The Dirty Picture hit the silver screens today with lots of critisizms and suspense. Contrary to all it met most the expectations. Vidya Balan with a lead role has shown again her ability to drive films on her own.
Vidya Balan plays Reshma, a small-town girl who comes to Chennai (Madras in those days) to fulfil her desire to act in films. Confident of her sexuality and not averse to using it to get what she wants, she bares her bosom and much more, and revels in her success as audiences go nuts over her.
The movie has received mostly positive reviews from the critics. The TOI has given the film 4 out of 5 stars, concluding that “The Dirty Picture is definitely not only your film for the week, but is a seminal work that will be studied in feminist discourses. Dainik Bhaskar gave the film 3 and half stars out of 5, concluding, “Overall, a big thumbs up to The Dirty Picture, which is in its truest meaning, an entertainer.
Sukanya Verma of Rediff.com gave the film 3 out of 5 stars, highlighting that “The Dirty Picture is all about Balan and bravado. Kaveree Bamzai of India Today gave the film 4 out of 5 stars, and strongly appreciated Balan’s performance throughout the film.
Balan submits herself to the role and you can see why it would be so disturbing. It’s a descent into addiction, which we know will be suicidal. Luthria could have made it less glossy but he gets a little caught up in the fashion of the 80s, the big cars, the big shoes, and the big hair. But his default nature is over the top, and I have to say I loved the outrageous dialogues, written by Rajat Arora, who ought to have been at work in the 80s. Balan attacks them like a hungry tigress. Use holi khelne ka shauk hai but uski pichkari main dum nahin. Tuning karenge tabhi toh band bajega. Arora has clearly worked on each dialogue until it evokes his own internal applause mechanism--aadmiyon ko sadhu banane ke liye auraton ko shaitan banana zaroori hota hai. Or this: popcorn jab udta hai to seedhe kadhai main hi girta hai.
The film takes you back into the enchanting era of 1980. .Naseeruddin Shah plays a larger-than-life movie star with infectious glee, grotesque neck-skin folds never quelling his mojo. It’s a caricature, but Shah squeezes in much lovely detail, from a genteel sense of the proper (if only in front of the flashbulbs) to a foppishly detailed prescience about action cinema of the 80s. His genius is a curse, he claims with extreme world-weariness, and the effect is delightful. Tushar Kapoor,rather less effectively, plays his younger brother, a timid writer who wears cardigans that fit like muscle t-shirts with a gold chain dangling out front. And both brothers want the girl, for this is her film.
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How dirty is The Dirty Picture ?
Vidya Balan plays Reshma, a small-town girl who comes to Chennai (Madras in those days) to fulfil her desire to act in films. Confident of her sexuality and not averse to using it to get what she wants, she bares her bosom and much more, and revels in her success as audiences go nuts over her.
The movie has received mostly positive reviews from the critics. The TOI has given the film 4 out of 5 stars, concluding that “The Dirty Picture is definitely not only your film for the week, but is a seminal work that will be studied in feminist discourses. Dainik Bhaskar gave the film 3 and half stars out of 5, concluding, “Overall, a big thumbs up to The Dirty Picture, which is in its truest meaning, an entertainer.
Sukanya Verma of Rediff.com gave the film 3 out of 5 stars, highlighting that “The Dirty Picture is all about Balan and bravado. Kaveree Bamzai of India Today gave the film 4 out of 5 stars, and strongly appreciated Balan’s performance throughout the film.
Balan submits herself to the role and you can see why it would be so disturbing. It’s a descent into addiction, which we know will be suicidal. Luthria could have made it less glossy but he gets a little caught up in the fashion of the 80s, the big cars, the big shoes, and the big hair. But his default nature is over the top, and I have to say I loved the outrageous dialogues, written by Rajat Arora, who ought to have been at work in the 80s. Balan attacks them like a hungry tigress. Use holi khelne ka shauk hai but uski pichkari main dum nahin. Tuning karenge tabhi toh band bajega. Arora has clearly worked on each dialogue until it evokes his own internal applause mechanism--aadmiyon ko sadhu banane ke liye auraton ko shaitan banana zaroori hota hai. Or this: popcorn jab udta hai to seedhe kadhai main hi girta hai.
The film takes you back into the enchanting era of 1980. .Naseeruddin Shah plays a larger-than-life movie star with infectious glee, grotesque neck-skin folds never quelling his mojo. It’s a caricature, but Shah squeezes in much lovely detail, from a genteel sense of the proper (if only in front of the flashbulbs) to a foppishly detailed prescience about action cinema of the 80s. His genius is a curse, he claims with extreme world-weariness, and the effect is delightful. Tushar Kapoor,rather less effectively, plays his younger brother, a timid writer who wears cardigans that fit like muscle t-shirts with a gold chain dangling out front. And both brothers want the girl, for this is her film.
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