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The Dirty Picture [Blu-ray] [2011] [US Import]

Tusshar Kapoor , Emraan Hashmi    Blu-ray

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Most Helpful Customer Reviews on (beta) 3.9 out of 5 stars  11 reviews
9 of 10 people found the following review helpful
4.0 out of 5 stars Dirty Picture is a filthy, stinking and great entertainer 24 Dec 2011
By Amit Talpade - Published on
Don't we all love our flawed entertainers, in most cases the more depraved and shocking an actors life is, the more curiosity we have for that star. In most cases a star maybe doing it for attention or sensation but many times, their lives are emotionally bankrupt which make them fall in to an abyss. Ektaa Kapoor chooses Silk Smitha, the titillating sensation of the 80's, as her subject for Dirty Picture. The film chronicles her life, detailing her long struggles, her sexual escapades with men, her fame, her bouts with alcohol, her botched attempt in film production which made her penniless, and finally the emergence of the heroine as the vamp and which relegated the likes of Silk to the background. She and Milan Luthria the director, pack all this in slighly over 2.30 hours sheer entertainment.
Reshma ( Vidya Balan) aspires to be a actress but does not get any breaks, and she is told that she does not have the spice or spunk to light up the screen. However she manages to land a role as a dancer in a film by Selva Ganesh ( Rajesh Sharma) which has been directed by artsy Abraham (Emraan Hashmi) However her sequence ends up on the editing floor. Selvaganesh finds that footage and releases the film, instant fame follows with a rechristening from Reshma to Silk. Silk then gets a chance to act with Surya ( Naseeruddin Shah) and uses her charms to land him in bed. This scene is amazing because of the dialogue,Surya tells Silk `Main 500 ladkiyon ke saath tuning kar chuka hu', ( I have tuned 500 women) to which she replies `Par kya aapne ek ladki ke saath 500 baar tune kiya hai ( but have you slept with the same woman 500 times) They have an affair but since Surya is married, Silk remains the other woman. Two more men enter Silk's life Ramakant ( Tushaar Kapoor) and Abraham, the man who hates her the most. The film documents her rise and rise and fall.
This film has easily one of the most wittiest and well written script of 2011, Rajat Arora has penned the script and almost every second line is a classic. The dialogue elevates the story to monumental heights and is matched by very good direction by Milan Luthria.
The movie belongs to Vidya Balan, who has redefined her image and got in to the character called Silk. As an Indian Anna Nicole Smith sort of character, Ms Balan slips in to this role with complete ease, displaying an equal combination of raunchiness and innocence via the minuscule clothing, with the more than ample lard or through her naughty smile, she electrifies the entire film. A fitting closure to a year that began with `No one killed Jessica `in January. Award Panelists will have a hard time deciding which performance should be awarded. I say, give her two prizes for best acting.
The film making of the 80's has been captured well and highlights the crudeness of that age, the songs magnify it. Watch Ooh La La, and notice the novel use of oranges and lemons in cinema of that era. Music is ear pleasing, I preferred the tune Ishq Sufiaana.
Overall a great film, with great acting and brilliant dialogue writing. Easily one of the best films of the year. 4 stars. 12/2/2011
3 of 3 people found the following review helpful
4.0 out of 5 stars Vidya on Kaleidoscope 4 Jun 2012
By G. T. Bysshe - Published on
Format:Blu-ray|Verified Purchase
In case you were wondering, The Dirty Picture is not a "dirty movie" by any means.

It is in fact a complete Bollywood entertainer, wanting to be attractive to as many people as possible. No restrictive ratings. For young adult boys it is probably a sex teaser, and simply a broad based entertainer for older Bollywood viewers who have memories of films from other times.

The more Bollywood films I see, the more I think that Indians simply want to be entertained when they go to the movies, and they do this through an unending repetition of familiar scenes in new guises- the key is the new faces of old memories. Mixing..mixing..mixing.

Vidya Balan is wonderful in this picture, though nothing like the real Silk. It is Naseeruddin Shah, playing a character not unlike himself, who is the gateway into the past, the filmmaker's frame for a fast paced kaleidoscopic experience of faces and scenes that makes up the entire movie.

Scenes and faces- yes. Drama- not so much. But it doesn't matter, because this was never meant to be anything like Shyam Benegal's "Bhumika". Naseeruddin's character Surya says it all when he states that art films are fine for film festivals, but you can't get a dog to go to one in a real theatre!

The Dirty Picture only refers to one thing: a very clever photo FX sequence introduced at the peak of the film where Silk sees her face reflected in mud puddle in the street- the dirty picture- as she is fleeing a police raid on a porn studio just before she was to sign on as an actress. Until the very end, she is the last one to see herself as everyone else has seen her throughout the entire movie.

We know this from early in the movie when Vidya goes to the Madras Race Club to meet Surya, and gets brushed off, a group of ladies whisper behind her back , " That's Silk, what's she doing here? Are people like her allowed in here? I don't even look at her posters, let alone her films..."

Then she meets Ramakanth (Tusshar Kapoor), Surya's brother, who also says," You! you are here at the race course?"

Vidya: "Why not? Can't I come to the race course, I'm a star think only well dressed people with their English accents can come here?""

