesh Mehra ( Raavan and Delhi 6) . ”
I thought I would only be appalled with this sentence in your response (though I must admit I’ve still not gotten over the Raging Bull analogy) but then you followed it up with this:
“AS to killing of the wanton woman being regressive, let us not forget Anna Karenina died as did Madam Bovary. If Tolstoy and Flaubert are regressive, well, Luthria and Arora are in good company.”
The first sentence is just appalling, this last one constitutes criminal activity in my judgment. The crime being putting some of those names together in a sentence.
On ‘pre-decided closed’ minds thanks for leading by example..
(for the record you’re misreading most of my argument)
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December 7, 2011 at 2:41 PM
*Some spoilers
I tend to agree that subject and story are bold for mainstrean cinema but treatment is hackneyed. Last 45 minutes or so proceedings become too slow. There was no justification for Balan’s character turning from beseeching woman to one who turns down roles. Even the money problem was shown was director’s convenience to show cascading problems. Hashmi and Kapoor’s characters were barely written.
ps – Any day I will take D6 over this.
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December 7, 2011 at 2:45 PM
I do agree with this..
and to repeat ad nauseam I don’t really have an issue with the film. However if it’s going to be called something profound that’s a whole different story. On a related note I am quite pleased to see Balan get this big success though I certainly have preferred her performances elsewhere.
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December 7, 2011 at 2:12 PM
need a clarification—
havent seen the film and its quite late in the day to ask —but what is the “official” reason given for balans “wanton” behaviour—is it “circumstances” or “nymphomaniac tendencies” or what
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December 7, 2011 at 2:18 PM
“My all time vote might go to Suchitra Sen.”—good for being “different” but what is the criteria of this vote lol
IMO in the ALLTIME list—will include a very select group
this includes everything—grace, beauty, charisma, transcendence, popular appeal, ability, staying power and a certain x-factor
and the names are–in this order
Aishwaya Rai
Hema Malini
Madhuri Dixit
Madhubala
and thats it!!!
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December 7, 2011 at 2:39 PM
just added a video above which provides some glimpses. She did about half a dozen Hindi movies (among these there’s Devdas which came rather early in her career and Aandhi was rather late). But in Bengali cinema her status is completely singular. she was more or less the dominant star for two decades and her pair with Uttam Kumar in this period is in all probability the medium’s most prolific (ever!). Sadly I have only seen two dozen or so of her Bengali movies though many of these are very famous. But I find her an absolutely matchless combination of beauty, dignity and (dare I say!) an almost aristocratic grace. Also a great fan of younger a Aparna Sen.
Among actresses who’ve debuted over the last thirty years or so I am very partial to Shobhana:
But restricting myself to Hindi film actresses (which is hardly the same as ‘Indian’ ones) Hema Malini would possibly get my vote as the most gorgeous actress of all time. Of the classic era actresses I am not really a great fan of any of them though like some moments better than others. In the contemporary age Aishwarya’s beauty is undeniable (though prefer her older) but I’ve been more partial to Rani Mukherjee (before she blew up her career). But there’s no doubt that the truest female star of this industry in this age has been Aishwarya by a long shot. No one else quite has that aura (to the extent this is possible today).
By the way it’s not a question of being ‘different’ but one of ‘experience’! Ha!
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December 7, 2011 at 4:21 PM
You have very good taste Satyam 🙂 Pleasantly surprised to see Aparna Sen and Shobana on your list.
My own list of all-time favourite 5 Hindi heroines:
Madhubala
Sharmila Tagore
Madhuri Dixit
Nandita Das
Tabu
Special mention: Shabana Azmi, Jaya Badhuri (early days) and Kajol
Top 5 working today:
Vidya Balan
Rani Mukherji
Anushka Sharma
Kareena Kapoor-only for her expressions and her energy
Deepika Padukone- not a good actress at all- but there is something about her
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December 7, 2011 at 4:26 PM
yes I do find Deepika quite beautiful though she can also be rather plastic (kind of like an early Ash). Might get better with age. And Sharmila Tagore (can’t believe I forgot to mention her) is also one of my all time favorite stars. Again love Jaya Bachchan in most of her 70s stuff.
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December 7, 2011 at 4:39 PM
All south Indian stars who works in Bollywood looked plasttic at early ages due to cultural inhibitions except Rekha. I don’t know what it meant, by plastic just using what people use)
To me, Aishwarya is the most beautiful . I don’t care much about acting for actresses..
