ChanFamous I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

SeeQuant Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction

Gurlyndrobb While it doesn't offer any answers, it both thrills and makes you think.

Cassandra Story: It's very simple but honestly that is fine.

Prince_Adam Lo and behold, there's a new talent on the director's chair. Take a bow, Kiran Rao, this is one of the best directorial debuts ever.Dhobhi Ghat is a scholar's (Kiran Rao) dedication to its muse (Mumbai). A savoury ode to one's fetishes. A philosopher's view of the contradictions of our civilization. And a guiltless acceptance of one's harmless pursuits. There is no scepticism in Rao's love for the city. It's pure and unconditional. That is why she chose "Dil tadap tadap ke keh raha hai aa bhi ja" as the song to describe her feelings.He meets her, she meets him and he meets Yasmin. There's no beginning. There's no end. There's a journey that goes, ripping the obstacles around it, while walking, sipping a cuppa tea, smelling the fragrance of flowers and hacking the caustic forces in form of cruel changes before they suck our passion. The editor's chopping table called for a sacrifice; as a result, the fifth character, that of the labourer, went away. One may call it a mistake, but perhaps it was influenced by the ruthless impatience of today's young breed.We all know Prateik had talent. We all saw how he turned an unlikeable introvert from Jaane Tu Ya Jaane Na into a lovable character. This time he submits himself to his character of Munna, a ghetto boy. Never do you feel that he is the MTV-watching yuppie. The ode to Salman Khan, the Khan of all seasons, is a masterstroke. How could Munna be a fan of anyone else, other than the 'Bhaijaan' of the Hindi film industry? Monica Dogra is impressive. She underplays herself so well. We need to see more of her. Kirti Malhotra (Yasmin) is a talent to watch out for. Now on to the biggie: Aamir Khan. He is the only mainstream actor, a man of the classes and the masses, who'd have the guts to be a part of a cinema like this where he is basically a supporting character, free from any starry traits. This character is the opposite of what he played in Ghajini. There he played it to the gallery with aplomb. Here he's restrained, virtually immersed in the background. He talks less, thinks more. For those not used to subtle acting, this performance of Aamir warrants a repetitive viewing to get the notes correctly.Here lies a cathartic passion of finding one's inner-self in Mumbai Diaries. In many ways, it's a kind of a love story where one doesn't realises that one is in love till years go by -- an unchanging soul of one's life. It grows on you like a fine malt.

Advait Kamat There is something refreshingly different about "Dhobi Ghat". It spins a fable of the world we claim to know and live in yet it's unlike anything we've seen before. The answer to what makes it so different is a lot like the characters it tells us about : enigmatic and complex. Kiran Rao's debut succeeds in picking out those few emotions which we experience everyday but never succeed in comprehending them.Of the millions of storytellers of the chaotic, vibrant and secretive city of Mumbai, Rao narrows it down to just four of them. Munna (Prateik Babbar), is a washer-man who aspires to become an actor one day. His luck takes a turn for the better when he encounters Shai (Monica Dogra), an American banker who comes to Mumbai to pursue her interests. Shai is an adventure junkie, intrigued by the squalor of Mumbai, and befriends Munna because she needs a friend to show her around the city. In the course of things, Munna falls in love with her but she has her eyes on Arun (Aamir Khan), a reclusive artist. Arun has a dark past and therefore fails to have an emotional connection with anyone. After he moves into a new house, he comes across a bunch of tapes in which a newly married woman Yasmin (Kirti Malhotra), an ex-tenant, tells her brother of the new life she's experiencing in the city of Mumbai. Hesitant at first, Arun becomes increasingly fascinated by her life. The film explores the intertwined stories of four people who are, in different ways, affected for the better or worse by the delights and tragedies of the city that never sleeps."Dhobi Ghat" is a film reminiscent of the miraculous Indian art films of the 1980s. Although Rao uses the unusually chaotic city of Mumbai as her muse, the film is something as quiet as a whisper. Rao cleverly uses archaic locations around the city to give it a melancholic look and feel, yet there is something strangely optimistic about it. "Dhobi Ghat" is a remarkably observant film. In one fantastic sequence, when Shai asks her maid to bring tea for Munna and herself, the maid gets it in an ordinary glass for him, clearly highlighting the appalling difference in class which exists all around us which we sadly choose to ignore. The story of Arun and Yasmin merits a deserving round of applause for Rao, who chooses something drastically different from the usual mundane crap we're subjected to in Indian films today. It is both imaginative and fascinating, and Rao tackles it with vigor and a sense of urgency. Tushar Kanti Ray's cinematography is outstanding, capturing the right essentials of the city with his faithful camera. Somewhere in the midst of the film, a hollow feeling begins to creep in but you can't place where it could've originated from, which is harrowing. One grave error on Rao's part is that she doesn't let her characters evolve completely. Making use of an age-old cliché of an outsider coming to explore the city of Mumbai, Rao ends up playing herself through the stereotypic character of Shai, because she documents the city without any affection whatsoever. I couldn't quite understand the relationship Munna and Shai share, for there are flashes of affection between them, but the depth of it is kept cryptic. In my view, had Rao made the film about for people who are used to the abrupt tragedies and small delights of the city, the film could've turned out to be better and much more mature. That, you see, would be a tribute to the city.Of the performances, Aamir Khan is reliably excellent, playing the brooding Arun with exemplary calm and confidence. Babbar and Dogra are convincing in their respective roles, but the best of the lot is Kirti Malhotra, who has the briefest role of the four leads. Though she's hardly seen in the film, her oratory skills are simply terrific. Yasmin is a character all of us have encountered at some point or the other in our lives, a passive spectator but who can speak volumes with her silence."Dhobi Ghat" is a flawed effort and is criminally passed off as a documentary about the city. Though Mumbai does play a significant role in the film, it is a mere representation of how an outsider embraces it. The film is devoid of a plot and the soothing and redeeming qualities of the city are never explored, because the morally complex characters get nowhere at the end of it. Still, I'm glad that someone in the industry has no qualms about making an independent film in a commercialized film industry. It's a good film but far from a perfect one, and if you can overlook the gaping holes in its premise, it can make a compelling experience.

