Panderohit Review of Mumbai Diaries

Mumbai Diaries (2010)

Impressive debut and powerhouse performances

[7/10 · 21 January 2011]

Dhobi Ghat (Mumbai Diaries) is director Kiran Rao's first foray into direction and by the looks of it Rao is a promising new director and has done a reasonably good job. Her first attempt has left me with high expectations from her in the future. Let's get the basics out first: Dhobi Ghat (Mumbai Diaries) is an art-house movie in the tune of (and better than) Khan's previous home production, Taare Zameen Par (2007) minus the songs; and it is far better than any other Bollywood fare that has been dished out of late (I'm looking at you, Mr. Bhansali). The story revolves around four main characters: Arun (Aamir Khan) as a reclusive painter searching for the meaning of life and, in the process, the spirit of Mumbai for his next creation; Shai (an excellent Monica Dogra) as a part-time expatriate researcher, part-time best pal and part-time stalker; Yasmin (a minimal but outstanding Kriti Malhotra) the author of the aforementioned Mumbai diaries; and Zohaib / Munna (a wooden Prateik Babbar) as the titular Dhobi, or washer-man, looking for a break at film acting. Their individual stories develop and are inter-linked to each others in the vein of Paul Thomas Anderson's Magnolia and Paul Haggis' Crash. The film does have a few plot-holes and inconsistencies. Munna's character (Prateik Babbar) looks too good, and fashionable for a washer-man hailing from small-town Bihar; however credit needs to be given to Rao for giving this due thought in order to make Shai's attraction for him palatable for audiences. However, Prateik, as Munna, is self- conscious and not very comfortable in his role and the required naivety is not very convincing. Shai, on the other hand, seems empathetic towards Munna and a worldly-wise person; however her character flaws seem inconsistent. Her morning-after flying off the handle at the start of the film was not well thought through. Similarly it was inconsistent with her personality to then go to extensive lengths to subsequently stalk this person. Not much clarification has been provided for this, nor the reason why would she avoid him throughout the process, which runs nearly the entire length of the film. Similarly, there are one too many coincidental chance encounters which make Mumbai seem like a small town. However, inconsistencies apart, the film has its strengths. Rao has written a gripping story and screenplay which maintains our attention right up to the satisfactory conclusion. Gustavo Santaolalla has provided an excellent background score and Tushar Kanti Ray has shot Mumbai lovingly which will make expatriates of Mumbai origin very homesick. A good job has also been done with the hand-held camera. Aamir Khan's performance as the brooding artist is also very good. However, the film's biggest strength and the one thing that people should travel miles to see, are the video diaries maintained by Yasmin. Kriti Malhotra's stunning, sparse and emotionally involving performance lifts the movie much higher than the stories of unrequited love running for the bulk of the screen-time. Rao has excelled in these segments and this performance by Rao and Malhotra leave us excited in anticipation of their future work. So overall, the strengths of the film far outweigh it's weaknesses and this makes Dhobi Ghat (Mumbai Diaries) highly recommended viewing.