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December 7, 2011 at 4:52 PM
“All south Indian stars who works in Bollywood looked plasttic at early ages due to cultural inhibitions except Rekha.”
that’s an interesting point and something to think about.. though many older generation stars from the South were hardly ‘plastic’ in this sense whether it was Hema Malini or Vyjanthimala or Waheeda Rehman or whoever. I think the common link between Ash and Deepika might be modeling! I think the latter requires a more ‘frozen’ expressiveness and gesturality which is exactly the opposite of cinema. Models aim for the photographic (still) image which is very different from the ‘cinematographic’ one. Nonetheless your point deserves reflection.
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December 7, 2011 at 2:52 PM
So when did this Bengali bug hit u lol
Do u know the language
Anyhow it is unfair to both categories comparing one from regional cinema to one from a nearly pan national scale
Interms of sheer gorgeous looks,
At their respective peaks (no pun intended )
It is between hema Malini, ash and madhubala
Having personally met/seen ash briefly in a flight (thanx to executive class passes )—-I can safely declare——
Aishwarya trumps everybody –no doubt
Have rarely been so dazed lol
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December 7, 2011 at 4:07 PM
Don’t know the language but hope to make amends on this front!
Not sure why it is unfair to compare a national with a ‘regional’ industry in the pure physicality department..
Madhubala was indeed quite gorgeous, Madhuri was most likened to her in terms of her smile.
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December 7, 2011 at 4:18 PM
Nothing against “regional” at all but it is quite difficult to compare it like to like all points considered due to “reach”, “appeal” etc
Aishwarya is a pretty non negotiable choice acc to me.
Don’t usually mention it since people may think Im bluffing or something. So a “scoop” for this blog–
had more than a bit of “discussion” with her on a flight.
Enuf to get more than a fleeting impression of a person
And she is down to earth, endearing and even humble.
Unlike some girls who know they are v good looking, she doesn’t make u aware of it.
On this flight, nobody in the crew knew about her celebrity status. She infact thought I’m a young Hollywood actor she had seen somewhere on telly….
Hahaha now don’t throw bricks at me —
Think I should stop there and not reveal anymore or else would appear incoherent and on drugs lol
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December 7, 2011 at 4:30 PM
ha.. that must have been the flight of your life.. no wonder you now have all these problems with Abhishek!
It’s difficult to compare regional with national without the proper exposure, true.. but which is a reason to restrict oneself to ‘Hindi’ cinema and not keep referring to ‘Indian’ cinema! LOL, you walked into this one..!
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December 7, 2011 at 3:04 PM
Alex Adams, you ask me about Devdas. Well it is agin the story of another self-destructive character , except that it is man this time. And once again no justification of his behavior pattern is given. He just loved to run away from things rater than stand up and do something about stemming the force of circumstances. .
I love the Bimal Roy – Dilip Kumar version, mainly because of Dilp Kumar’s performance. He made the character real . Loking at him I could belive that there could be a character who loved to make train his home as he drank himself to death. vyjayantimala wasa luminescent Chandramukhi, though Suchitra Sen beings the great Bengali actress could not bring much to the table as Paro. I even dare to say the Aishawray’s Paro was better in showcasing a certain hurt feminine pride and vulnerability at the same time.) Motilal as Devdas’s drinking friend was outstanding.
I could see that Saigal’s Barua version was god too. But it was made too long back and seeing it on a bad DVD print I could not relate to it fully. The Sharukh – Bhnsali version was the worst , bordering on bad. Sure it had its moments. But it never came anywhere close to grasping the essence of the story and the character of Devdas, Operatic, my foot! And Sharukh was pathetic. Fir an actor who is supposed to be known as a romantic hero , his performance was sorely lacking in passion. And at no print in the film , the name Devdas came to my lips when his character appeared on screen. Okay he was wearing trousers instead of dhoti. But even then he could have become Devads in some way. He was simply Sharukh of K3G or Ver Zara… not the effete Self-destructive Bengali Zamindar scion. A totally wasted opportunity. And songs like Dola Re Dola Re was worst than the most ill-time item song.
