Silk - the principal character in THE DIRTY PICTURE - provides titillation to millions of viewers, but dies a forlorn and heartbreaking death. THE DIRTY PICTURE not only draws attention to the life of a sex goddess, but also makes us responsive of the catastrophe behind the facade. It's a recreation of an era, with the makers seeking motivation from a lot of characters to create this one woman. I personally feel that THE DIRTY PICTURE draws inspiration from the struggling female actors in the 80s, whose insurmountable and indomitable spirit made them emerge triumphant and create a distinctive space for themselves in the male-dominated industry. The general feeling is, THE DIRTY PICTURE is a biopic on the life and times of Silk Smitha, a sought-after actress of the 80s.
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Now THE DIRTY PICTURE fires all powerful bullets to stir your mind's eye. Producers Shobha Kapoor and Ekta Kapoor are known for accepting challenges and backing films like LOVE SEX AUR DHOKHA, RAGINI MMS and SHOR IN THE CITY and along with director Milan Luthria and writer Rajat Aroraa had successfully recreated the bygone era with flourish in ONCE UPON A TIME IN MUMBAAI. Having said that I'd like to add that it's easier to take a recognizable route, to opt for the tried and tested, but it's frightfully difficult to be diverse. Occasionally, a dash of some imaginary anecdotes are incorporated in biopics, since the moviegoer seeks some diversion and entertainment in a movie, besides enlightenment. And a biopic - which attempts to recount a person's life story or at least the most historically momentous years of his/her life - is most demanding for not just the storyteller/s, but also the actors who bracket together with those films. Intermittently, real life is far more appealing and compelling than fiction. And clearly no murgi can enjoy the process of marination.The Dirty Picture Review & Review Rating She calls herself a marinated murgi ready for the tandoor. But she loses her self-respect and that is what undoes her, and that is what is tragic to watch. She goes from one star brother to his brother, a writer, to a director-actor who hates her. Silk starts out as a rebel and ends life as one, losing way only when she begins to care about what the world has to say about her. She knows she has it in her to be a big star, but of course society doesnt accept her even when it exploits her sex appeal. She gets rejected repeatedly but she doesnt give up. Silk's story is sad and all too familiar-a village girl escapes a no-life to come to the big city and work in films. Or this: popcorn jab udta hai to seedhe kadhai main hi girta hai. 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. Use holi khelne ka shauk hai but uski pichkari main dum nahin. Balan attacks them like a hungry tigress. 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.
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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.
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It's a descent into addiction, which we know will be suicidal. Balan submits herself to the role and you can see why it would be so disturbing.