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Sir movie review: A courageous traverse into difficult territory

Sir movie review: sir is an unusual, courageous traverse into unfamiliar, difficult territory, stepping in very carefully into the minefield which people like us have taken for granted for years..

Sir movie cast: Tillotama Shome, Vivek Gomber, Geetanjali Kulkarni, Rahul Vohra, Anupriya Goenka, Chandrachur Rai Sir movie director: Rohena Gera Sir movie rating: Three stars

Even in a plush high-rise in Mumbai , a megacity presumably without as many raised moralistic eyebrows as other places in India, the sharing of space in the same flat between a single man and a ‘maid’, can set tongues wagging.

In Rohena Gera’s Sir, it does come up, only to be swept aside swiftly and decisively by Ratna (Shome): she is here only to make a better life for herself, and for her family left behind in the village. With her salary, she’s helping her sister get an education, and the residue will someday help her fulfil her own dreams. It’s only when her employer, the recently single Ashwin (Gomber) starts to see her as a personable person, rather than just a convenient fixture, that the divide between class starts to blur.

Is the blurring enough, though, for two people from such diverse backgrounds to come together romantically? How will an unsophisticated Marathi-speaking village girl, however dignified she may be, and Shome does a brilliant job of coming across as a young woman of immense dignity and self-respect, bridge that near-insurmountable divide that comes with wealth and privilege? How will it work with a man who uses English with his family and friends as the language of communication, dropping into stilted vernacular when instructing domestics, like so many of us urban types?

Sir is an unusual, courageous traverse into unfamiliar, difficult territory, stepping in very carefully into the minefield which people like us have taken for granted for years. It’s only because Ashwin has lived a spell in the US that he is able to talk to Ratna with a degree of respect, unlike his pretty party pal (Goenka), who deals out a stinging, humiliating slap to the ‘servant’. For a film which is subtle in many of its notes, the bald use of the word ‘servant’, from Ratna’s mouth, serves as a double-edged sword: in the saying of it, she is acknowledging her own awareness of the chasm between them, as well our discomfiture at this unlikely couple.

We start by seeing the two inhabit different spaces in the flat, she in her small ‘SQ’ (servant’s quarter) and the kitchen, he in the rest of the house. Slowly, as they begin drawing closer, they start sharing the same frame, tumbling rather too suddenly into intimacy. Some more time spent between the two, some more negotiating bends, and the relationship could have been built upon a bit more: I missed those in-between moments which take place between scrupulously observed distance, and the awareness between a man and a woman.

Finally, a film like this, with its fairy-tale arc, depends on how much it can make us believe in the fact of an Ashwin and a Ratna finding lasting commonalities. The ugly real-life fact in India of all-powerful employers preying sexually upon domestics, and how these things can quickly become unsavoury jokes, is side-stepped by the fact of Ashwin being the kind of guy he is. You can see he is kind and compassionate, both qualities Gomber radiates well, and that his loneliness is being assuaged by this intelligent young woman. You can see the distance being bridged by both beginning to share little details of their day, slowly, awkwardly, but surely. And the fact that the film manages to do this, and create believable upstairs-downstairs characters without being patronizing, is nice: Geetanjali Kulkarni, as the ‘maid’ working in a neighbouring flat, and the only one Ratna can depend upon, is terrific.

Will Ashwin and Ratna live happily ever after? Sir, out in theatres today, scores in being able to even pose such a question, with pleasing delicacy. As to the question, who knows what the morrow will bring, but we are all allowed to dream, aren’t we?

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Netflix’s Sir: The Indian Audience’s Fascination With The Rich-Man-Loves-Poor-Girl Trope

Love is said to transcend all barriers, but quite realistically, Indian cinema has continually engaged with tragic stories of lovers who couldn’t be united because of social and class differences. The iconic dialogue:  “Bekhuda, hum mohabbat ke dushman nahi, apne usoolon ke ghulam hai”, from the epic love story, Mughal-e-Azam , released over six decades ago, resonates with us even today, as the sociocultural climate of India remains largely unchanged. More recently, in Kabhi Khushi Kabhi Gham (2001), that became the highest grossing Indian film worldwide at the time, popularised the conflicting pulls of tradition versus love, as the character of Amitabh Bachchan kept harping on “parampara” to coerce his son into subscribing by class norms. The lovers’ refusal to bow down to the patriarchal stooges of classism led to the son’s disownment from the family, and their departure to foreign lands, in a bid to escape the bounds of Indian society. 