I also loved Dev D, which is easily among the most seminal love stories of Indian cinema. It features a stand-out performance by Abhay Deol, comparable with Dilp;s , and is ably supported by Mahi gill and Kalki. And the music! Best in the decade. And it is the most inventive use of music in an Indain film, that I have ever seen evn counting the best of them such as Mani Ratnam, Raj Kapor, Shankar or Manmohan Desai.
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December 7, 2011 at 4:10 PM
“I also loved Dev D, which is easily among the most seminal love stories of Indian cinema. It features a stand-out performance by Abhay Deol, comparable with Dilp;s , and is ably supported by Mahi gill and Kalki. And the music! Best in the decade. And it is the most inventive use of music in an Indain film, that I have ever seen evn counting the best of them such as Mani Ratnam, Raj Kapor, Shankar or Manmohan Desai.”
Utkal, hope you’re not trying out for Guinness the rate at which you’re turning out incredible statements like the one above.
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December 7, 2011 at 4:24 PM
Dev.D was very overrated and self indulgent in my opinion- but again like TDP- probably a watershed moment for the portrayal of women in Hindi commercial cinema.
And Abhay was totally overshadowed by Mahie Gill- she was fantastic in this- he was just average- Kalki was a bit inconsistent but creditable debut.
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December 7, 2011 at 8:39 PM
Utkal, where did you find a dvd of Saigal’s Devdas? I’ve been looking for it for ages, without any luck, so will really appreciate it if you could give me a clue. Thanks.
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December 7, 2011 at 9:53 PM
I haven’t seen P C Barua’s version with Saigal but Bimal Roy was the cinematographer on it and it’s supposed to be a frame by frame copy of the older film.
And I don’t know how much Utkal saw because I am pretty sure the complete film does not survive at all. In fact barely half of it does as far as I know. but here’s a clip on youtube:
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December 7, 2011 at 10:07 PM
ok here goes..
http://articles.timesofindia.indiatimes.com/2002-10-03/news-interviews/27309167_1_indian-films-directorate-of-film-festivals-pk-nair
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December 7, 2011 at 10:12 PM
seems to be available on VCD here:
http://www.linuxbazar.com/product-p-36042.html
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December 8, 2011 at 1:47 AM
Thanks very much, Satyam. You’ve truly answered a prayer! 🙂 There was reference to this version on the U of Iowa’s website, but the person who runs it had seen it once on a video, and couldn’t tell me where he got it from. I’ll now pursue this.
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December 8, 2011 at 1:59 AM
I did find the dvd of Saigal’s Tansen. Interestingly, as great as he sounds when singing, when speaking, I found his voice to be curiously weak, not quite suited for a “hero.” 🙂
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December 7, 2011 at 4:38 PM
“ha.. that must have been the flight of your life.. no wonder you now have all these problems with Abhishek”—hahaha
Have no problems with abhishrek—he is a v nice guy with a great background
But he simply doesn’t deserve ash—full stop
Btw this was before her marriage
don’t believe in taking autographs but should have gone for one here— forgot to get one —in all the talk.
Found her a very “normal” girl amidst everything
And dont want to get started now lol
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December 7, 2011 at 4:46 PM
Alex, according to me, Abhishek and Ash are the right combination Don’t bring he doesn’t deserve. Your and my only concern is his career.
We are seeing so many successful actors with no minimum ethics in Bollywood. I feel she is at right place.
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December 7, 2011 at 4:54 PM
Alex knows what’s best for Ash better than she does herself! We must allow him his envy!
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December 7, 2011 at 5:17 PM
Think that comment about abhishrek not deserving ash was a case of getting carried away
Could feel the positive energy and the aura –nothing to do with looks alone
Lol
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December 8, 2011 at 1:41 AM
“It’s pure entertainment often bordering on titillation disguised as progressive thought-provoking cinema.”
Don’t agree.
I think “It’s pure entertainment often bordering on titillation pitched as as pure entertainment often bordering on titillation.”
Progressive or not it sure has turned out to be thought-provoking, though I doubt the makers had it in their mind to be thought-provoking. And that’s a blessing.
Films that wear their profundity on their sleeves can be a so boring and predictable.
