The name of the film refers to certain weather conditions. Though, rain works both as climatic relief and also works as the repetitive factor that quenches certain lonesomeness, distress in the life of the three main characters as the sun tries to dry down the damp weather and also provides warmth. The film shows Mumbai extensively. The Mumbaikar dialect and the shore of the Arabian Sea distinguish the setting from other metropolis.

The film opens with Debu, the lyricist (played by Rajit Kapur) trying to write something. Suddenly a downpour arrives and dislodges him from his initial position. He takes refuge in a coffee shop, watches the passer-bys and writes a new lyric, the title card rolls over vis-a-vis. After the rain slows down a bit, he returns to his shack to find out, his partner Sameer (played by Milind Soman) has left a note to draw curtains on their three and half year long relationship. Thus, Debu’s character is established as an homosexual man.

After one of the three prime characters is introduced, introduction of the rest doesn’t take much time. Juhi, a middle aged prostitute (played by Manisha Koirala) encounters Debu, as they both vouch for the same taxi, which works as one of co-incidence of the film. They eventually meet for the first time.

As both of the characters are in a hurry, they get hold of the same taxi or auto which has been an age old approach (how protagonists tends to meet each other) in Hindi films. The third prime character is Kaku, Juhi’s physically impaired son, who travels on a wheel chair and can’t speak (played by Sanaj Naval).

Debu is in search for a house to live in and a job to sustain him, as he is unable to write peppy numbers as ordered by the producers. Now a question may arise: Does being a homo-sexual man, works as a barrier to write songs which showcase female body as “obscure objects of desire”? Or is he too passionate about his writings, that he cannot treat them as cheap saleable rags on paper. Debu’s requirements are shown, that is being taken care in the following sequences. Juhi’s maid is shown irresponsible, who lacks her duty towards Kaku. This can be treated as a precursor to, Debu’s introduction in Juhi’s household.

Juhi being unaware of Debu’s sexual orientation shoos him off, doubting his intentions. Here, another thing can be noticed, the society is not habituated seeing a man as a nanny (“Bai”). But they meet again in a bar, Juhi is frequent there in search of customers, Debu is seen lamenting over Sameer’s note.

Their second meeting can be treated as another co-incidence. They bond over old Hindi songs and Debu is given the job of babysitting Kaku, thus the three socially marginal gets united. Later on the film shows, how Kaku and Debu learns to understand each other- Juhi getting jealous of Debu, as he and Kaku bond well. But Juhi gets cheerful as Kaku speaks for the first time and she thinks kaku calls out maa. To elaborate the attachment between Kaku and Debu (the non-patriarch father figure for the mother-son duo) the director shows, how debu fulfils Kaku’s wish of running with other kids, by carrying him on the shoulders in the beach.

Portrayal of an ageing female escort is done by presenting her anxieties, insecurities, sorrows. She is being presented as a human of flesh and blood, who not only scolds under- aged customers but also becomes jealous of college students who are new to the profession, but their attractive outfits out-dos her old sari and strong makeup. She is also shown as un-professional yet humanly character, as she scolds a boy who is under-aged but wants to

get ‘’laid on’’ with her. She is so engrossed with her role of a prostitute, that when later she goes to‘real five star’ hospitality property she doesn’t leaves her habit of getting a customer, as she always remembers, she is sole earner of the out casted family.

The way the film deals with LGBT or Queer concept is somewhat problematic from the Queer viewpoint. The first time Debu speaks of his choice of orientation to Juhi, he as if reconnects his partner with his father, who was a strong military man. Debu never got protection and warmth from his father. Maybe that’s why he still looks and craves for that while choosing a partner. This statement underlines a vacuum or lack of care but when that is used to justify a homosexual human being’s preference, maybe it’s not enough.

In a previous sequence, Debu has befriended a man and brought him home, Juhi betrays him and takes away the person from him, and spends the night with him. It’s not shown, the man pays Juhi or not. But the concept of Male homosexuality is being confused by such assortment. Similar thing happens, when Sameer calls Debu to meet for the last time. Sameer asks Debu not to speak of their relationship to anyone, as he is getting married. He also refers to their relation as a mistake.

Debu remains a standalone who is not a bisexual like Sameer and the other person (who had been seduced by Juhi) whom Debu thinks as homosexual but turns up the other way round. Even, Juhi advances towards Debu for a sexual encounter, as she had underlined, “how can you be so sure, when you have done nothing with a woman?” In response, Debu doesn’t feel familiar in such a situation, he flees. With narrative progression, the director tends to indicate, homosexuality of Debu is not normal as he tends to be involved in an emotional attachment with Juhi, towards the end of the film.The film not only has multiple references of old Hindi songs and mentions of their lyricists and composers but also has some other sorts of filmic references, even towards portrayal of prostitution in earlier films, as well. Juhi’s encounter with a probable customer in the bar, landing towards disagreement with price put forwards the following dialogue: “ apne ap ko Kareena Kapoor samajhti hai kya?”. In, 2004, Sudhuir Mishra made a film called Chameli, in which Kareena Kapoor Khan plays the titular character , who is also a prostitute.

Transitions are one of the aspects with which the Dipti Naval has played with, to a long extent. Apart from conventional cuts, she uses overlaps, which contains somewhat technical glitches, as both the previous and the present frame stays on the screen for a fraction of a second. She also used wipes (radial and vertical) and dissolves according to the period of the song, which is being recreated in the present setting (when Debu and Juhi dance with each other).

The film, asserts positive vibe. The trio in focus goes through rough patches but they try to find happiness among sorrows. The auto covered with yellow balloons might be a symbolical representation for sunshine. It can be said, rain is motif in the film, which acts as representation of trios’ gloomy life. But they spend happy times, which become easier as the parent figure grows attachment with Kaku. Even, Juhi and Debu spend times in each other’s company, discussing about each other’s life. To wrap up the discussion, it can be said, the film narrates how three misfits (according to practiced socio-economic norms) fit in with each other and the film ends in a happy, jovial mood. Still, a question remains, why is Debu’s return mandatory in the ending? Is it because, he needs to support the family, as Juhi has detached herself from prostitution. Or, is it because of the bond that he shares with the mother-son duo?