The idea indeed was very good, to bring into relief the compromises that a woman has to make in a heartless city - Mumbai to make a living, and the three protagonists chosen to etch out the struggle, Veena Malik
as a prostitute, Supriya Kumari as a common woman living in chawl
in the city and Riya Sen
as a struggling starlet, all in their own way trying to find a permanent head over their head.
It is the script and the direction of Rajiv S. Ruia really turned ZINDAGI 50-50
It is the script and the direction of Rajiv S. Ruia really turned ZINDAGI 50:50 in.
Veena Malik to add a dose of reality to the film tried to promote ZINDAGI 50:50 in red light areas, but the moot point is whether this publicity stunt would pay off? CHECK OUT: ZINDAGI 50 50 - Sex Worker Veena Malik does HOT photoshoot in bikini
The choice of three protagonists was perhaps with the idea to point out how the three categories are amongst the most exploited lot in Mumbai, but it rather uses the pretext to turn the film into a sleazy affair on the screen, perhaps to bring footfalls, but it comes unstuck. It is manifest from the more than long time the camera takes to pan on the cleavage of Veena Malik and in the scenes of sexploitation of Riya Sen and Supriya Kumari which leads one to wonder whether the idea of the film was more to exploit the female body on the screen. May be, the sleaze needs to be portrayed in a realistic rather than a titillating manner to ensure the footfalls.
These three women characters are quite common in the landscape of the movie and one feels that had vulgarity and cuss words not been interspersed so frequently, ZINDAGI 50:50 could have turned out to be SHOR IN THE CITY of 2013, but alas, its tilt more towards sleaze turns it sour.
While Veena Malik excels in displaying her assets, it is Supriya Kumari's performance to do the unthinkable for the realization of her husband's dream of owning a MHADA house that comes out as a riveting performance. The delicate balance that Supriya Kumari has shown in her performance, one moment a spitfire and the second moment a wife ridden with guilt should provide her a platform for a longer innings in the world of cinema. Supriya Kumari stands out in a scene where she narrates the commitment of guilt to her husband to help her realize his dream of owning a MHADA house. One feels really helpless at the crassness of the situation in Megapolis like Mumbai, where owning a house still is a chimera.