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Dhobi Ghat Movie 20110 Comments

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Whatever the genre, is an Aamir Khan production was looking forward to super-excited. Films like Lagaan, Taare Zameen Par, jaane jaane TU YA NA PEEPLI [LIVE] have redefined cinema in their own small way filmmakers asked to think beyond the stereotype. This raises the bar for automatic retry PAC Dhobi Ghat.

Mumbai – this lively, vibrant and lively city has many filmmaker, novelist, writer, playwright, poet, inspired by the past. Kiran Rao’s Dhobi Ghat looks at four different characters in this dynamic city. Interestingly, instead of opting for the usual candyfloss entertainer in her directorial debut, Kiran chooses a film that is very real and that comes across as personal memoirs that have found a place on celluloid. It’s more of a video diary on the residents of this bustling metropolis. More importantly, this is a story about four different people – all from different walks of life – and how their lives crisscross in this journey and how they cope with longing, loneliness, love, friendship and loss.


Dhobi Ghat

Dhobi Ghat


For me, Mumbai comes across as the fifth character in this film. The constant noise of traffic, the sea of ​​people, the energetic street life and the heavy and torrential rains dominate the goings on from start to finish. In fact, Mumbai comes across as a silent spectator here, looking at each of these four characters silently. Like a [Aamir Khan's neighbor] septuagenarian in the movie.

Monica Dogra with his Hero from Dhobi Ghat

Monica Dogra with his Hero from Dhobi Ghat


What catches your attention is the fact that Dhobi Ghat four different stories in 95 minutes that tells the most pragmatic way. The characters are real and so are their stories, their emotions, their relationships, their smiles, their tears, their dreams, their desires, their fears and their tragedies. It comes across as real and authentic as your eyes could see and witness in real life. Sure, we got a flash of the various people of this city in Slumdog Millionaire, Dhobi Ghat, but does not follow the usual route. It is much more subtle and subdued.


Monica Dogra Still in Dhobi Ghat

Monica Dogra Still in Dhobi Ghat

Dhobi Ghat [Mumbai Diaries] is the story of four people from very different backgrounds, whose worlds intersect and leave them forever changed. If they find themselves being drawn into the fascinating relationships, the town finds its way into the crevices of their lives, separating them, even if it brings them closer …

Fragments of their experience – as seen through a video diary naive, black and white photographic images and paintings – are a portrait of Mumbai and its people connected as they travel through desire, loneliness, loss and love.

Monica Dogra from Dhobi Ghat Movie

Monica Dogra from Dhobi Ghat Movie

As I mentioned earlier, Kiran Rao includes emotions, dreams and desires are most convincing. In fact, every sequence of Dhobi Ghat a story, each image is important and that, in my opinion this is the first attempt by Kiran nothing less than an achievement. Shot in guerrilla style, with hand-held cameras and motion pictures Dhobi Ghat captures the real taste of this densely populated city. Generally, film-makers try to keep the right frameworks and procure the permissions for the most prominent location, but not here. Lush and stylish apartments in the slums, Dhobi Ghat is an authentic piece of work.

Dhobi Ghat catapults Kiran Rao, besides the will of accomplished storytellers like Mira Nair and Deepa Mehta with her intensely intelligent script. Besides shedding light on the daily routine of these characters, Dhobi Ghat juggling a recent past and the present professionally. Also this is inherently a love story, not a triangle but a square. In fact, each vividly sketched characters long and each of them aspire for that special someone. With a waterproof scenario and attention to detail, Kiran characters feel, look and sound real.

Tushar Kanti Ray cinematographer shoot the film as if looking at the story unspool live for your own eyes. Academy Award-winning Argentine composer Gustavo Santaolalla’s [Brokeback MOUTAIN, Babel] background score is interesting, not Indian, but it fits the varied moods, from melancholy to elation, admirable. The only area where the film has affected the stimulation sites. The results would have been even greater impact as the film was a bit tense at the editing table.

The film marks the debut of Monica Dogra and Kriti Malhotra, who provide exceptional and natural performances. If Prateik, the ease with which he speaks the lingo slum or talking to his buddy or the soft voice when speaking to the woman he loves [the urbane and stylish Shai] proves what a reliable actor he is. The most memorable sequence for me at the conclusion of a Prateik Shai car chases. There is no doubt that he is a complete scene-stealer and a star in the making. His unconventional looks and charming personality only adds to this performance.

Lots of his performance in Taare Zameen Par to, Aamir Khan very willingly lets his co-actors eclipse him. Sure, he’s great artist as a monastery, but this film is not about Aamir Khan, the superstar. It is primarily about four stories, with only Aamir enacting one of the four central characters. In fact, he underestimated his part beautifully and generously to his fellow cast too obvious in their respective parts. In fact, there are not many actors in moviedom even dare think that way!

Kittu Gidwani is good. The actor adopting the role of friend Prateik’s has a fine job.

Overall, Dhobi Ghat is an impressive and vivid film portrait, adding to the new wave of Indian independent film I’m very happy to applaud. It’s art house cinema with European sensibilities, embellished with a well thought out story without cliches. This ingenious film focuses more on the intelligentsia and scholars of World Cinema and more patronage and benefaction thus Garner from the metropolitan audience in India and especially global audience mainly.

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