And just because a film aims to entertain does not mean it cannot be thought provoking or great art. Think Shakespeare. His plays have all the ingredients of mass entertainers.. buffoonery, ghosts, melodrama, bold and gore. But through all that are revealed great truths about human existence. Rajat Arora is not Shakespeare’s s league, but he is better than many stuffy art-film makers. But if we try to project who from the current Indian dramatists 200 years from now will be the Shakespeare equivalent, it is surely going to be one of the Hindi / Tamil Cinema mainstream greats rater than any of the art filmwals. ( My prime candidate for sucha poition ? Salim-Javed, on the strength of scripts like Deewar, Sholay, Shakti, Trishul, Majboor, Mr India , Don . ) Likewise, the future Mozart, Beethioven, Bach, Vivakdi are likely to be the likes of Rahman, Ilyaraja, RD Burman, Madan Mohan, Shankar Jaikishan.
I try not to be intimidated by big names be it Tolstaoy or Mani Ratnam and am open to the possibility that great artistic moments and revelation scan from any quarter.
( Having said that I must mention The Dirty Picture is not a fully realized piece of art. There is much that is sloppy. Much that is limp. The rebellious filmmaker Abraham and his love-hate relationship with Silk is not explored fully. The exchange of aphorisms as conversation is fine as a form. ( very Shakespearean.), but some of the double-entendres are not called for ( eg the scene where TRamakant is teaching her how to drive.)
But over all it takes deep stab at psychological truth at the core and follows an exciting narrative arc. It definitely is among the most thought-provoking films on female sexuality and the nature of sexual contract in society. I will take this over Bhumika any day.
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December 8, 2011 at 2:01 AM
Shiv Viswanathan ion The Dirty Picture:
” The film is brilliant at two levels. It is acute in its portrayal of male hypocrisy, but more so in its portrayal of how sexuality liberates women. The Dirty Picture is the stuff of sociology and the meat of a feminist critique of a male world. Beyond its sociological roots, however, it is a celebration of life, an ode to cinema and the liberating power of sexuality. This is a woman who enjoys sex and whose sexuality exudes power and freedom. The woman’s body becomes her way of being herself. When the body takes over and speaks its language, all society stops to watch and listen.
The Dirty Picture begins as nostalgia and ends as invention. It fails to recreate a legend, but instead creates a new mystique around Vidya Balan. Balan achieves what Silk Smitha failed to: a place in a male-dominated world. For once, the men are side shows as she grows from bit girl to star. As the two stories merge, one realises it is the legend of Vidya Balan that is being created on-screen, as she takes the Silk route to reinventing herself.”
http://www.firstpost.com/bollywood/the-dirty-picture-free-sexual-and-female-148161.html
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December 8, 2011 at 3:03 AM
Thanx for your cumments on devdas utkal uncle
Though for the first time found that u had missed a few connotations on this misunderstood character
There is a reason for its success inspite of being a loser and passive
Will get back in that when time permits
Ps– sm : r u in uni of Iowa
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December 8, 2011 at 3:06 AM
No, I just read their website on BW (or used to).
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December 8, 2011 at 3:15 AM
Besides science lol
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December 8, 2011 at 3:20 AM
Alex Adams, someone who wants to drink himself to death has enormous appeal for all of us.
And by the way, I forgot another Devdas I really lied. It is called ” Leaving Las Vegas” starring Nicolas Cage and Elizabeth Shue. The synopsis: ” Ben Sanderson, an alcoholic Hollywood screenwriter who lost everything because of his drinking, arrives in Las Vegas to drink himself to death. There, he meets and forms an uneasy friendship and non-interference pact with prostitute Sera. ”
I realy loved the atmospheere of the film and Nicolas Cage.
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December 8, 2011 at 3:31 AM
I am quoting a little more from the review, because it is very well-writen. And out of all the Indian Devdases only Dev D manged to get into the heads and loins of the protagonists in the way this film dioes.
” Ben was a movie executive. Something bad happened in his life, and his wife and son are gone. Is he divorced? Are they dead? It is never made clear.
“I’m not sure if I lost my family because of my drinking, or if I’m drinking because I lost my family,” he muses. The details would not help, because this is not a case history but a sad love song.
Cage, a resourceful and daring actor, has never been better.
Consider an opening scene where Ben attempts to make jokey small talk with some former colleagues who have long since written him off as a lost cause. He desperately needs money because he needs a drink – now, right now! He is shaking. He may go into convulsions.
Yet he manufactures desperately inane chatter, dropping famous names.
