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Dhobi Ghat Review Kiran Rao’s Dhobi Ghat is the story of four Mumbai based characters who, while dealing with personal demons end up crisscrossing each other’s paths and in the process change forever. Laced with some magical moments Dhobi Ghat might stir the viewer to some extent but on the whole the film comes across as a much manufactured exercise with a slight hint of pretense.
Shai (Monica Dogra), a New York based investment banker on a sabbatical of sorts, meets a reclusive artist, Arun (Aamir Khan) and they hit off like a house on fire. Shai thinks that the chemistry is good enough to explore further but Arun’s a different man by the daylight. Shia decides to concentrate on vacation assignment of photographing people with strange vocations and befriends Munna (Prateik), a local washer man who dreams of becoming an actor. As Munna shows her the sights of the city she clicks his portfolio. They end up spending most of their time together but she can’t seem to get Arun out of her head. Arun shifts into a new house and gets lost in the life
of the earlier tenant Yasmin (Kirti Malhotra) through the three video tapes he finds in the house. Shia locates Arun through Munna who happens to be the common link between the two and surreptitiously starts photographing him. While Arun gets immersed in Yasmin’s life that is going from bad to worse, Munna starts falling for Shia who still pines for Arun but will the four get what they want?
Kiran Rao’s Dhobi Ghat walks the same path as most Alejandro Gonzalez Inarritu films like Babel, 21 Grams or Amores Perroes. The whole deal of three or four characters whose lives collide and alter the course of their very existence has been done to death and Rao’s film does have a big Inarritu hangover. So much so that she even gets the Mexican auteur’s regular Argentine composer Gustavo Santaolalla to do the background score. Having said that her characters are unique, their stories interesting enough to follow but Dhobi Ghat tries to be something different from what it ends up being.
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