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DHOBI GHAT: Can Mumbai claim its mantle?

January 18, 2011 10:32:57 AM IST
Enkayaar, Glamsham Editorial
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Delhi has set the tone for the new cinematic oeuvre with NO ONE KILLED JESSICA and now it is the turn of Mumbai this week to demonstrate that indeed the middle class that is the vibrant spirit of a city has not been left aside by the cinematic fraternity. Would Kiran Rao's DHOBI GHAT be able to demonstrate once again that indeed Mumbai is the melting pot for the urban development through the ages and it is cinema which forgot to showcase it, rather than the city forgetting its middle class ethos.

To begin with let's look at some of the tell tale signs. First of all after a long -long time one is going to see the casting in Hindi language itself and not in Hinglish as it has become the trend. While on the face of it, this choice may not be a watershed, but it is a pointer to the thought that is gone into each aspect of film making. One used to hear the lament that Hindi cinema has indeed become Hinglish, but it took a Kiran Rao to change the notion once again.

view DHOBI GHAT videos

view DHOBI GHAT videos

Secondly, DHOBI GHAT is being marketed as a film that would be without a break ninety minutes of intense viewing in one stretch. It would be interesting to watch reaction of the audience to this kind of experimentation. But if indeed DHOBI GHAT is going to be a film that would run only for ninety minutes, then it could reap ploughs back all its investments within a week, as the cinema hall owners would be able to show more than 7 shows in a day.


DHOBI GHAT also is another step forward in hyper link cinema, a trend that was started in Hindi cinema in a big way by Mani Ratnam with YUVA, where the accident on the bridge was used as the reference point. In DHOBI GHAT again people from four different walks of life are criss-crossing each others' lives on a daily basis and the situations that emerge through these crossings form the content line for the narrative. This is what Mumbai is all about and one only hopes that this struggle comes out in a really nice way through DHOBI GHAT.

Last but not the least, it would be for the first time in the history of Hindi cinema in all probability where a wife is directing her husband in a love making scene on the screen. It is a clear pointer to the fact that how seriously the couple Kiran Rao and Aamir Khan take cinema as a subject to indulge in and involve with it.

May, DHOBI GHAT set the trend for scores of meaningful cinema in 2011.

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