Devoid of Desi Dhinchak Dhinchak, this bullock cart paced art film comprises of 4 diverse stories which unravels in an unconditional, imaginative and uncompromised way. But even at a moderate running time of 95 minutes, film becomes bore some and insufferable at few instants.
Film kicks off with Shai (played by Monica Dogra) assembling with Arun (played by Aamir) in a party and then after they make love for a night. They depart intentionally, as Arun realized the next morning that it was a folly act. Shai is a NRI banker by profession, but photographer by passion. Her path intersects with Munna (played by Prateik Babbar) who is Dhobi (Laundress), but dreams to become a superstar actor. Munna asks Shai to take his portfolio pics and with passing days, Munna eventually falls in love with her.
Arun is a terrific painter who has got divorce and also is a chain smoker. He changes his residence every now and then. If you are ignorant about such things consider it as an artist’s style to get inspiration. In his new-fangled seat, he comes across 3 tapes which show us the fourth and the final character of the movie i.e. Yasmin (played by Kriti malhotra) who shoots herself in a video. She wants her brother to see all those tapes.
Stroke of white color on Aamir’s hair show us how hard this actor tries to get into the skin of character not only with his expressions, but also with his hairstyle. Sadly, it looks unimpressive here and Aamir’s acting is not at all worth appreciating. It felt as if, he struggled throughout the movie to identify his character. All other actors have performed superbly. Few light moments are fulsomely cherish able, thanks to Prateik & Monica for that, as they delivered dialogues in a glowing way. Munna running after Shai’s car with pitch perfect emotions is my favorite scene, in which one can truly identify this new star’s potential. Kriti malhotra is the finest of the lot who convincingly strikes the correct emotional chord & in such a manner that the viewer gets spellbound with it.
One’s painter, one's a photographer, another likes to pose & the other shoots herself with a camera. Premise is undeniably intellectual but writing here is amateurish and narration too, film is loaded with dull dialogues.’ Why people visit Gateway of India and Marine drive in Mumbai’ is an attention-grabbing topic from world cinema’s point of view, but Kiran Rao messes that plot miserably.
Painting which Arun creates from Yasmin’s tapes shows us Kiran Rao has atleast got something convincing & sparkling to show us, which to some extent also makes me say that her next project would be awaited. Mumbai could not have been more persuasively shown. Cinematography is the epicenter of the movie on which movie relies strongly. Background score is soothing, but to be honest it’s just less than gratifying. It could have been much more powerful.
Due to screenplay and dialogues comprising of nothing but flaws, I’d say Dhobi Ghat is an art for art’s sake that doesn’t comprise of right art !!
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