It must be stated that countless Bollywood films have been based on the theme of class divide in love relationships. Bobby (1973), Devdas (2002), Maine Pyaar Kiya (1989), are some of the prominent films that have portrayed lovers who cannot be together in socially legitimate ways. Reversing the positions, films such as Kaho Na Pyaar Hai (2000), Dil (1990), Raja Hindustani (1996) etc., have portrayed the rich-girl-loves-poor-boy trope. The popularity of the given formula seems to indicate at more than just a specific cinematic taste. It reveals the persevering social conditions that still lead to the rejection of such so-called ‘mis-matched’ lovers. And so when Rohena Gera subtitles his film, “Is love enough?”, it strikes a chord with the audience, that on one hand espouses modernising Indian sensibilities, but at the same time, remains largely powerless when faced with such moral dilemmas.

Also read: Film Review: The Great Indian Kitchen – Serving Patriarchy, Piping Hot!

Recently, I spoke to a friend about Sir , and one of the most important things she said was that “these kind of things probably do happen to people… you never know”. Indeed, what is projected as a novelty in the film is not really so in reality. We come across countless stories of star-crossed lovers in the newspapers, lynched, murdered, ostracised, or simply forced to marry other people, because they chose partners from a different caste or class. The present debates around love jihad are a case in point.

Years ago, the film, Love Sex Aur Dhoka (2010), created ripples amongst the Indian audience for its depiction of pornography. I was in college at the time, and remember being aghast by the gritty portrayal of love and sex. But significantly, the film shocked the Indian audiences because it brazenly portrayed the dark reality of khap panchayats . All of a sudden the media became obsessed with the incidents of honour-killings in the country. It was not a new subject, but there was certainly a renewed interest in it. Sir seems to have done something similar in terms of the debates it raises: Gera actually taps into an all too familiar subject — class and caste divides. It made me marvel at how the film was placed precariously on the precipice of becoming yet another ‘forbidden romance’ meant to pander to the universal appeal of the rich man-poor girl angle. That it doesn’t, comes as a breath of fresh air.

Sir is certainly one of the more subtly-constructed, sensitive, and realistic portrayals of love relationships I have come across lately. It manages to raise larger questions about the superfluous-ness of social divides in matters relating to the heart.

Sir is certainly one of the more subtly-constructed, sensitive, and realistic portrayals of love relationships I have come across lately. It manages to raise larger questions about the superfluous-ness of social divides in matters relating to the heart. With remarkable finesse, the film captures the redundancy of societal constructs such as class barriers and issues of propriety. The maturity with which the subject is treated is heartening. The actors are realistic, relatable, and draw our sympathies for being constrained due to nothing but external forces that deny their desire for each other. 

The question, “is love enough” looms large throughout as the two characters attempt to explore their own feelings. Ashwini’s declaration that he doesn’t think of her “as a maid” is meant to be a declaration of his respect for her, but it negates the reality of her situation: she is a maid. Thus, Ashwini’s character is deliciously flawed, and compelling for that reason. We are shown how people are limited in their own positions in society: Ashwini is rich and successful, but those become his limitations in the relationship as transgressing social codes of conduct threatens the entire fabric of society that relies on caste-based patrilineal descent. The film also skillfully brings out the issue of sexual agency — notably, the man too is shown to lack it. Both character’s emotional struggles are felt keenly by the audience as they struggle with their own biases and prejudices. In the end, Ratna finally asserts her freedom to love by discarding the title, ‘sir’ — the spectre haunting their relationship — as she demolishes the class barriers between them. Her upward mobility as a tailor for a fashion designer empowers her and gives her the confidence and will to assert her will.

Also read: Netflix Film Review | Paava Kadhaigal: A Heart-Wrenching, Hard-Hitting Anthology

Netflix’s Sir skillfully brings out the issue of sexual agency — notably, the man too is shown to lack it. Both character’s emotional struggles are felt keenly by the audience as they struggle with their own biases and prejudices.

