While the West boasts proudly of itself classless, Dhobi Ghat tends to honestly acknowledge the reality of social strata, however harmful, and so, a serious film about class disparity by the Indian filmmaker,Kiran Rao has rich potential for insight. It is quite a risk when novice filmmakers come up with absolutely ‘nonconforming’ themes, for the chances are just either ways - the film would either bomb completely or would be appreciated absolutely. To her and our relief, ‘Dhobi Ghat’ falls under the second category.The film can be said to be an enriching tale that of five (Mind you i have definitely said five here!) entirely different and unrelated characters; Arun, Munna, Shai, Yasmin and most importantly 'Mumbai' ;of how their life crisscrosses and remains like never before.
Though the film rides heavily on the heavy and very capable shoulders of superstar Aamir Khan, it should in a way credit all its success to the stars personna.Coz had it not been for Aamir Khan, i'd dare to say this the film wouldn't have even made it to the box office.
The film begins with Aamir Khan- a celebrated artist who is just as snobby as the high class patrons at his shows, one among them being the vacuous investment banker Shai back from New York for her leisurely sabbatical played convincingly by newcomer Monica Dogra ...i tell u this FB is really helping in nursing great talent :) who ends up spending the night with him and is just fine in the morning.(I bet u all men would definitely want their one night stands to end like this.)
Munna is a dhobi, a washerman to both Arun and Shai—along the ghats near the water, but he dreams of becoming a movie star and works hard at sculpting his magnificent muscles. A bit to polished to be a dhobi in his mannerisms, Prateik tries to pull off his bit but convincingly fails not because of his acting but just the script (I mean just look at his role as someone from the lower strata of society falling for an upmarket woman ...sounds a bit more convincing isn't it).
Yasmin, played by Kriti Malhotra plays the lonely bored wife who uses her new handycam to take her brother for a ride of Mumbai and later ends up blurting out all her feelings in front of the camera. Well in my perspective Yasmin was the only true character somebody totally identifiable and real no cinematic liberties taken here unlike the other stories of the film.
‘Dhobi Ghat’ scores well in terms of screenplay and cinematography. Well i would definitely be a bit biased towards the director in this department since it it tries to depict the city i love the most. While the crisp, water-tight script infuses life and emotions to this otherwise unrelated foursome tale, the cinematography pitches in the much-needed flavor, encapsulating Mumbai in all its moods - black, grey, vibrant, chaotic and desolate. The director does not shy away from showing the opulent and classy apartments to the slums of Mumbai, with each frame getting more and more intrinsic, picturesque and scenic. Such is the camera work that the drops of rain seem to travel from screen to skin, drenching and immersing the audience sitting in the plush couches of the multiplex.
On the whole the movie is not for a regular bollywood-fare lover but for the intellectual masses. A must watch for those interested in making a career in film making especially the style which closely resembles its European counterpart hardly ever touched in bollywood. Watch the movie for its portrayal of Mumbai and Mumbaikars like never before.
The music score of the film, given by renowned musician, Gustavo Santaolalla, also deserves a special mention as he delivers an enchanting and soothing melody.
