Dhobi Ghat Movie Review

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Starring: Aamir Khan, Prateik Babbar, Monica Dogra, Kriti Malhotra, Mumbai
Direction: Kiran Rao
Music: Gustavo Santaolalla
Production: Aamir Khan, Kiran Rao

How many times have we heard people say “The first half was good but after interval it is boring” or vice versa. Debutant director Kiran Rao deserves a pat on the back for doing away with the break between ‘halves’ of a movie. Dhobi Ghat is a slick film which runs for just a little over 90 minutes sans commercial breaks in between. So there goes the first credit to the director.

The plot of Dhobi Ghat is quite simple if you look at it superficially. As was announced and advertised, it is indeed about pages of Mumbai diaries. It is about five characters: Arun (Aamir Khan), an artist and a loner, Munna (Prateik Babbar), a dhobi and a wannabe film artist, Shai (Monica Dogra), an investment banker whose passion is photography, Yasmin (Kriti Malhotra), a newlywed and a newcomer to the city of Mumbai which happens to be the fifth character of the movie. Though the plot is simple, Dhobi Ghat is a complex web of pain and the emotions twined between people and relationships.

It is quite evident that Kiran Rao did not want to play safe just because it was her first movie. The proceedings are not linear as she hasn’t felt the necessity to delve on a strong plot. But what has been chosen as the story evolves by itself. It requires guts and the support to direct a movie of this genre and Kiran would have found Aamir’s support invaluable. We are unsure about what will transpire and the unusual characters in the movie make it more interesting.

Kiran Rao must be applauded for her infusing life into a character which actually isn’t a regular movie character. The way she has shown Yasmin through her video diary that leaves a strong impact on us is incredible. She also shines in places where Mumbai is shown in its true chromaticity: The scene where the maid offers tea to Munna, the subtle thought about a Bihari in Mumbai and Aamir’s comment about Mumbai in the art exhibition.

Dhobi Ghat is not without minuses. The English conversations between Arun and Shai, which are dubbed in Hindi, are totally out of sync. We only wish a little more effort had been put in to shoot these parts in Hindi as well. We could also feel Kiran’s strict adherence to arthouse cinema. The whole movie being shot with a handheld camera gives us a feeling of watching a home video overall.

Good for the film, it is not about Aamir Khan. The actor he may be, he is the right choice for Arun’s character. The emotion he portrays when the video diary comes to an end is a testimony to his skills. Prateik Babbar is the perfect dhobi boy and must thank the director for this opportunity. He is simply superb as the aspiring actor, jealous one-sided lover and the disappointed Mumbaiite in the end. Kudos! Monica Dogra has done a casual yet brilliant portrayal of Shai. But the one who leaves an impression on our minds is Kriti Malhotra. As a newlywed, her exuberance in using the handy cam, her loneliness can be felt by us. And this is because of her acting skills. And the ever colorful, spirited, unadulterated, vibrant city of Mumbai does not disappoint too.

Technically, the film excels in quality. Mumbai has been shown in many movies before in all possible colors. Not like this one! The crowded streets, the mosque, Mumbai rains, the athar shop and even the people are entirely new to us. Cinematographer Tushar Kanti Ray… take a bow! So must Oscar winner Gustavo Santaolalla be appreciated. Right from the title till the end, he shows us why he is an Academy award winner. The re-recording is apt and is in sync with the tone of the movie. The still (B/W) photography of Jyotika Jain is also worth mentioning.

Dhobi Ghat is not the usual run of the mill cinema and may not have the ‘E’ factor, but is realistic and true to its conscience.



Keywords: Jyotika Jain , Dhobi Ghat Movie Review,Aamir Khan, Prateik Babbar, Monica Dogra, Kriti Malhotra, Mumbai,Kiran Rao,Gustavo Santaolalla,Cinematographer Tushar Kanti Ray