Indeed, the movie is able to construct a delicate and sensitive narrative from a rather hackneyed subject, and give it a profoundness that is rare to find. Even though the formula remains cliched, Indian cinema has hitherto not treated such love stories with the dignity and delicacy that Rohena Gera affords Ashwini and Ratna . I could appreciate the film primarily for the absence of unnecessary melodrama. The film seems to indicate at the generation’s maturity towards the idea of romantic desire, companionship, and even platonic love, as the society attempts to reform mindsets despite the prevalence of conservative attitudes. Quite fittingly, the overarching question remains however: can we ever overcome the shackles of society in all matters pertaining to love? How does one resist the society’s narrow-mindedness? How do you triumph over the custodians of ‘ usool’ and ‘ parampara ’ when there is still a stigma attached to romantic relationships outside of the bounds of marriage, or pre-marital romances in general? 

Ipshita Nath teaches English Literature at University of Delhi. She is the author of The Rickshaw Reveries, published by Simon & Schuster in 2020. She can be found on Twitter and Instagram .

Featured Image Source: IndulgeExpress

Yeah right, a “pretty woman” one of the most iconic Hollywood movies is heralded across generations where rich man falls in love with a sex worker. But hod forbid if India cinema tries to show the similar plot with much more finesse and minus the designer clothes. Then its called “trope”. The hypocrisy of it!!

Lets not make society as big a villain. What would be the challenges to long term compatibility for people from very diverse backgrounds in a marriage like situation.

Writing a negative comment for the sake of writing it. Films based on social realities will be made again and again. So what…is there a rule like u cant choose a subject that has already been chosen many times?

Its much beyond than rich boy poor girl trope, agreed its the most common bollywood trope…but way its conceptualised in Sir is commendable…without filmy melodrama & songs dances … My two cents: https://purnima2711.wordpress.com/2020/06/22/is-love-enough-sir/

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Sir Movie Review: Tillotama Shome is a class act in this unconventional story of companionship

Rohena Gera's Sir, starring Tillotama Shome and Vivek Gomber, is out in the theatres. The film is a poignant story of companionship that demands your attention.

Rarely in Indian cinema do we see a story of a househelp in the lead. Even if the story does manage to feature at the fore, it's never a love story. Rohena Gera's Sir breaks free from those shackles and humanises a house help in an unconventional and heartwarming story like never before. 

That Mumbai is the city of dreams is known to all. People from all over flock to the city in hope that their dreams will be fulfilled too. Amongst them is also Ratna, played by Tillotama Shome. Widowed at a young age, Ratna's aim is to help her younger sister complete her education and learn tailoring to ultimately become a fashion designer. She is currently working at the US-returned architect, Ashwin's (Vivek Gomber) residence, who has recently broken off his engagement.  

The duo's initial conversations are formal; ones that usually happen between employer and an employee - a lot many thank yous and only work-related talks. Gradually, it's seen how despite the clear class divide, Ratna and Ashwin have a two-fold thread joining them - loneliness and unfulfilled aspiration.

It's evident that the two have mutual respect for one another right from the word go, but what stands out in this story is that it isn't a love story from the beginning. Both Ratna and Ashwin have lives of their own; the former has friends in Ashwin's driver Raju (Akash Sinha), neighbour's domestic worker Laxmi Tai (Geetanjali Kulkarni) and the building's watchman while Ashwin's friends are all elite, English-speaking people. The only times when they interact with each other are when Ratna serves him water or food or when she wants his permission to step out. 

The class divide is evident but the way that mutual respect turns into friendship and then something more is what makes the film's strongest point. It isn't rushing for the two to fall in love, but things are happening at a slow pace and a in rather organic manner, which feels real.  

The scenes when Ratna politely explains to him why it's important to move on or how he can still pursue his dream and when Ashwin apologises to Ratna for the shrewd behaviour of his friends and later in the film, plans a sweet surprise for her, are the most heartwarming. 