Ramakanth: "You are Silk, aren't you?" Vidya: "Yes, so what?"

Ramakanth: "I am your fan."

Vidya: "I didn't think anyone here would know me."

Ramakanth: "Apart from a dozen horses and a few asses, there's no one here who doesn't know you." (i.e. doesn't know who [what] you are).....

--------And there is a stream of other faces of Vidya as well:

Vidya as a teen with photos of her idol, Naseeruddin Shah, stuck on the wall of her bedroom: she walks in in a towel and disrobes in front of the pictures on the wall and declares her love...

Vidya gyrating in her folksy outdoor bangla dance audition for her first film...

Vidya in a polkadot blouse on a pay phone making a date, with the youthful enthusiasm of Dimple Kampadia in Raj Kapoor's "Bobby"...

Vidya with her new image as a young actress is shown smiling in a red sari, caption "I find everything", the very hopeful enthusiasm of Shabana Azmi in "Arth"...

Vidya swoons with Naseeruddin in a eulogy to the fluidity of youth...

Vidya in a two piece gold outfit in a Hindu temple with Naseeruddin kneeling beside her, himself in a purple doti thing with a gold belt, stripped to the waist (do we really want to see him without a shirt on? why, yes, we do!!)...

Vidya as the sexY high school math teacher in front of the blackboard, while adolescent boys throw their papers high...

Vidya in a white two-piece with pink flowers immersed in a fountain's foamy white water in front of a light turquoise blue waterfall....

Vidya pensively at home- after her loss of the informal film competition with her old nemesis the supposed "art film" maker, Abraham, newly become her boyfriend.... he has carefully put up pictures of her on the wall in a sign of respect and new found affection while she was sleeping... she wakes up, after he is gone, in a crumpled white house shirt, and is photographed in the shadow of the stairwell plastered with the photos of her film career, now ruined, ... a total parallel cinema shot...

In the third and last musical dance number (Ishq Sufiyana) in the courtyard of an old fort, with very "haut couture" twirling dervish ladies, all in white, white turbans, white birka-like masks- Vidya is first in flowing purple on the peaks of the ruins, then in a black cocktail dress, hair down.

Abraham sings the song of their love, which ties up the drama of the movie, the joining of the two India's, the Hindu ("Dil ki diwali hai," the heart is a festival of lights...) and the Muslim ("My love is an absolute submission") very much like M F Husain's quoting the Koran in the very first song lyric Noor-Un-Ala-Noor in Meenaxi, for which he was soundly criticized. Where critics thought he conflated the scripture with glorification of a woman (Tabu) but did not, here Abraham uses the very same thoughts to express the elevation of human love itself.

The entire film seeks to hold the serious matter of the story at arm's length, almost afraid or unwilling for commercial reasons to engage with a language of fiction that should have glistened with the light of truth. Instead, the script ties it all up with a totally Indian love scene and the final song, a homily to a national unity that only exists in an Indian movie. A missed aesthetic opportunity.

********* The real Silk Smitha is as seen in Sadma is nothing of Vidya, or visa-versa... she is, if anything, strikingly sultry while at the same time intensely sullen, two identifying traits which would be a total contradiction in Vidya.

The Dirty Picture is sententious in presentation of Silk's downfall as a completely self-directed result of her life. She seems less "self-destroying" than already "destroyed" by the film powers that be who came in contact with her. There was never a state of grace for the real Silk, only contempt followed by increasing exploitation.

In Balu Mahendra's (with Gulzar) dialogue for her character in the film, she is already on the defensive. Perhaps her first appearance in Sadma, is offered by Mahendra as a kind of preliminary defense of her to the public: "Don't you understand?...I am also a human being, made of flesh and blood, maybe even more than others.."

It wasn't enough. The porn director in The Dirty Picture" says to Silk: "We will do exactly as you say." The deconstruction of this statement is: "We will do exactly 'as you have already done' ."

After all these years is this not really a statement of contempt?
3 of 4 people found the following review helpful
By Harkanwar Anand - Published on
You know how actors are always humming about getting a dream role and playing it to the best of their ability? Usually such roles go by somewhat under-celebrated by the audiences. The artist who plays these roles love their personal performances but seldom does a moment come for an actor where the rejoice of the crowd is matched equivocally with their own candor. Vidya Balan completely owned her role in THE DIRTY PICTURE. The film is a treat for film goers and the direction is stoic and lacks any apology or even malice. This will be a favorite for many years to come for several dialogues. I think Vidya Balan's performance dictates the flow of the film and she has truly outdone any expectation anyone had from her. I thoroughly enjoyed the film and for people who thought it was vulgar or silly, they surely weren't expecting a Priyadarshanisque flair now, were they?! I'm going to watch Kahaani at the theater too, it was a recently released film and I hear it's yet another rollicker by this actor who's risen from the phoenix of her own lukewarm ashes.
1.0 out of 5 stars One Star 6 July 2014
By Ronald Hogan - Published on
Smart Bollywood.
3.0 out of 5 stars An ok movie 7 Jun 2013
By Shantipal - Published on
Format:Blu-ray|Verified Purchase
I expected this to be much better.

The history behind the movie was worth checking up on google.

It's still a good movie to watch.

The acting was good
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