When the majority of films on the theme of empowerment from India cover their sensitivity issues with light and warm family stories, Dolly Kitty Aur Woh Chamakte Sitare takes a slightly different path. Coming from the hands of director and scriptwriter Alankrita Shrivastava, who previously gave birth to Lipstick Under My Burkha (2016), feminism is conveyed more emphatically, by bringing gender issues through a sexual perspective that challenges the audience’s thinking. Unfortunately, this time Alankrita has the ambition to summarize too many problems that actually interfere with the course of the storytelling.
Living in a planned city called Noida, the financial condition of Radha “Dolly” Yadav (Konkona Sen Sharma) and her husband, Amit (Aamir Bashir), are actually stable, but they have difficulty paying off the mortgage for a luxury apartment, which has not even been built. Meanwhile, Dolly’s younger cousin, Kajal (Bhumi Pednekar), wants to live with them. Coming from Bihar, he has the ambition to pursue his dreams in a big city. Like many overseas people from the village, it did not take Kajal long to realize that life in the city is tougher than he thought. Top Movie Site
After only working as a factory worker for a while, he immediately left. Not only that, Amit’s behavior with “naughty hands” who often steals opportunities, makes Kajal uncomfortable and makes him want to live in another place. Of course it’s not an easy matter, considering Kajal doesn’t have enough money to have his own place. This is an example of how male depravity ruins a woman’s life. Kajal shouldn’t be confused about finding a place to live. She shouldn’t feel insecure under the roof of her own family.
Finally, Kajal found a new job that provided many facilities, including a place to live. Red Rose Romance is the name of the company. A phone sex service provider. Using the name “Kitty”, Kajal uses his voice to serve the lusts of perverted men, one of whom even calls and masturbates while his wife is lying in a coma. But through that job, Kajal falls in love for the first time, with a client named Pradeep (Vikrant Massey), who lulls him with his romantic words.
Apart from the installment business, Dolly still had other problems. She suffers from HSDD (Hypoactive Sexual Desire Disorder), in which Dolly loses her desire to have sex with Amit. Until Osmaan (Amol Parashar), the young student delivering food, steals his attention. Dolly’s problems don’t stop there. Her youngest son, Pappu (Kalp Shah), has a tendency to cross-dressing, likes to wear his mother’s make-up, wants to try on dresses, and prefers dolls to toy cars. When his school held a field trip, Pappu wanted to go with a group of girls to the puppet museum, but it was forbidden, because male students SHOULD go to the train museum. Alankrita commented on the colonization of gender identity, which has become firmly embedded in conventional culture.
Reading the description above, you might catch a glimpse of how many issues Dolly Kitty is trying to pinpoint. Apart from the freedom of female sexuality represented by her two protagonists’ quest for sexual satisfaction, there are issues with gender identity, harassment, parenting, and the tendency to blame wives for family problems (Dolly is considered the cause of Pappu not growing “as it should be”). At almost every point, the film imposes a new branch of the story, some of which are forced to connect with each other.
Whereas the urgency of the issues is high and deserves a more solid explanation. I take my hat off for Alankrita’s courage to break through the taboo. The audience was once asked to ask, “Which is holier? Is the “halal” profession as an accountant who is treated like a waitress for a coffee maker with a low salary until they are forced to steal office money, or is the “haram” profession filled with money without any cheating? ”. I guess nothing is holier or dirtier. There is no true truth. Only two women are struggling to make a living. Best Movie
Of course, the film’s greatest courage comes when it challenges the audience’s perspective on female sexuality. The climax shows the male occupation of women’s freedom to express their sexuality. Decisive, sharp, but sadly, too trying to surprise the audience, and once again, forcing the linkages between the branches of the plot.
But there is no sense of being forced into the acting of the two main actresses, which naturally brings to life the two female figures who are required to always fight. Yes, both of them made some mistakes, but the stern and sympathetic looks of Bhumi Pednekar and Konkona Sen Sharma, ensure that we continue to support them, who walk in the area of gray morality. Movie Review