Dhobi Ghat

Dhobi Ghat is not the typical commercial Bollywood movie, and as a debutant director Kiran Rao deserves special appreciation for boldly taking the risk. And predictably, it is not a movie for all audience. Having said that, I must mention here that the difference has been two things primarily. Expressions and acting on the whole have received centre stage focus in the movie, and the pace of the story is set to make the audience live the characters than just be unperturbed spectators of their lives.

It tells the story of several people, though most of the reviewers would restrict themselves to the four main characters. Dhobi Ghat takes us through the lives of the average housewife who races against time to get her husband and children ready for the day, the maid servant who takes pride in sending her daughter to an English medium school and the daughter who in spite of her discomfort in using the foreign language recites Lord Tennyson's lines for the camera, the local train traveller who is suspicious and scared of a stranger shooting videos of the interiors (I was appalled by the fear born out of insecurity among Mumbaikars after the terrorist attacks), the street-child who is thrilled to be captured in someone's camera, the actually insecure North Indian immigrant recalling the specialities of his native town etc. each finding their own unique life in this city where new dreams are dreamt, some are turned into reality while most break into shatters like a pane of glass. The fundamental theme underlying every character in the movie is that there is a story behind every Mumbaikar, from why they are in Mumbai to what their journey has been. This city of hope that brings people from all over the country has more than just hope for all of them. It leads them into a life intertwined with the pace and culture that is unique to the city.

Another beautiful concept in Dhobi Ghat is how conveniently our mind drifts to lead someone else's life. A desire for something or a ray of hope in a dark life can drag us into leading someone else's life even before we realise it. In the story, the central character is a newly wed housewife from Uttar Pradesh who in the process of undergoing the transformation from a bubbly adolescent to a a devout wife trickles through the emotions of excitement, happiness, peace, pain, despair and helplessness. An artist who seeks inspiration in the story of this woman, and starts defining his existence through the emotions of her life. Her hopes become his inspiration, and her helplessness turn into his! An investment banker on vacation to India from New York who meets this artist, and spends the rest of her days trying to know and understand him. And last but not the least, the local washerman Dhobi who falls for the America returned banker and sees the gateway to his future through the lens of her camera.

By pacing the story such that even every facial expression is registered in the minds of the viewer, director Kiran Rao has brought back the beauty in acting that was prevalent during early years of cinemas and plays. Minimal dialogues and maximum communication has been the speciality of the movie, and the spectacular acting displayed by the central characters make the experience even more touching.

All in all, Dhobi ghat is a welcome change amid Bollywood movies that indulge in cut throat competition with each other for commercial success. It conveys the spirit of Mumbai through the lives of four central characters, each in the pursuit of a different thing. A must watch for everyone who loves the art of acting and movie making, and definitely not one for the lover of mirch-masala in Bollywood movies.

Cheers!