STORY: Soul players are found in unexpected places. Two people who are separated by social norms and united by their quiet love, understanding and mutual respect, treat each other with strength as they give each other a sense of humor, talk peacefully and wonder what awaits them.
REVIEW: The film's main protagonist - the U.S. has brought back designer Ashwin (Vivek Gomber), while discussing the relationship woes with a friend saying, that he can't be a guy texting or calling a woman randomly if that's what he expects. A few scenes later, he picks up the phone and calls Ratna (Tillotama Shome), his Maharashtrian maid, who is on a three-day break at her sister's wedding in the village. He got a little lost outside her house, when she was asked by him, "Sir, Kuch kaam tha kya?", She replied after pausing, "Nahi, Aise hi phone kiya." They don't talk much but that call is enough even if they know what it means. Love moves you to do what you tell yourself you will not do. Director SIR by Rohena Gera contains exciting moments like these. They help you to interpret unspoken feelings between two people, who find their soul in an unexpected state. Gera skillfully uses the language of peace and selects the leading characters to bring out their similarities despite the great differences of class. Loneliness and emotional turmoil do not separate the rich from the poor.
Unlike many stories of this nature, a love drama does not follow the ‘rich poor boy’ template that expects a woman to be a quiet or self-sacrificing poor person and a man to be a savior. Ratna may be illiterate or a eloquent speaker but a powerful fighter, condemning social ills. A young widow, she knows more about health and survival than a New Yorker in Mumbai who cares for broken relationships. You finish him off in ways he finds hard to understand. He gives her the courage to pursue her dreams as she tries to follow her own example, even though she has few resources. This is not your typical story of a rich man promoting a poor woman. Here the prince does not need his Cinderella to appear in a beautiful dress, beautiful makeup and glass stacks. He embraces her even though she continues to do her daily chores because she understands him better than anyone else.
Ratna strongly states that she wants to be a tailor when Ashwin ‘sir’ asks her if she hopes to become a tailor. In his country, dreams do not come with a class certificate. And for her, social labels are gaining more prominence than emotion. In the scene of Julia Roberts-esque from Pretty Woman, the maid is shown the door and embarrassed as she tries to look at a high-end fashion store in Mumbai. But nothing prevents her from telling herself that the slave also has the right to be what she wants to be. The text does not seek to discriminate or hate but to hope and hope, just as treatment is always incompatible and true. When Ashwin's friend asked him, ‘how can you date your maid!’, These words are not humble but touch a third person who is not blinded by love.
With a launch time of less than 2 hours, the film has a warm, sensual feel to it. What stands out is the emotional attraction that comes with it. The characters do not touch or speak to each other but the approach is audible. This is hard to find in today's love stories.
Moody cinematography cleverly uses Mumbai, the sea and the spaces inside a flooded house on a very high point as an important character. The city, the world of opportunity is balanced. Two people who are dragging each other but stop saying so, live in the same house in nearby rooms. The walls separating them are also a metaphor, meaning the state of Ratna and Ashwin is the closest to date.
Tillotama Shome and Vivek Gomber stand out as two people who have to disclose and hide their feelings. Striking the balance between speaking and giving up, purity and courage - Ratna and Ashwin are deceptive characters who can be portrayed. The characters add simplicity, sincerity and a sense of natural compassion and beauty to the story. 'SIR' without these two would be impossible to understand. Tillotama in particular offers one of his best plays. He ends up investing emotionally in the story and arouses empathy without letting his character feel sorry for himself. Dangerous but courageous, Geetanjali Kulkarni in his important supporting role as Ratna’s confidante Laxmi, gives an outside perspective on the division of the wider class. Ratna and Laxmi's soul conversations with a motorcycle rider are liberating.
Rarely do you stumble upon a love story that ends well as it begins. This is undeniable.
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