A film by Alankrita Srivastava, ‘Dolly Kitty and Woh Chamke Sitar’ is one of the few Bollywood films to have a female character as the protagonist. The film is a comic satire starring two talented and beautiful women from the city of Tinsel who have made an impression for themselves in the industry and ruled the minds of the audience by breaking the traditional definition of ‘heroine’ in Bollywood. Bhumi Pednekar and Konkona Sen Sharma were so naturally onscreen that it became difficult to distinguish between reel life and real life.
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With an amazing flock of actors, the film begins with Bhumi Pednekar’s character, ‘Kajal’, a 22-year-old girl who moved to Noida in search of a job. Kajal hails from Darbhanga, a district in Bihar, who comes to Noida and lives with her cousin ‘Dolly’, played by Konkona Sen Sharma. On the other hand, Dolly is according to the society in an ‘apparently happy’ marriage. She lives with her husband and two children.
The film also highlights the difficulties faced by the middle class members of the society and their struggle to live luxurious lives. Dolly is a working mother whose only dream in life is to go to a big flat and live a fabulous life. Konkona’s character can be seen stealing her jewelery and sometimes from here and there to pay the installments of the flat.
On the other hand, Kajal faces persecution of her cousin’s husband as she goes to his house to live with him. The film sheds light on how women become victims of sexual objectification, despite the shared relationship with their male counterpart. When Kajal finds a job for herself in a call center for love and sex chat, she finds herself surrounded by men who woo her with the size of your breasts and other seductive comments.
Kajal works under the name ‘Kitty’ and is soon attracted to one of her clients, Pradeep, illustrated by Vikrant Massey. After spending some quality time together, Kitty falls in love with Pradeep and later discovers that he is married and has a child.
‘Dolly Kitty and Woh Chamke Sitar’ also portrays the suppression of one’s sexual identity since childhood. Dolly’s younger son Pappu likes to play with girls and dolls. Pappu can be seen using his mother’s makeup during his play which goes against the traditional image of being a boy. Instead of supporting her son, Dolly can be seen beating her up as if it would change her sexual identity.
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The film also tells how society never understands the needs of a woman and always expects her to play the role of either a mother, a daughter, a wife, a sister and so on. Despite being a woman herself, Dolly could not bear the fact that her mother left her to live life on her own terms. While Dolly struggles with her ‘problematic’ marriage, she finds herself drawn towards Usman Ansari, a delivery boy starring Amol Parashar. Osama falls in love with Dolly and she promises to be with him forever. When the two engage in an orgasm, Dolly realizes that she is not ‘cold’ in bed, as claimed by her husband Amit, who also dials the call center’s number for sex chat. Unaware of the fact that he is talking to his sister-in-law, one day when Kitty loses her patience over the call and threatens her brother-in-law that she will feed all the beans to her sister Dolly, Amit calls Kajal to mother-in-law. Father and tells him everything about his job. Her parents reach the city to take her back with them and marry her. When Kajal questions why no one is talking about dialing the number of call centers to Amit, they say that he is a ‘man’ as they change the subject.
The film ends with Kitty working in the same call center even after the denial of her parents and offers ‘romance’ through call center services which is very rare in society these days. Kitty also takes the initiative with her mentors to start a calling service for women so that they too can come out of their ‘loneliness’. On the other hand, Dolly leaves her husband’s house when Osama is killed by a mob in which she was also present. Osama’s death depicts a slightly hopeful death for Dolly as she leaves for her little Pappu with her mother whom she gifts a pink hairband in the last scene of the film.
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