Dibakar shot the film on digital format with a hand-held camera. So Ekta’s first question was, ‘Why is the camera shaking so much?’ His second question was, ‘Who is going to see this film?’ Unity’s initial reaction of shock was understandable. She didn’t really believe that such an unusual and shocking film was feasible. He saw Dibakar as this nice, sweet-looking, harmless Bengali guy who could do nothing wrong intentionally.
Digital formats are generally used by a filmmaker for lack of options. But the digital format was the only option for Love Sex Aur Dhokha.
Ekta was shocked by what she saw in Dibakar’s film. The camera was shaking so much that she was completely shaken. There were three stories and they all impressed him deeply, especially the one about the woman who shot with a hidden camera. When Ekta came out of the film, she was everywhere looking for insects and cameras. He was shocked not so much by the storytelling technique, which was unlike anything we’ve ever seen, but by the content that tells us there is no privacy in today’s day and age of mobile cameras and MMS.
The question was, how will the digital film titled Love Sex Aur Dhokha attract the audience? The title was nearly shot down by ethical watchdogs within the industry. But Dibakar remained firm on his insistence. It was bound to be love sex and cheating. He knew that the title was reminiscent of Sex Lies and Videotape.
Censor preview recommendations suggested blurring the sex scene. Dibakar has said in the past, “On principle I have been against films being seen as voyeur’s pleasure. ‘Love Sex Aur Dokha’ is not about sex, sex and sex. Those who hope they Will be disappointed.”
However, Dibakar was unhappy with the censor board’s cutting of caste references in the love story between a lower caste boy and an upper caste girl. This completely changed the perspective of his story. Also, the song “Tu Nangi Achhi Lagti Hai” was modified to “Tu Gandi Achhi Lagti Hai”.
Love Sex Aur Dhokha was a mirror-image of a world, and more so, that has made up its mind to sell much of its heart and soul to the camera. The film has three stories rolled together by a coincidental design. Unlike other episodic films, it does not play tricks. Instead Banerjee adulterates with the brutal realism born of a desperate generation longing to make a place in a society that recognizes you for your financial rather than emotional or intellectual prosperity.
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