In fact, her explosive promotional strategy has left journalists perspiring in greed; for any of her statements made within the media’s range of hearing has been presented in a manner that is doubly controversial. She said she did not need the help of her boyfriend to make a mark in her career; a statement directed at Katrina Kaif. On another occasion she said that being a superstar she has become immune to competition and making a clear distinction between herself and the other actresses in the industry she said, “Anyone can get a flat stomach and long lashes, but that doesn’t make you hot.”

If one were to analyze each of these statements, it wouldn’t be hard to assume that Kareena has given us numerous definitions of a heroine, as perceived by the filmmaker.

Amusingly, for a long time the question was to smoke or not to smoke; news of a disagreement between the producers and the Censor Board was making the rounds. The Censor Board had put its foot down, not agreeing to the need for Kareena Kapoor to smoke onscreen; especially without an anti-smoking statement attached at the bottom of each frame. The issue was then taken to court by Bhandarkar and UTV Motion Pictures; finally in an agreement arrived at on Monday, the Delhi High Court ruled in favour of the producers.

While most of Bhandarkar’s films are aimed at satisfying the critics and the audience, this film has already been a letdown as far as the music is concerned. If the best ‘item’ songs were to be placed on a shelf, like Munni, Chamak Chalo, Sheila Ki Jawaani et al; Halkat Jawani sung by Sunidhi Chauhan, as far as the demand goes, would not find a place amongst them.

Then on the other hand, are Bhandarkar’s films true to reality projections? Consider what Rani Mukherjee had to say: “I cannot see myself doing a The Dirty Picture or Heroine. Both these films revolve around the film industry. When I am playing a character that is based in the film industry, I would want to project things the way I have seen them.” Obviously, Rani’s perception of the film industry differs from Bhandarkar’s; however, the question remains, can our realities be projected without the intentional superficiality?