Finally one of the former friends takes him aside, gives him some money and says, “I think it would be best if you didn’t contact me again.” Minutes later, brought back to life by alcohol, he is trying to pick up a woman at a bar: “You smell good,” he says. She catches a whiff of his breath: “You’ve been drinking all day.” What could possibly attract Sera, the prostitute, to this wounded man? We learn a little about her, in closeups where she talks about her life to an invisible therapist. She is proud of the way she controls her clients and sets the scenarios. She is adamant that none of them is ever really allowed to know her. She has an abusive relationship with a pimp (Julian Sands), and we can guess that she probably also had an abusive father; it usually works out that way.
The pimp is soon out of the picture, and “Leaving Las Vegas” becomes simply the story of two people. Perhaps she likes Ben because he is so desperate and honest. She takes him in as she might take in a wet puppy.
It is unclear to what extent he fully understands his circumstances. At times he hallucinates. He calls her his “angel” fancifully, but there are moments when she literally seems to be an angel. He hears voices behind the walls. He shakes uncontrollably. He asks her, “How did our evening go?” There is a curious, effective scene in which he tries to get a check cashed, and his hands shake too much to sign his name. He goes off to drink himself into steadiness, and then it seems he returns and makes obscene suggestions to the teller, but they all take place in his head.
Mike Figgis, who wrote, directed, and composed the music for this movie, is a filmmaker attracted to the far shores of behavior.
Here he began with a novel by a man named John O’Brien, whose autobiographical sources can be guessed by the information that he killed himself two weeks after selling the book rights. To be sure this project wasn’t compromised, Figgis shot it as an independent film, using Super 16 cameras to “grab” Las Vegas locations. The outdoor scenes feel unrehearsed and real.
The movie works as a love story, but really romance is not the point here, any more than sex is. The story is about two wounded, desperate, marginal people, and how they create for each other a measure of grace. One scene after another finds the right note. If there are two unplayable roles in the stock repertory, they are the drunk and the whore with a heart of gold. Cage and Shue make these cliches into unforgettable people. Cage’s drunkenness is inspired in part by a performance he studied, Albert Finney’s alcoholic consul in “Under the Volcano.” You sense an observant intelligence peering from inside the drunken man, seeing everything, clearly and sadly.
Shue’s prostitute is however the crucial role, because Sera is the one with a choice. She sees Ben clearly, and decides to stick with him for the rest of the ride. When he lets her down badly, toward the end of the movie, she goes out and does something that no hooker should do – gets herself into a motel room with a crowd of drunken college boys – and we see how she needed Ben because she desperately needed to do something good for somebody. He was her redemption, and when it seems he scorns her gift, she punishes herself.
“Leaving Las Vegas” is one of the best films of the year, deserving many Academy Award nominations. That such a film gets made is a miracle: One can see how this material could have been softened and compromised, and that would have been wrong. It is a pure, grand gesture. That he is an alcoholic and she works the streets are simply the turnings they have taken. Beneath their occupations are their souls. And because Ben essentially has given up on his, the film becomes Sera’s story, about how even in the face of certain defeat we can, at least, insist on loving, and trying. “
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December 8, 2011 at 9:29 AM
Good piece there utkal uncle
Seems interesting specially the opening scene
Will like this of and when I get a chance to watch it
Getting few min off and on to punch n type is ok but taking aside two hours plus gets difficult ESP when it is followed by “analysis” lol
Have a thing for opening scenes
Even loved the recent rockstar opening squence where jordan is shown pushing n shoving …..to attend his own concert
That sets the tone
Another one –Amitabh doing nothing in particular during the opening credits of akayla
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December 8, 2011 at 8:56 AM
The beauty of films as of any art is , the same work can have different appealfor different people. Doesnt make one neccessarily right or the other wrong. What is wrong is the insistence of one side that the other view point is flawed or somehow not legitimate. And, the line of argument/reasoning has to be consistent. If someone finds RNBDJ to be a masterpiece and Raavan to be horrible, obviously legitimate questions regarding the validity of that opinion be raised. But as far as TDP goes, I am fascinated by both Satyam and Utkal’s takes and dont have problem with either. I might just be motivated to see the film to see where I fall, myself.
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December 8, 2011 at 10:01 AM
Knowing you- you will fall head over heals for Vidya Balan and also have certain falls…..lol!!
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December 8, 2011 at 11:16 AM
Chennai Box-Office (Dec 2 to 4)
Wednesday, 07 December , 2011, 12:55
December has brought joy to Kollywood trade. The next three months (December to February) are normally the best at the box-office, with Christmas, New Year and Pongal holidays to follow.
