Set amid the stark dualities of the new Bombay, Mumbai Diaries follows four characters whose lives suggest the various ways one can experience what writer Suketu Mehta dubbed the “maximum city,” and the social and economic determinism that closes each of those experiences off from the others. The film, writer and director Kiran Rao’s feature debut, is marked by an ambition as grand as it is vulnerable to classist cliché. Rao’s ultimate achievements — including a balanced, doleful tone and moments of city symphony elegance — are undercut by the arrangement of her characters into narrative castes that cross paths but can’t quite connect.
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REVIEW: Characters Can’t Quite Connect Amid the City-Symphony Elegance of Mumbai Diaries
