DOLLY KITTY AUR WOH CHAMAKTE SITARE REVIEW
Director: Alankrita Shrivastava
Starring: Konkona Sen Sharma, Bhumi Pednekar, Vikrant Massey, Amol Parashar, Aamir Bashir
Written by: Alankrita Shrivastava
Dolly aka Radha Yadav (Konkona Sensharma) is a middle-class woman in Noida working a clerical job while managing two kids, her husband Amit (Aamir Bashir) and the instalments due on their dream flat. Her cousin Kaajal (Bhumi Pednekar) comes to stay with the couple. She soon shifts to a hostel to escape Amit’s wandering hands and ends up employed by an app that offers men lightly sexual telephone conversations with women in a bid to persuade them to spend money on the company’s gift shop. Kitty is her assumed name for these chats. It is refreshing, for instance, to see the actual diversity of north Indian society being represented in a Bollywood venture, that too without making too big a deal of it. Everything that is right about Dolly Kitty Aur Woh Chamakte Sitare is done in though by the fuzziness in the storytelling, occasional tackiness and overall lack of depth. That criticism is not to be interpreted literally. In real life, it is not impossible at all that a single individual’s life story might feature her own frigidity, her spouse’s sexual frustrations, gender prejudice at the office, financial problems at home, fears that her child may be trans, a beloved relative who is being nudged towards sex work and a clandestine relationship with a man from a minority religious community.
Technically the film is good, cinematography by John Jacob Payyapalli is good and some scenes are beautifully captured. Editing by Charu Shree Roy is crisp; overall the production value is satisfactory.
Performance wise each and every actor is brilliant, Both Konkona Sharma and Bhumi Padenekar plays their part to almost perfection. Vikrant Massey and Amol Parashar are charming in the best written of the important supporting roles.
Written and directed by Alankrita Shrivastava Dolly Kitty Aur Woh Chamakte Sitare is an interesting slice of life. The only thing is too much is being tried to say in the film which whatever Shrivastava wanted to achieve with this film is lost in a fog of good intentions, nebulous writing and detached storytelling.