Much like Zoya Akhtar's Murad (Ranveer Singh in Gully Boy), there is angst to escape the hamster wheel of oppression, but without the rousing dialogues or the tearjerking monologues.Ī still from Shanghai.
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When Munna visits the cushy house of Shai, he is aware that the protagonist of his narrative will not take the Dulhaniya and escape into the lush Swiss Alps. There is palpable unease, a distressing silence that pervades the film in every frame. The events in the film are viewed not with the lens of one privileged hero but from the eyes of its protagonists Shai (Monica Dogra), an investment banker and photographer, Munna (Prateik Babbar), her dhobi, or laundryman, a reclusive artist Arun (Aamir Khan) and a young Muslim bride Yasmin (Kriti Malhotra), the previous tenant of the dilapidated house Arun has rented out. I feel that Dhobi Ghat (defines) Mumbai… It is representative of Mumbai: clothes from all classes come together and get washed in the same water…That's the same with people of Mumbai, no matter what class they belong to, you will always see a tinge of Mumbai in them," she said in an interview. Dhobi Ghat, Kiran Rao had explained once, was a metaphor for Mumbai. Class conflict has for years provided fodder for Bollywood flicks ( Maine Pyaar Kiya, Chalte Chalte), but with Dhobi Ghat, there was a genuine, nuanced attempt at exploring the intricacies of socio-economic divide, and how social strata determines intra and inter-class interactions.
TOP 10 HINDI FILMS MOVIE
Set in suburban Mumbai, Kiran Rao's Dhobi Ghat is everything a mainstream movie is expected not to be - it's slow, subtle, contemplative, and non-linear. Here are some of the most underrated films of this decade This list is an attempt to bring these forgotten gems to the fore hoping that they finally get their due. In the thick of this shift to mobile-first approach, content has also undergone a dramatic change. From experimenting with narrative techniques, to doing away with the classic song-and-dance for a more realistic ethos, filmmakers have taken genre-redefining risks, of which many borne the juiciest metaphorical fruit.įilms like Udaan, Masaan, Delhi Belly, The Lunchbox, Newton and A Death in the Gunj may not have been critically and commercially successful projects upon their release, but their availability on streaming platforms and continued conversation due to social media, has made sure that they be recognised now cemented as some of the best films to have come out of India.ĭespite the active dialogue surrounding movies, though, there are some films that still haven't had their moment in the sun, either because of lack of buzz surrounding their releases, or for the simple reason that they have sunk into the abyss of our memories with the continued outpour of new films and series. Thus, Bollywood movies could no longer just be "spectacle" movies, as Ashis Nandy recognises it, but had to be made with an "artistic endevour." Hindi films had to compete with not only other Hindi films, but content from across the world. A library of content was suddenly made available to viewers around the clock, in small, digestible nuggets. With social media and streamers, viewers no longer were actively searching out for content. Now, along with easy access to internet and affordable smartphones, the entertainment market became dense with choices.
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The launch of Netflix in India in 2016 was epochal in altering how we consume content.
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But the mainstream also started showcasing films like Saathiya, Black, Iqbal,, Rang De Basanti, which were not only lauded by critics for pushing the boundaries, but were also lapped up by audiences. Films like Kaho Naa Pyar Hai, Kabhi Khushi Kabhi Gham, Mujhse Dosti Karoge, with their lavish sets and elaborate costumes, continued to be made in order to stoke the NRI-nostalgia. But the turn of the century witnessed a gradual rise in cinema whose one and only agenda wasn't to make money. For years, the Hindi film industry had been a hotbed for glitzy, escapist fantasies riddled with cliches, hackneyed plot points and whistle-worthy moments.