SIR (2020)
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| Critic - No. 194 |
Director: Rohena Gera
Produced by: Platoon One Films
Casts: Tilotama Shome, Vivek Gomber
Language: Hindi, English
Genre: Drama, Romance
SYNOPSIS:
An optimistic and determined young widow, Ratna (Tilotama) from a remote village, starts a new job as a live-in maid for the cynical son of a wealthy family, Ashwin (Vivek) who had just called off his wedding. They form an attraction towards each other that develops into a forbidden relationship.
REVIEW:
The film’s spine is simple - a servant and a rich young man fall into a complicated relationship that acts against the social norms. However, what director Gera offers us in return are the multi-layered, complex characters that make us root for their fears, excitement, and of course romance. In the starting few scenes, we get to know Ratna quite quickly that her main objective is to save money for her younger sister who aspires to be a fashion designer accompanying a dream to have a tailor shop as well.
Both the lead characters, Ratna and her ‘sir’ (Ashwin), do not occupy the same frames at first and we see them more to have a transient contact than anything more. Gradually, when Ashwin gets to know her dreams and makes small talks to help her at times when she needs hours off to learn to tailor, their chemistry starts to trickle in. Gera’s frame pushes them close. They stand in the same doorways and kitchen space. They exchange tidbits about their lives, the things they wish they could do, and the places they wish they could be. Gera, along with editor Jacques Comets and co-editor Baptiste Ribrault, zeroes in on the silences between these conversations, as if to unearth both the characters’ hidden desires and, in the process, tie these desires to one another. I love that kind of sexual and romantic tension that is constantly running, that’s natural, unhurried, and realistic, something that we don’t see much in Indian films (other than the full art house ones). 'Sir' has nice tension and relatable characters that any mainstream romantic film lovers will appreciate.
Of course, through these interactions, we see external and internal conflict peeking in through the judgemental society, and also Ratna’s fear of being judged for the taboo is effectively shown in the ending monologue. You don’t get a straight definition of the ‘affair’, instead, we see a relationship that feels more like a premature companionship. Through the external conflicts from the friends and family of Ashwin, we learn that despite being a ‘modern’ city in looks, the society in such patriarchal settings is still miles backward in thinking. It will definitely take decades to turn the minds of such hardliners.
Tillotama and Vivek are outstanding as the main lead who essay characters who are complex and subtle at the same time. They strike a beautiful balance between expression and refrain, innocence and courage, quite competently. Tillotama in particular renders one of her finest performances. She evokes empathy without letting her character wallow in self-pity.
I can totally understand why it was picked up by Cannes, given its forward-thinking concept. We hardly stumble upon a sincere love story with realistic conversations, conflicts, and arcs in Indian cinema and ‘Sir’ will definitely leave a smile on your face.
VERDICT:
Part social commentary, part drama, ‘Sir’ layers its delicate romance masterfully to question the social taboos and status of women in a backward thinking, patriarchal society.
CELLULOID METER- 4/5:
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