Dhobi Ghat (2010)

We are at an art gallery in a painting exhibition. Appropriately low key. City is Mumbai. Kitu Gidwani is manager of the whole thing and announces artist decided to make an appearance and should say a few words. Artist Arun (Aamir Khan) is visibly reluctant presence facing the crowd or art-lovers whatever says in man-of-few-words fashion that it's a tribute to people from different states and raises a toast to Mumbai, "To my muse, my whore, my belovedÂ…."

Kiran Rao's debut film also a tribute to this bustling city of millions where four characters randomly run into each others' lives and make an impact. Like us meeting people and our story meets their story, vice- versa and streams go on. At the same gallery amongst the attendant an American NRI on sabbatical Shai (easily find of the year, inspired casting) meets Arun. Art talk, smoke, alcohol mix well. Fingers touch, so does the bodies. But the night-after ends badly because of Arun being asshole finding it difficult to say simple words 'not looking for something serious'.

There is a dhobi guy Munna (Pratiek, natural brilliant) who Shai befriends. She from another world treats him well, equal, goes to street photography with him to Nagapada, Machali market etc which is of course local to him. This boy, a wannabe actor (Salmaan being his idol) falls for the girl of course in the course, but never crosses his boundaries. They belong to different worlds (for society different classes) he and she both knows. Their odd, tender love-story or story, unsullied, forms the core of the Dhobi Ghat for me. There is definite chemistry between them. But never spoken of. Captured in gestures. Stolen yearning glances. Half chances. Even obvious finale burst out is still with no words. There is a beautiful night scene shot in rain where Shai and Munna have a drink at her place, later she falls asleep, air is electric, boy is tempted, leans for a kiss, backs out at final moment, leaves.

Meanwhile on other thread Arun looking for inspiration changing homes stumbles into few video tapes, sort of video letters of a recently married and migrated girl previous tenant of the flat Arun is living. Her name is Yasmeen (Kirti) and tapes are addressed to her brother back in her home town describing city from her eyes. He is hooked, possessed by these tapes, like porn her manager taunts. We don't blame him. Scenes in these tapes are almost poetic. We literally see how innocence is crushed in this endless city which swallows, sees everything from great successes, glamour to horrors of the fate, people.

All the principal characters are kind of chasing other. Munna chasing Shai, Shai-Arun, Arun-Yasmeen and Yasmeen her dream in city (which is fifth character in the movie). We go after things most try to attract us, evade us. And it's city like this which can shelter such diverse characters with desires, caution secrets, waiting to be discovered, fulfilled, hurt.

Lensed on slick, clean canvas and dream background scored by Gustavo Santaolalla movie is shot guerrilla-style on location minimalist approach, low on budget, rich in content. In this character driven piece ninety six minutes no interval (finally nice to see some arts winning over commerce) eventually everyone will get some kind of closure or otherwise. Just like in real life. Their stories are scripted like in a diary, aptly titled Mumbai diaries told soulfully by its sensitive director. Lovely.

Fmovies: "Mumbai Diaries" is a very, very unusual Indian film. For those familiar with Bollywood films, you might expect a lot different movie than you get. There are no song and dance numbers. There are no film clichés or formulas. And, there is no real resolution to the characters and their problems. This is NOT a complaint--I liked the film--but I just want you to understand that "Omkara" is not what you are probably expecting.

The film, not surprisingly, is set in Mumbai (Bombay). The story is about four people who are, in their own way, alienated. One is an artist who is afraid of commitment, another is a slightly out of touch American of Indian descent, another is a very poor man and the final one is a woman on videotapes--and you never actually get to see her live in the film. I could say a lot more about it, but frankly it's best to just watch the film and see it unfold. Because of excellent acting, the vague script manages to satisfy. Well worth seeing.

It's not perfect, but it's definitely worth viewing. One does not find such attempts in Bollywood very often. All the characters are fantastic, and so is Mumbai. :)

The plot could have been more tightly strung up, but what the heck.. for a debutant, it's amazing. It comes to it's best when no dialogues are being delivered, just the rolling camera. The movie has no 'message', no climax, it just flows with lives of the characters. Moral of the story : Life comes in full circles, like clothes at a dhobi ghat. The background score is quite experimental as well.

