Cast- Konkona Sen Sharma, Bhumi Pednekar, Aamir Bashir, Vikrant Massey & Amol Parashar
Director- Alankrita Srivastava
Genre- Satirical Drama
Rating- 2/5 Stars
Review by- Sameer Ahire
Alankrita Srivastava’s last outing Lipstick Under My Burkha was somehow a well-made movie and strictly a commercial success on a low level but it caught eyes because of expansion of s3xual needs women have in society. It was strange to see that people remember the vulgarity more than the message they wanted to tell in that film but anyways overall it was a critical and commercial success.
Since then Alankrita’s next was awaited for two things, one is what more she has to expand this time and how sensitively she handles the vulgarity as it was to come from woman’s point of view. Dolly Kitty Aur Woh Chamakte Sitare failed to impress with the trailer at first and now the final picture isn’t anything different. The same cry with different shades of tears and mainly diverted by unnecessary vulgarity.
Dolly Kitty Aur Woh Chamakte Sitare has potential to explore some super serious issues but lost the opportunity under the lame cover of woman empowerment and freedom. Do woman empowerment and freedom mean freedom to have wildlife, s3xual relationships and extramarital s3xual affairs? I guess it does but for only for Alankrita Srivastava, not for us. The film is about two cousin sisters, Dolly and Kajal aka Kitty.
Dolly is married and likely sounds happy with the kids but changes the course of sane life after seeing the wild lifestyle of Kitty who works as a female companion at a call center. The reason why did she have a mid-life crisis and wild fascinations was never clear or strong hence the entire character loses its hold. On the other side, Kajal aka Kitty is nasty since the start so it was easy to digest her wild fascinations about love and s3x until she tried to find the sense in her non-sense life. The male characters just don’t belong to any matured club so it’s better not to talk about them.
Performance-wise Konkona Sen Sharma tops followed by Bhumi Pednekar and Aamir Bashir. Vikrant Massey and Amol Parashar were not up to the mark but the child artists were surprisingly amazing. Writing as I said had the potential to go to some extent and pull off something amazingly sensitive and taboo-breaking but Alankrita was more focused towards the v@gina and s3xual problems thus downgraded the potential. Music is to be said average at the best cost and that too if one can give it second viewing which is unlikely to happen. Technical features are disturbing and clumsy. Dialogues are fine on some occasions but bad otherwise.
Alankrita seems to have a wrong frame of woman empowerment in her mind which is totally unacceptable. Lipstick Under My Burkha survived because it had more characters from different age groups so the problems and different theories were divided and gone overlooked in busy trafficking. Here, Dolly Kitty Aur Woh Chamakte Sitare was trapped in two characters of almost similar age so there was no lucky escape this time. The characters were unshaped but the timeline and structure of storytelling were total disasters.
Even after spending more than half of the runtime, the film didn’t come to the point and then in the climax, it was all rushing yards scenario which barely gave it time to settle. The last 15 minutes of the film are disastrous and clueless that even average looking film goes below par level. Overall, it is nothing but just a semi p0rn or lust story wrapped in the paper called woman empowerment. When you open it you enjoy the vulgarity but spit out the wrong message.