Ratna might be a dreamer but she's also a realist at heart. Even as she gifted him a shirt, her insistence on him not telling anyone about it is a sign that she's worried about log kya kahege. Ratna is building a life for herself and is astutely aware that if people find out about what's brewing, she'll have to face consequences. Perhaps, this is why she continues to call him 'sir', even as he insists her not to. 

The film's strength also lies in the way it projects class divide and the fact that some feelings don't discriminate - there aren't preachy dialogues but moments that spell it all unequivocally.

Tillotama, as Ratna, is a class act. She knows when to reveal and when to conceal. The sheer balance in her portrayal is a feat in itself. As Ashwin, Vivek delivers a fine performance. The two bring together an unlikely story in the most sensitive way possible. They might be living in the same house but not everything is the same. The differences are brought to notice when one sees Ratna's room and the rest of the house and how Ratna, in fact, comes in her own when she's out with her friends, especially Laxmi. Not once do they caricaturise their respective characters and not once do they lose the pace. Geetanjali as Laxmi Tai is an endearing character and an absolute delight on screen. 

Notably, Gera's writing is crisp and to the point. A considerable part of the story is actually narrated through the unspoken and the words then only add the right weight to the narrative. The cinematography is done beautifully; the usage of spaces in the home as though a reflection of the physical distance and the class divide between the leads is exceptional. 

At a runtime of less than two hours, Sir is rich in powerful moments as it is in its sharp commentary. With strong performances, soul-stirring moments and a crisp storyline, this story of companionship is worth every bit of your time. 

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Sir Movie Review

Article by Nanda Gopal Published by GulteDesk --> Published on: 8:45 am, 17 February 2023

2 Hr 20 Mins   |   Action   |   17-02-2023

Cast - Dhanush, Samyuktha Menon

Director - Venky Atluri

Producer - Naga Vamsi S, Sai Soujanya

Banner - Sithara Entertainments, Fortune Four Cinemas

Music - G. V. Prakash Kumar

Dhanush emerged as a critically acclaimed star with films like Asuran and Karnan. For the first time, he teamed up with Telugu director Venky Atluri for SIR (Vaathi in Tamil) which raised many eyeballs in both the regions. The film’s trailer indicates a period action-drama revolving around the educational mafia. Does he prove his choice is right? With no further due, let us find out.

Plot: 

Bal Gangadhar Tilak (Dhanush) is a junior lecturer at Tripathi educational institute run by crooked businessman Tripathi (Samuthirakani). Tilak is sent on an assignment to teach for the students of a government college in Siripuram. Whereas Tilak does the unthinkable by achieving 100 percent pass percent in this government college through his best quality teaching. Meanwhile, he realises the true intention of his boss Tripathi and separates from him to fight against his goal of corporate educational business. Tilak challenges Tripathi and is now on a mission to get the students of Siripuram government college score top ranks in the Engineering and Medical entrance test EAMCET in the cutthroat competition from private college students. Does Tilak beat Tripathi and win the game? How does he win against all the odds?

Performances :

Dhanush has nailed it in the author-backed role of Bal Gangadhar Tilak. Even heavy scenes were pulled off with ease by him. Samyuktha is a good addition as Tilak’s love interest Meenakshi. Their chemistry is good in the first half but fizzles out in the second half where the story takes the centre stage pushing the love track behind. For Samuthirakani, it is a cakewalk to do such a powerful villain role of Tripathi considering that we have seen him in many such baddie roles before. He makes his impact felt even though he lacked proper scenes to display his badness. Sai Kumar as the village president gets decent character and he fulfills its requirement.

Hyper Aadi is good as a fellow lecturer and evokes some laughs in the first half. Aadakulam Naren is Dhanush’s father and a car driver who gives emotional touch to the story when it is needed. Rajendran is videographer Bhushanam where he is involved in some crucial portions in the film. Hareesh Peradi is Dhanush’s teacher and mentor. Tanikella Bharani, Narra Srinu are seen as college principal and lecturer respectively and don’t have strong roles to leave a mark. Sumanth is seen in a cameo or guest role of AS Murthy (district collector). It is he who narrates the story of SIR to three children. His role has a twist involved and it is well done. All the children in the village did a pretty good job as well. The film has an ensemble cast who plays their parts well given the limitations of a hero-centric film.

