3 Stars (out of 4)
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2011 has been a great year for actresses in Bollywood. Relative newcomer Kalki Koechlin mesmerized in That Girl in Yellow Boots. Veteran stars Priyanka Chopra and Katrina Kaif gave some of their best performances in 7 Khoon Maaf and Zindagi Na Milegi Dobara, respectively.
Now the immensely talented Vidya Balan claims the spotlight in The Dirty Picture, the story of a sexually liberated screen vamp who pays a heavy price for bucking social convention. The movie is based on the life of 1980s South Indian film star Silk Smitha, though it’s not strictly biographical.
Balan stars as Reshma, a village girl who comes to the city with dreams of movie stardom. Reshma’s voluptuous figure is regularly ogled by men, but she isn’t supermodel beautiful enough to attract the attention of casting directors.
When a movie choreographer bemoans his inability to find a proper actress to perform a raunchy dance number, Reshma seizes the opportunity. The scene — in which Reshma writhes seductively while wielding a whip — sends male audience members into a frenzy, making the movie a hit.
A filmmaker named SelvaGanesh (Rajesh Sharma) sees Reshma’s money-making potential and renames her “Silk.” SelvaGanesh casts Silk opposite the aging screen star Surya (Naseeruddin Shah), and their racy films strike box office gold. Silk’s seeming willingness to do anything is fodder for gossip columnists and irks Abraham (Emraan Hashmi), a director of serious, art house films.
Silk’s life is a fascinating study in the way mens’ attitudes shapes the lives of women. If Silk is going to be treated as a sex object when she’s doing something as mundane as washing dishes, why not get paid to be ogled? Why is her dignity diminished by dancing provocatively, while the men who leer at her suffer no consequences?
Of course, that’s not the way female honor is perceived in the real world. Silk is typecast as a vamp, never able to get serious roles. When she tries to expand her range, the industry shuns her. It seems that, in the eyes of audiences and the producers catering to them, Silk has only one thing they want.
Balan is great in The Dirty Picture. She plays Silk with swagger, charm and humor. She’s a canny opportunist who asserts herself before she can be victimized. Her only real weakness, besides falling for a user like Surya, is that her ego leads her to think she’s bigger than a system that favors men over women.
The story construction of The Dirty Picture betrays Silk in the same way the men in her life do. The movie is sporadically narrated by Abraham, a character who doesn’t play enough of a role in Silk’s life to merit being its narrator. He’s present at the beginning of the film, but then disappears until the final act. His box office showdown with Silk is awkwardly inserted into the story just to elevate his importance.
Surya — who’s sleazy and comical in Shah’s hands — is the most important person in Silk’s personal life, but his self-involvement precludes him from narrating her story. Likewise, Surya’s brother, Ramakanth (Tusshar Kapoor), doesn’t understand Silk well enough to be narrator, mistakenly believing he can make an “honest woman” out of her.
If Silk’s story must be framed using a man’s voice, that honor should have gone to SelvaGanesh. He’s the only man who looks at Silk without desire. Her cooperation and ingenuity is required in order for both of them to profit financially, so he treats her as a peer. He’s the only person who sees all of her potential and is willing to take a chance on her.
But I’m not sure that Silk’s story needs a narrator. I understand that it provides a point of view on a life cut short, but I think it distracts attention from the main character. Silk is larger than life. She’s both a product of male fantasy and the architect of that fantasy. A narrator just seems like another confining frame put on a spirit too big to be contained.
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