Do not go expecting the usual Bollywood routine. If that what you want, I'm sure there are plenty of options around.

Dhobi Ghat fmovies. First of all this movie will not appeal the regular Hindi movie audiences who would like to see a hero and a heroine and a romanticism growing with elements of beautiful songs and music. Sorry guys, this is not for you. It will appear tremendously boring for those (Most of the reviews will tell the story).

Just change the setting and location, this movie will become a Hollywood movie (Art Type). There is no hero or heroine in the movie. It is a tale of 4 people, their lifestyle, and Mumbai's rapidly disappearing living history. The idea of the movie is little ahead of the regular audiences.

If you are into Art Films, watch this and enjoy every bits and pieces. If you do not understand art, please never try to watch this movie.

Dhobi Ghaat-Mumbai Diaries:I didn't even know that Mumbai Diaries was a part of the title but thats what the film is truly about.Mumbai is not just a city/habitat but a character which is the common thread linking the 4 human characters.It's like a person molding all of them differently.A bored wife from small town finds Mumbai - a companion,the ocean - a confidante, Mumbai rains- the romance that she could never find in her husband.A girl from New York finds Mumbai to be an exploration of the landscape and of human beings,life in its by lanes and how it changes by day and by night,discoveries and realities of life ,of the wedge still existing between the rich and the poor so simply shown in the way that tea is served to an employer and to a Dhobi.Prateik Babbar perfects the lingo and nuances of a Dhobi/life in slums to the T.Pratik's character is so well defined from how he goes by the railway tracks doing his daily morning ablutions while the sky is still dark, the place where he lives, the bed soaked by the first sign of rains and for some privacy just a curtain made of patches of cloth and no door.Aamir's character becomes intertwined with a woman who is just an accidental and disconnected find and goes on to become a muse and then to someone whose loss is nerve-wracking.There are just too many beautiful moments only to be seen to be experienced in this movie, the first time Prateik/Munna gathers enough courage just to share the armrest in the theater with Monica Dongra/Shai and how happy and blissfully he is doing that, how he finds shame in being a rat killer,how he falls in love but restrains himself even while having the opportunity, how he even tries to make her feel jealous even while realizing the futility of doing so. These characters are what every Mumbaikar is all about, going about our daily lives/chores while still aspire to find love, build a connection with another person,achieve our dreams, find a little romance by the sea, culinary bliss in the Malpua of Mohammed Ali road and Bhel-puri of Juhu. It's all there in mumbai and in this beautiful film. The background score and the Mumbai noise lifts the film, the casting is apt and such a delight and the story lucid.I loved the end.For a first time director its certainly an achievement to transform her vision so beautifully on screen. Sheer Poetry in motion. Take a bow!

Let me start by saying that if you were expecting Transformers, this movie is not for you. If instead, you find yourself in a quiet room with the patience to watch something intelligent, then this would be your cup of masala chai :) Anything I say about this movie will not be enough to praise its quality. I have to go back and watch it a couple more times, before I have anything insightful to say. But I must say something, because of the way in which this movie has touched me.

I had grown jaded over the past few years, looking at the quality of movies being released in Bollywood. I would start a movie only to find myself bored by the same age-old clichés. So my expectations weren't very high when I started this one. But by the end of it I was sitting up straight, with my hands in a praying pose, watching with the utmost concentration. I guess I see a little bit of myself in Arun and Shai. I also sometimes think about the people that we the privileged don't see in our daily lives. The builders who build skyscrapers, yet have no place to call home. The dhobis who clean other people's clothes, yet hardly have any themselves. Kiran Rao does an amazing job of taking all these elements and representing them in the form of video, photography, art and music. There are coincidences and small clichés, but they aren't as blatantly idiotic as in other movies.

There is poetry in this movie about the privileged, the loved, the lost and the city that is Mumbai. One of my favorite movies of all time. I'm definitely going to keep an eye out for Kiran Rao and Aamir Khan productions.