Technicalities

Venky Atluri has opted for an intense, serious drama with SIR which is very different from his previous films – a heavy subject this time. Although the point of the education mafia isn’t new, the film deals with it in full-length. This makes the director’s task very challenging to hold intensity till the end. Writing for the film is strong, but in some portions, direction takes a hit. There is nothing to find fault with the Technical aspects. Visuals are impactful and GV Prakash’s background music made it work thoroughly. Editing is crisp.

Dhanush Honesty In Story Background Score

Thumbs Down

Predictable Scenes Cinematic Liberties

In a scene in Sir, Bal Gangadhar Tilak sir (Dhanush) is thrown onto the streets after badly beaten up by cops. Blood-stained, dress torn and wounds all over the body, Tilak struggles to walk. He comes to pick up his clothes, but he ends up choosing books. This sums up the concept of SIR which entirely revolves around education, academics, classes and subjects – Maths, Physics, Chemistry and Biology.

In the extended scene, the bare-foot Tilak barely walks in scorching heat as his feet burn. That is when a physically challenged student Satti Babu uses a hand water pump and pumps the water continuously to cool the feet of Tilak. There are a handful of such scenes in SIR that are filled with emotional-depth. These indeed worked as the director played it to the galleries.

Tilak, masqueraded in various avatars, does street plays in the village Siripuram every weekend to clear doubts to his students. In one of the scenes, he donned the get-up of Bal Gangadhar Tilak. But there are cinematic liberties and advantages taken by the makers. He fights the goons in a bus carrying college children to the EAMCET exam. This is not all. After the fight, the children are transported to the exam centre on local bullock carts. It is a totally cinematic and over-the-top sequence in the film that takes away the naturality and puts the viewers off. Interestingly, director Venky Atluri named his protagonist as Bala Gangadhar Tilak indicating what his character and integrity are.

The first part of SIR is engaging, promising with comedy, drama and emotion. Till interval, the film holds well. Even the initial 30 minutes of the second-half is also decent enough. Post this, it is a big let down after a promising start. The latter half is bogged down by under-directing scenes, nostalgic moments and somewhat flat climax sequence.

In fact, SIR reminds us of Shankar’s Gentleman that is based on the education mafia too and Rajkumar Hirani’s 3 Idiots that throws light on the loopholes in the traditional education system. The class war that is shown in Dhanush’s erstwhile film Raghuvaran B.Tech also occurs to one’s mind. The treatment of SIR is striking resemblance to Raghuvaran where an underdog takes on a powerful empire. These nostalgic moments make the SIR a predictable tale. Yet the film has its own strengths that make the film work.

The best part of SIR is its core emotion and honesty in its story. Most importantly, the heart of the film is at the right place. The scenes of the lecturer and students are impactful. The bond and chemistry between them is established well that ably acts as a strength. The way Tilak infuses inspiration and enthusiasm among his students deserves applause. The film has some good dose of clapworthy and whistle-worthy scenes. It is GV Prakash’s background score that elevated the scenes to the core. The visuals and music have taken the story to a notch higher.

Overall, SIR is a sincere film with emotion and strong message balanced well. It has its own share of flaws and shortcomings, yet the goodness in the script makes one forgive its drawbacks. Go for this honest class that is worth attending in cinemas.

Bottom-line: Emotional Class With Strong Message

Rating: 2.75 /5

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Sir Movie Review : A soul-stirring tale of emotional intimacy, dreams and belonging

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sikandra kumar 430 days ago

Paritoshthakur 433 days ago.

May be life changing picture for me

Joe Pankowski 652 days ago

...just a super movie with an unexpected, yet perfect, ending...

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A very good film and wonderfully scripted movie. World class touch.

Subhabrata Saha 706 days ago

Horrible disgusting movie. One of the worst movies in this world. Absolute trash.

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Sir movie review: Rohena Gera’s film is a masterful romantic drama about a domestic worker and her employer

The commentary in Sir is rooted as much in the condescension of its affluent characters as it is in the electric tension between Ratna and Ashwin.

