Cast: Aamir KhanPrateik Babbar, Monica Dogra, Kriti Malhotra & Dan Husain
Sound: Ayush AhujaCinematography: Tushar Kanti Ray
Editing: Nishant Radhakrishnan
Music: Gustavo SantaolallaDirector : Kiran Rao
Prododucer: Aamir Khan, Kiran Rao
Without interval 95-minute's movie Dhobi Ghat is not a movie where public walk in anticipating regular entertainment, it is about Mumbai, the city which is crowded but has enough place for all it's immigrants, it is about the sea, the placid waters that listens to your story and assimilates, keeps all the secrets of it's people and becomes the Mumbai Diaries.
The movie is about four unrelated characters, who happen to discover each other accidently and then continue leading their lives just as they were before. So basically, if they hadn't met, the result of this movie would remain unchanged (right?). Anyway, Arun (Aamir Khan) plays a painter, a man who is fond of his space, feedom. He is a divorcee who is constantly moving from one home to another in quest of something only he is aware of. After a one night stand with Shai (Monica Dogra), an NRI investment banker who wants to capture 'poor India, hungry India'. Shai is also not shy in inviting her Dhobi, Munna (Prateik Babbar) home for tea and then goes ahead to shoot his portfolio, as he wants to be an actor. Arun gets deeply tangled with his new muse, Yasmin (Kriti Malhotra), whose depressing story is filmed in abandoned tapes that he discovers in his newly rented apartment.
Without interval 95-minute's movie Dhobi Ghat is not a movie where public walk in anticipating regular entertainment, it is about Mumbai, the city which is crowded but has enough place for all it's immigrants, it is about the sea, the placid waters that listens to your story and assimilates, keeps all the secrets of it's people and becomes the Mumbai Diaries.
The movie is about four unrelated characters, who happen to discover each other accidently and then continue leading their lives just as they were before. So basically, if they hadn't met, the result of this movie would remain unchanged (right?). Anyway, Arun (Aamir Khan) plays a painter, a man who is fond of his space, feedom. He is a divorcee who is constantly moving from one home to another in quest of something only he is aware of. After a one night stand with Shai (Monica Dogra), an NRI investment banker who wants to capture 'poor India, hungry India'. Shai is also not shy in inviting her Dhobi, Munna (Prateik Babbar) home for tea and then goes ahead to shoot his portfolio, as he wants to be an actor. Arun gets deeply tangled with his new muse, Yasmin (Kriti Malhotra), whose depressing story is filmed in abandoned tapes that he discovers in his newly rented apartment.
Prateik, his eyes reminds one of Smita Patil. He is a reservoir of looks, talent waiting to be tapped. He is a dhobi who's embraced Mumbai for a livelihood and has learnt to live, he is raw, innocent at first thought but the next scene in an apartment suggests that the lady of the house has been having a relationship with him. An aspirant actor he moves around closely with Monica Dogra, helps her with her documentary and gets his portfolio done. He portrays the inhibitions of breaking his class, status, values perfectly in his relationship with Monica Dogra . The scene on the terrace and how he rushes towards Monica Dogra shows his vulnerability, his acknowledgement of reality and gratitude of a human being, as a Mumbaikar, as an actor. Kriti Malhotra commentary on her life is boring, though her work, her portrayal of her feelings from exuberance, to angst, to hopelessness is perfect. Monica Dogra 's character is not perfectly etched, at times you are shown that she is getting attracted to him while taking the pictures and at times it is evident that she is just using him to locate Aamir Khan and for her documentary
Prateik manages a convincing dhobi, rat-killer and gigolo . Monica can be believed as an upper class NRI. Aamir manages his pensive role with great flourish, closely competing with the blob of white hair on his head that tries to steal our attention. Kriti does a great job with her narrative on Mumbai but the story of her life is too boring to endure.Director Kiran Rao And cinematographer Tusar Kanti Ray constract a rich and intimate portrait of the Mumbai city. Almost locations and over shadow the characters are in and around Mumbai. There is a terrific shot of Aamir walking down the bustling Mohammed Ali Road during Ramzan. In another scene, Prateik covers hisshanty from the torrential rain as local trains whiz by. The movie is a middling debut, watchable due to its nuances but simply not interesting enough to recommend. Yet Kiran Rao seems assured of her craft, and worth looking out for in the future.
Indeed, Kiran Rao deserves applause just for giving Prateik the platform she has, highlighting a raw young actor the industry ought covet. She clearly cares for her characters and has a massive crush on Mumbai, her leading lady. Yet her lovesong, however earnest, just doesn't sound good enough. Finally, movie is a film festival material and it's for intellectual city audiences.
Rating : * * * *
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