The number one at the CBO this week is Selvaraghavan`s Mayakkam Enna, which is doing very well at the multiplexes. The big screen at a popular multiplex reported an awesome 92 % in the films second weekend. It is a city based hit.
At number two is Sasikumar`s Samuthirakani directed Porali which took an average opening as the film released on a Thursday (Dec 1) and reports were mixed.
In the third place is Vidya Balan`s The Dirty Picture in Hindi and its dubbed version in Tamil, which took a good opening.
At number four 7aum Arivu still continues to attract the family audiences due to good publicity by its producer Udhayanidhi Stalin. In the fifth place is Velayudham.
http://www.sify.com/movies/boxoffice.php?id=14985046&cid=13525926
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December 8, 2011 at 1:11 PM
read somewhere- When Ekta Kapoor launched ” Bade achche lagte hain”, did she have Vidya Balan in Mind ???
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December 8, 2011 at 1:37 PM
don’t know but Balan showed up on the TV serial recently.. or maybe did an event with the lead pair..
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December 8, 2011 at 2:12 PM
Satyam and Rockstar- ” Bade”…achche lagte hain !!!
joke tha….probably was meant for Alex Adami and Rajen LOl!!
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December 8, 2011 at 1:48 PM
rocky : after srk its vidya only who has emerged from television and was ekta’s discovery in a serial called hum panch which was launched 16 years ago ….thats why there was controversy over her age and similarly there is nargis fakhri who arrived many years back in india in one of fashion shows( i guess she to is in mid thirtees)
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December 8, 2011 at 2:04 PM
The point being made about Silk being unapologetically sexual in the movie is completely untrue in my opinion. She only resorted to sexual behavior because she knew that her talent and looks were not enough to get her foot in the door. Not saying that makes the movie incompetent but like Satyam said, there is a big difference between the movie that certain people are describring here vs. what it actually is.
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December 8, 2011 at 3:51 PM
Utkal uncle —few people have done research theses sitting in foreign universities on the devdas appeal lol
Some exerpts—
One of the secrets of Saratchandra’s continuing popularity could well be his essential conservatism. Despite his reputation as a rebel, he never destabilised the basic middle class values regarding man-woman relationship. In his novels women achieve their salvation only through seva and sacrifice while men retain the right to act arbitrarily or not to act at all. Devdas’s self-indulgent path of ruin is exclusively a male prerogative. Parvati could not have chosen such an escape route. The physical wound Devdas wilfully inflicts on Parvati’s forehead and the verbal insults he hurls at Chandramukhi only make them more abject and self-abnegating. Whatever external changes might have taken place in the 21st Century, evidently these male fantasies still endure.
But that will not explain why in 2002 the novel was filmed at such enormous cost — and was enjoyed by so many people, or why the English translation of the novel is selling well. In our fiercely competitive and so-called globalised world, can passivity or inaction be still made to look attractive? What makes today’s viewer/reader still empathise with a hero who wills his own failure? These are not easy questions to answer. Seen simply as another variation of the archetypal story of unfulfilled love like Laila-Majnu or Sohni Mahiwal, Devdas could at the most be accorded a mythic status. But Saratchandra’s forte is social realism — not allegory. The novel is rooted in history, geography and local custom. The real reason why Parvati cannot be married to Devdas is that she comes from a family which takes bride-price — a practice which had a social stigma not attached to the more prevalent bridegroom-price or dowry. Devdas can afford to squander his unearned income because his family was the beneficiary of Lord Cornwallis’s Permanent Settlement of land in Bengal. Many such details tether the novel to specific place and time
Enjoy —-
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December 8, 2011 at 4:30 PM
“Bade” kisko achhe nahin lagte?