morrison-dylan-fan Since having been shown the classic sports movie Lagaan in 2006,the main thing that I've always heard when friends have been discussing Bollywood movies,is how different the films lead actor (Aamir Khan) is from other "mainstream" Bollywood actors,due to him having taken a very "method" approach for a number of his most well known roles.Recently deciding to cheek his IMDb page to see if he had any upcoming projects,I was shocked to discover that Khan had done a 2010 film with his wife which seemed to have been completely over looked in the UK.After having read a few interesting bits about this oddly over looked movie,I decided the it was the perfect time to take a look at Kiran Rao and Aamir Khan's snapshots of Mumbai.The plot:Arriving in Mumbai to follow her passion for photography,banker/turned amateur photograph Shia goes to visit a newly opened art gallery.Impressed by the art works on display,Shia gets a happy surprise,when she bumps into the struggling artist (Arun) who has created the beautiful works.Being taken by each others good looks and charms,Shia and Arun leave the event so that they can spent the rest of the night alone together.Inital acting in a flirty manner,Shia's hopes of a relationship developing with Arun are left in ruins,when Arun "politely" decides to ask Shia if she is OK with their romance being "A one night thing!".Slamming the door behind her,Arun soon has his washing delivered from a man called Munna. (who also gets the chance later, to cross paths with Shia.)Wanting to go deeper into the art world,Arun moves into a much more classy,upmarket flat.Unpacking the handful of belongings that he has taken,Arun discovers a hand made bag hidden in a corner of the flat,filled with a number of home video tapes filmed by the previous resident of the flat.View on the film:Showing a strongly individual directing style for her debut film,writer/director Kiran Rao shoots the movie in a half docu- drama/half "indie" lo-fi fuzz style,with the scenes featuring the four interconnected characters mostly focusing on their attempts to slowly move "up a level" and reach their long-distance goals.For the "docu- drama" moments of this interesting movie,Rao shows an impressive attention to detail,as the Mumbai skyline is shown in a gloriously over exposed light,and the great on-location out door scenes taking place around the real activates of the residents in the city.Whilst Rao's dialogue rings with a wonderful frankness,where the discussion on love and sex from Shia (played charmingly by debut actress Monica Dogra) and Arun, (played by a quiet and focused Aamir Khan) impressively stays away from feeling sweet and "loved-up",to instead being much more realistically open and genuine.Although the dialogue allows for a good out line to be created for the characters,Rao seems to be overwhelmed by the size of Mumbai,with all of the characters feeling a bit of a distance from being fully formed,as Rao struggles to do a deep,intimate portrait of the characters,as the huge city casts its shadow over the proceedings.

thekashif Before watching this I read the reviews here and according to majority this movie is Crap. People have supported the negative reviews and thumbed them up to bring them on top and all positive remarks are at the bottom. I am sure the same happens with my review too.OK when I watched the movie I was like What the....! Its the best 2011 movie according to me. It was so beautiful and engaging. I don't believe people calling it a cure for insomniacs and blah blah. Amir showed us what great acting is and so as all the other cast. What Amir did in 3 idiots is not called great acting but this movie definitely portray great performance by Amir. The direction was also superb. I have seen almost every 2011 movie and this is the only movie for which I can say "yes this is Cinema".All I can say is that people need to change the way they watch movies. I mean all movies are not equal. Why cheap vulgar comedies are appreciate by people in India more than serious intelligent Cinema? Sorry to see these cheap movies get recognized and not artistic movies.I am very disappointed by people's attitude towards this movie. I am sure if this movie had some item number by Katrina, some cheap jokes, horrible dances, action etc People will be in line to see it! Grow up Indian Audience please!