Synopsis
Bombay, 1986. Vicky and Sonu are brothers and partners in crime. They produce “C” grade films in the lower depths of Bollywood – lurid horror films, erotic bandit pictures, sleazy social dramas. From a humid one-hour hotel, amidst spilled whisky and bouts of womanizing, Vicky churns out illicit titles like “Dolly Darling” and “Lady James Bond” for India’s small-town picture houses. He leaves the donkey-work to Sonu, his withdrawn, dim-witted younger sibling, who often cleans up after him.
Returning exhausted from a sales trip peddling erotic reels in the hinterland, Sonu encounters a mysterious girl on the train and is drawn to her fragile beauty. She’s only just arrived in Bombay and her vulnerability soothes his own sense of despair. Her name is Pinky and she appears to be a struggling actress.
Vicky dismisses the girl as a gullible piece of flesh but Sonu is desperate, bewitched by Pinky’s silent radiance. He knows that only she can save him; make his emptiness disappear.
As the seasons change, Sonu begins to resent his hard-edged brother. He no longer wants to slave for Vicky’s lawless operation and decides to make a film of his own, with Pinky in the lead. A double debut - producer and star. It’s a reckless, nihilistic venture with no story and no crew in place. But he has a title - the film will be called ‘Miss Lovely’ and Sonu will do whatever it takes to make it.
But nothing is what it seems in this garish underworld of shifting alliances, double dealing, and quivering flesh. Out on the streets three years later, Sonu realizes that his whole world has turned upside down.
A baroque tale of betrayal and doomed love, the animal instincts of the struggling actress prove to be the most cutthroat of all. As paranoia and violence spiral out of control, brother turns on brother, and blood spills like water. Sonu, now alone and abandoned, aimlessly wanders the streets, junkyards and film studios, aching for one last glimpse of Pinky.
The film is a deconstruction of genre codes with a near cubist attitude to narrative, Miss Lovely ties the tragic destiny of the brothers’ directly to the moral squalor of an India caught between sexual repression and state conservatism.