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December 8, 2011 at 2:53 PM
A “senior” (perverted) uncle i know & respected (till now) saw tdp yesterday
He kept on going on and on about tdp
Cleavages and d cups
And to top it all: wants a note viewing and wishes me to also “enjoy”
Am fed up really
Is this what the “big screen” experience been reduced to
Against my “principles” hahah
Comic back to some basics
Was wondering what was common between some of the heroines I like
Beginning with brigette Bardot
one of my altime faces
A ready reckoner—
http://www.google.co.uk/m/search?q=brigitte+bardot+lips&hl=en&client=safari&prmd=imvnso&tbm=isch&tbo=u&source=univ&sa=X&ei=nRHhTvPlFtKXhQex5eSABQ&ved=0CCQQsAQ&biw=320&bih=356
Whew that’s a massive link Just realised
Anyhow also with—
early day preity zinta
And now carrying on the “tradition”—
Nargis fakhri
Talk of Being selective and specific—
It’s the “upper lip”
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December 8, 2011 at 3:57 PM
Oh god- apparently after the success of Ragini MMS and The Dirty Picture, Ekta Kapoor has decided to ‘push the envelope’ with louder, cruder sex comedies. Here is the teaser for Tushar Kapoor- Ritesh Deshmukh starter Kya Super Kool Hai Hum:
Knowing Ekta’s marketing genius, this film will also do excellent business, and that will just lead to her making sleazier and sleazier films. Somebody save us all.
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December 8, 2011 at 4:02 PM
Even though I absolutely hate it- that is an excellent teaser in the commercial sense.
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December 8, 2011 at 11:12 PM
Except it’s not. Because I think that it assumes that the people who saw the first one could read.
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December 8, 2011 at 5:40 PM
“Satyam and Rockstar- ” Bade”…achche lagte hain !!!
joke tha….probably was meant for Alex Adami and Rajen LOl!!”
Haha am trying to be a “good boy” as of now
And desisting from commenting on “bade”–as of now
Off topic—talking of female actors
Saw some initial part of fanaa
Could never see this movie earlier
Could manage only the first few
minutes —–am pleasantly impressed with kajol
She outacts everyone including aamir
Infact seldom have I seen a heroines “dictating ”
to aamir like this
Saw only few random scenes —but usually those are enuf
There were a few train scenes and kajol is literally ace.
Found her much much better here than mnik ….
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December 8, 2011 at 6:51 PM
In short : kajol can act really well when she wants and be the “mother ” of recent actresses—acting wise
Though she can be variable and a pity that she got engulfed in the chopra-kjo-“yash uncle” syndrome
Thought this was an instinctive actor(kajol) vs a prepared rehearsed “skilful ” actor (aamir)
Saw four five scenes in total—kajol won
(&tabu was horrible in her two scenes )
The second half got too wtf to continue
Had not heard this song before (unlike some other “hits”)—good
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December 8, 2011 at 7:17 PM
Cajoled into kajol–a revisit
Kajol for me joins te list of actors who on their day can fc-uk anyone. On another day she may be the most irritating screecho (& have walked out of films only bcos of her (&srk)!!
Here saw aamir being given a demonstration of instinctive acting .
Maybe the few scenes I saw weren’t representative of the whole film but when the Kunal kohli-ism kicks in :couldn’t stand it anymore lol
In one wtf scene there was literally a “showdown” with both kajol and aamir pointing pistols at each other with aamir having to growl and gnarl ….but kajol Literally and cinematically shoots him down!!!
This film may have done v well but showed how Srk is the perfect “foil” for kajol –though abhor the films which formed the backdrop of this association and much of the over smartness involved In the part of the “directors”
One or two kajol scenes here nearly reached the standards of her all time best scene —
The pre interval song/scene of kuch kuch hota hai…..Which is legendary IMO kjo wise
Think it was placed between/around “tum pass aye “& the following “rain folk song”(don’t recall name)
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December 8, 2011 at 8:46 PM
Alex, I don’t think SRK is the perfect foil for Kajol. I think Aamir made a better pair with Kajol becoz there is just that little bit of animosity between them which makes the chemistry more palpable. Fanaa could have been a much better movie , but still the Aamir-Kajol romance is really one the better romances I have seen in recent times. Unfortunately, Aamir’s puffy appearance in the first half seems to put off people (which I think was intentional as he looked much better in the second half).
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December 8, 2011 at 10:53 PM
I agree with Latha. I found the Aamir-Kjol jodi more interesting than SRK-Kajol’;s recent outings together. One of the things that made Fanaa watchable was the performances of aamir and Kajol, especially in the scenes after aamir lands up at Kjaol’s place in the 2nd half. The songs were nice to watch too.
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December 9, 2011 at 5:15 AM
Even i found Kajol- aamir chemistry better,as i felt they compliment eachother more and are more opposite than srk-kajol
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