The tagline of THE DIRTY PICTURE says it all, "The life is available only once so why not enjoy it in all forms. Among the different forms that have become a source of enjoyment in present types, is the manner in which a product is marketed and the enigma that is built around it, which becomes a talking point, or rather sets the discourse for the nation and THE DIRTY PICTURE is a latest manifestation of such form.
When it was being marketed, i.e. before THE DIRTY PICTURE hit the cinema screens, it was billed as one of the films which was shot through and through with the element of raunchiness, and India being a nation that laps on such kind of marketing gimmicks lock stock and barrel was caught in the frenzy of THE DIRTY PICTURE. After all, there was the presumption that the element of raunchiness which was not be seen on the silver screen, or which was seen only in trickles would be blown up on the screen in its most colorful manifestation. The tell tale sign of red sari that Vidya Balan roamed in all over the country to market THE DIRTY PICTURE, further stoked the anticipation, salivated with expectation that after a long time cinema would celebrate raunchiness. But when censor board applauded the producer Ekta Kapoor for the film, it was abundantly clear that THE DIRTY PICTURE by bringing into relief the latent desire of raunchiness in the Indian male had ensured that it would have one of the biggest collections in the recent times, and indeed it has got the biggest collections in recent times.
The sringar rasa, for which the Indian society has been famous since ages, seems to have been given a modern interpretation in Milan Luthria's THE DIRTY PICTURE. As a matter of fact THE DIRTY PICTURE celebrates sensuality by loading it with subtle hints of raunchiness, and also brings into relief one of the important times of Indian society the eighties when exposure to satellite television an internet had still not taken place, so the satiation of the element of raunchiness was provided by cinema and a whole genre of films proliferated during those times pandering to it.
THE DIRTY PICTURE indeed revisits those moments, and also takes the residents of the country, those who used to watch these kinds of films in eighties, to revisit them again and relive the past memories. For the present generation which does not bother to depend upon cinema to satisfy his urge of viewing raunchiness, THE DIRTY PICTURE provides a window to how the society measured up to it during those days.
From this perspective THE DIRTY PICTURE is also an important part of the cinematic history, an attempt to reconstruct a vital moment of our past, a past about which present generation may not have information, though it is laced with exaggerations, but what is a cinema without projecting a thing with grandeur.
By enacting the role of a sexy starlet, Vidya Balan has earned for herself an element of permanence in cinema, as it is her film, where she has been able to convince the audience that indeed raunchiness and sexuality where the stepping stone for starlets to strive to attain cinematic glory. Her red sari is not a red herring but it could be an auspicious beginning for more such efforts.