Spiritual Images of The Bombay Diary
01 The film begins with a not-so-professional video, shaky and unfocused, with a female voice narration. It started with the rainy season in Mumbai, a sticky dream. After focusing on a city, the story is less thin. 02 As an artist who has extensive contacts with cultural elites, Arun has grown up in the expectation of many goals. His crown wasn't enough to keep him entertained. Always missing something, with a bottleneck of inspiration, he began to look for new housing as an art space. At the same time, I bumped into Shai, who was also at the bottleneck of his life, who came to Mumbai as an amateur photographer, and the keepsakes and old pieces in the closet of the old house—the camerawoman Yasmin who brought the story of Mumbai in the title.
Arun and Shai have similar tastes, encounters and life experiences. The discourses of the upper class and the spiritual symbols of art seem to have shortened their distance and allowed them to deliver each other's bodies. They have since distanced themselves. His panic, her senselessness, alluded to the mutual exclusion from the two voids. On the contrary, the video of Yasmin, who is also a sojourner, allowed him to taste the breath of Mumbai's rainy season, the smell of the neighbor's family affairs, the bright colors of the dusty city, and the fireworks and loneliness of the world. The rough video is a large block of color, and Yasmin's lonely vitality touches the sexy of his soul. This indistinguishable beauty, every moment of Yasmin's personal history in the video, is the illusion of his real life in every moment of his artistic time, awakening his innate consonance. Unlike him, Yasmin's loneliness and ego are too bright and real. Arun saw the sojourner's point of view, and saw the bright colors above the filthy darkness of Mumbai. Knowing Yasmin was also understanding what Shai might have experienced as another sojourner. With joy, he pondered all about Yasmin in the video. Shai met Munna, a laundry worker who was walking on the upper and lower floors, because laundry and Arun also had some intersections. An anthropological inspiration and interest led Shai to follow Munna's life and begin her artistic path in photography. From the studio to the river where laundry is done, she outlines the vain dreams of a small citizen born in a city and the tension in facing the humble reality. The vivid living environment also shapes her increasingly sharp photography style. While learning about every aspect of Munna and Mumbai behind him, Shai is also feeling the feelings that Arun, a Mumbai local, should have for the city, and the melancholy of the empty narrative under his feelings.
When their inspiration accompanies the art object to its peak, death cuts the way - Yasmin finally survives the despair of life and hangs himself in Arun's current house; Munna's brother dies in a gang fight , without a name certificate. The two people who gave art their life also made their achievements come to completion in the end, and completion means the beginning of more mature reflection. There is also an old woman with Alzheimer's disease in the film, which constitutes the premise of the film's climatic depression. Her character's perspective is to watch the scorching joys and sorrows of the city on the sidelines, carrying the city's emotions. Everything that happened formed her silence, and she told everything with silence. 03 Some people say that the film is to connect the lives of four people through a bond and present Mumbai. But the problem is how mysterious this bond is, and it is also the main focus of the film; some people say that several classes are like the separation of things in themselves and Dasein, and they do not really participate in each other's lives. Less is more, but this greatly reduces the interest of literary films and falls into the cliché of hurting spring and autumn. I am afraid it is not the taste of the soul mate of an artist, a screenwriter and an actor, so this statement is also debatable. . The key to the question as a philosophical esoteric teaching is that the tension that is constantly generated collides and pulls without breaking, not the answer itself. Therefore, in fact, I do not agree with the statement of Mumbai from the perspective of several classes. It is more or less vulgar class analysis, but it is not the quality of the film itself. There are only two mutually staggered perspectives, narrated by parallax. One is locals-sojourners-female protagonist-camera: the other in sojourn, male protagonist-laundryman: locals; the female protagonist knows the male protagonist who is also a local through the locals, and the male protagonist understands through the other. The heroine's expectations for Mumbai. The second is the artist who expresses the abstract spiritual process - the narrator of the specific life story - the heroine - the hero, the cameraman - the laundry worker; the former has a philosophical sensitivity to the lively reality, and is committed to expressing the spout of life. Purify the soul in the world, and outline the truth in the Saha. The spirituality of the latter is annihilated in the world, and the waste of the world is their color block and coating, but it accelerates their spiritual death; and the art used to maintain the hero and heroine is at first vacated, until two people who have a story. Giving them artistic life, the beginning of their reflection on the city and the story, they are the beginning of artistic resonance and real communication-the two of them are reborn in art in the spiritual light of the creation object, and the real narrator is in the process of life. Light dies in his own story after being covered in dust.
Therefore, the film is not so much a restoration of a Mumbai from four perspectives, it is better to say that it is a combination of photographers and the artist's artistic life, and the unfolding of a seemingly unrelated, but in fact, close Platonic communication. They exchanged artistic opinions in a superficial way and their abstract appreciation of each other did not really identify with each other, but the accidental encounter of the seemingly deeper flesh alienated them. The real intimacy lies in the fact that one understands the living and dying Mumbai from the real life of the native (laundryman) through photography, and the other sees the metaphysical outline of Mumbai through painting through the narrative of the other (the sojourner in the video). Hope and death. While restoring, expressing and completing the other two lives, they began to truly enter into each other's lives, realizing the intercourse in art. When the artistic mission and the work are completed, it is also the beginning of spiritual intimacy. So different from the first meeting, the heroine's mentality has changed from a low-profile appreciator to a mature interlocutor with a story, finding herself and becoming a photography artist; They stepped out of themselves and became the narrators of real life. They were faced with the lingering heavy emotions of the world compared to the joy at first sight, which reconnected their fates.
More profound than the physical collision and the exchange of words is the face-to-face meeting of the real life state at a certain moment, riveting in the interlacing, and embracing when the arms are just open. Therefore, it is not difficult to explain that the completion of the laundry and the heroine finally took the painter's new home address to think about whether to go and meet again, because everything was just right, but all the excitement was over. They are all going through a time of sage that is quieter than death and more violent than expression. The two stories that complete the interaction of their artistic life exit the stage, and their own real life and story can be logically unfolded and continue to write Mumbai. Reflections on surviving on two storylines cut off by death continue, and art will rekindle the anger of life under the city's low air pressure.
The tension between story and void, the tension between existence and art, and the anger of life expressed by art form tension with Alzheimer's death-like silence in the world, which becomes the film's pull without breaking, a sticky and neat interest. Well, so narrative ethics is indeed an advanced aesthetic that unfolds spiritual secrets. Confidential and undisclosed, there is a sense of restraint without losing fate.
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