THE DIRTY PICTURE: All Reviews Here (Index Page 1) - Page 19

[YOUTUBE]http://www.youtube.com/watch?v=LvCDEUzOCQA[/YOUTUBE]

when did bebo say "so desperate" to vidya? thts news to me...😕😆

anywayz...LEARN KAREENA ...SEE AND LEARN...

The Dirty Picture: Vidya Balan, the hero

milan luthria | silk smitha | the dirty picture | Vidya Balan

In one scene in Milan Luthria's "The Dirty Picture", the protagonist, determined to make life miserable for one particularly pesky journalist, stages an impromptu dance performance in front of the journalist's house ' gyrating atop her car and biting her lip suggestively. Soon, a crowd gathers, there are wolf whistles and catcalls, and the police are called in to control the chaos that ensues.

Wearing nothing but a skimpy, midriff-baring blouse, pants and over-the-top sunglasses, Silk, as she's called in the film is all smiles, and it's obvious she's loving every moment. You could say the same about Vidya Balan in the film. She's having a blast playing Silk and it shows in every frame of the film.

Like its subject, the tone of Luthria's movie is slightly over-the top and tends to caricaturize certain characters, but the lead performance is so all-encompassing that you don't mind these flaws.

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.

She begins an affair with superstar Suryakant (played by Naseeruddin Shah), the seemingly ageless actor (playing college boys even in his middle age), seducing him both off and on-screen.

Luthria seems to skim the surface of a lot of the problems for Silk's downfall ' alcoholism, a new younger actress, her love life, her loneliness but he doesn't get to the bottom of any of them. The dialogue in the film, by Rajat Arora, is brilliant in some places, but corny in so many more, lending to the caricaturish nature of the film.

Of the rest of the cast, Naseeruddin Shah is the best among the three male leads; the lecherous look he gives Silk during their first encounter is pitch-perfect. Tusshar Kapoor and Emraan Hashmi are more laboured, especially Kapoor, who is so stiff and expressionless you wish Luthria had chosen a better actor for the part.

The movie is brilliant in the first half, as it chronicles Silk's rise and her fame and the times that this takes place in, but towards the middle of the second half, Luthria loses control and it all comes apart at the seams.

That's it about the movie, but what I really want to talk about is Vidya Balan. In an industry where people are so conscious of their image and brand, she is one actor who has managed to be conscious of her work. To do a role which requires you to show off your thunder thighs, jelly belly and act like a s**t, but to do with it so much panache that you cannot help but stand up and applaud her, takes guts and style and so much more. Just for her and her courage and her outstanding performance, you should watch "The Dirty Picture".

http://blogs.reuters.com/indiamasala/2011/12/02/the-dirty-picture-vidya-balan-the-hero/

Vidya is well set...her kitty is full with great offers and she will get more performance oriented roles. But I am scared of wannabes like Veena Mallik, Sambhavna Seth flooding the market with the 'angst' of the item queen type of movies and sleazy producers trying to sell those movies on skin show alone.

We had a similar phase a few years back when it became the norm bold sex scenes in movies after the success of movies like Murder and Jism.

Kaveree Bamzai New Delhi, December 2, 2011 | UPDATED 15:40 IST

The Dirty Picture movie review

Director: Milan Luthria
Starring: Vidya Balan, Emraan Hashmi, Naseeruddin Shah
Rating:

Women in Bollywood usually go to pieces in a very aesthetic way. At the most they wind up in bed with a black man, as in Fashion, to show how low they have fallen. Well, get ready for a force of nature performance in Vidya Balan. As Silk, she fakes an orgasm on screen, not once but twice; makes full use of a cleavage that seems all natural; and lets it all hang out literally, trying to get into jeans with her stomach hanging out in loose folds over the top. She has no shame, and it's delicious.

It's a performance that deserved a more satisfying film, but it doesn't matter in the end, which by the way we know is coming from a mile away. The film industry belongs to heroes and that is quite evident even now--if the film hadn't meandered into a tame love affair with a glossy song tagged on by the end it would have been truly inspiring. But Balan is riveting, whether she is being interviewed in a bathtub, covered in soap suds and little else, or whether she is draping one thunderous thigh on Naseeruddin Shah, or smearing cake on Tusshar Kapoor, or whipping herself into a frenzy in a song.

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.

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. She gets rejected repeatedly but she doesnt give up. 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. 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. And that is ugly stuff. She goes from one star brother to his brother, a writer, to a director-actor who hates her. But she loses her self-respect and that is what undoes her, and that is what is tragic to watch. She calls herself a marinated murgi ready for the tandoor. And clearly no murgi can enjoy the process of marination.

There are many moments in the film where you will catch your breath, at Balan's sheer audacity of expression, verbal and visual. She dances on a newly acquired Maruti 800 (it's the 80s, remember) to distract attention from a party she is not invited to. She kisses the brother to make the other one jealous. She eats sugar when is starving to keep herself going.

She may not be earthy enough for critics who have lusted after the real Silk in their youth. But she is all woman, and she is all sensuousness in a performance that is brave, bold and completely natural.

Balan is indeed a woman of our times, where public samaan dekhti hai, dukaan nahin. Silk is a character worthy of her.

Read more at: http://indiatoday.intoday.in/story/the-dirty-picture-movie-review/1/162477.html