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Subhash K. Jha speaks about The Dirty Picture
The writing in The Dirty Picture is so clear on the wall that you wish a more delicate tone had been adopted at least once in while, to make it stand tall. Delicacy creeps in unexpectedly when Silk's worst adversary falls for her. He is a pompous self-important loser of an offbeat director named Abraham (Emraan Hashmi, sullen and effective) who changes, unconvincingly, into an overnight director-wannabe playing the lead in a triple-role film, after he falls asleep watching one of his own bland films, falls in love with Silk...
The end-scenes between Balan and Hashmi are done with a gentleness found to be missing from the rest of this persuasive picture-show where 'dirty' is a password to a cornocupia of elaborate kitsch depicting the world of Jeetendra, Bappi Lahiri and K Bappaiah that existed in the 1970s. Though no one said 'Ooh la la' in those days of pots and pants, we'll let that go.
The period details in The Dirty Picture are interesting but not compelling enough to make us feel we are transported back to the 1970s. What carries the film forward is Silk's ambitions.Played at an unbelievable shrill octave, Silk's moaning-glory as voiced by Vidya Balan fills the frames with a vibrant voluptuousness. Vidya is specially brilliant in the early scenes when he plays the village ingenue who discovers she has a foolproof means of making men eat out of her...er, hands.
With a relish that leaves us enchanted Vidya sinks her teeth into Silk's sexual abandon. The actress revels unapologetically in Silk's corny wet-dream aspirations. Some of the scenes written to accentuate Silk's outlandish eroticism are plainly ludicrous. At a bash hosted by matinee-idol Suryakanth (Naseeruddin Shah, an enchanting epitome of the over-the-hill superstar with his mischievous glint, salacious smirks and wigged self-deception) and his writer-brother whatever-Kanth (Tusshar, lost and vulnerable) Silk breaks into a gyratory muqabla with the new item-girl in tinsel town.
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