(This review was first published when Sir was screened at the New York Indian Film Festival 2019. It is being republished in view of Sir releasing in Indian theatres on 13 November, 2020.)

Language: Hindi, English, and Marathi

Stories of romance overcoming class boundaries have permeated decades of Indian cinema. Even the very first Indian talkie, Ardeshir Irani’s Alam Ara (1931), tells the story of a prince who falls in love with a nomadic woman exiled from his kingdom. While mainstream Bollywood productions often have a more quixotic, happy-ending-at-all-costs paradigm — Bobby (1973), Pardes (1997), Singh is Kinng (2008), Namaste England (2018); you can practically pick them out of a hat — regional and alternative cinema tend to offer more grounded reflections. Nagraj Manjule’s Marathi-language Fandry (2014), for instance, features a Dalit boy longing for an “upper-caste” girl, though the film’s focus isn’t his romantic pursuit, but the structures preventing his dreams from becoming a reality.

Rohena Gera’s Hindi, English and Marathi-language Sir  falls somewhere between these two starkly different approaches.

It tells the story of Ratna (Tillotama Shome, A Death in the Gunj ), a widowed domestic worker who finds a complicated romantic spark with her recently single employer Ashwin (Vivek Gomber, Court ), who’s just returned from the U.S. after breaking off his engagement.

And while the film expertly dramatises the hurdles in their path, its commentary is rooted as much in the condescension of its affluent characters as it is in the electric tension between Ratna and Ashwin; it’s a socially-minded indie that you almost wish would transform into a lavish, starry-eyed musical — but it can’t.

Ratna, who’s saving up for her younger sister’s education, hopes to be a fashion designer, though circumstances in both her village and in the big city box her in. Back home, she’s defined by her dead husband (who she barely knew to begin with), and she can’t even wear bangles around her family. In Mumbai — where she’s allowed to make her own living as a domestic worker, while learning to sew from the local tailor — her employ becomes her identity. Ashwin may be kind to her, but both he and his more ill-mannered guests rarely see beyond Ratna’s status; her dreams may as well be secrets.

However, in the brief moments where Ratna isn’t waiting on Ashwin, and she interacts with his driver Raju (Akash Sinha, Photograph ) or his neighbor’s domestic worker Laxmi (Geetanjali Kulkarni, Selection Day ), Ratna’s stoic demeanour gives way to an impish smile, and her stillness to a vivid energy, just as the character’s colourful _saree_s pop against the muted tones of Ashwin’s dour apartment. Shome is, quite simply, mesmerising, and half the story is told through her change in mood and posture.

Each of these “lower class” characters occupies a dual existence; the moments that writer-director Gera chooses to bring Ratna, Raju and Laxmi to life are when they slip in and out of these different modes of being. In the eyes of their employers, they’re obedient, two-dimensional servants — Laxmi, like Cleo in Roma , is at once a beloved mother and scorned servant to the children she works for — but outside their employers’ fields of vision, they’re fully-fledged people with their own unique senses of humour, their own dreams, and even their own passive aggressiveness — they’re allowed to simply be.

We enter each room with Ratna, following her, seeing the world through her eyes. Gera makes sure to craft the story from Ratna’s perspective at all times, lest Sir fall into the trap of a damsel narrative — though Ashwin certainly tries to make it one. Gomber plays Ashwin with a melancholic weariness. A writer in a slump, he doesn’t seem to know what to do with himself now that his dreams of getting married and moving to America seem to have been dashed. Though, as he and Ratna spend more time together, both characters emerge from their cocoons, and they take an active interest in even the mundanities of each other’s lives.

Gera often captures Ratna and Ashwin in isolation. The characters rarely share the frame at first, and each day ends with Ashwin in his spacious room and Ratna in her cramped servant’s quarters, which the shot often tracks between; the wall that separates them is a boundary that the camera, and only the camera, can cross. Though once Ratna and Ashwin begin to open up to one another, Gera’s frame pushes them close. They stand in the same doorways. They occupy the same areas of the kitchen. 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.

There’s a tangible sense of excitement to something as simple as Ashwin and Ratna passing each other in the hallway, and an equally potent sense of danger when they interact while in the presence of other people. What might they let slip? But, as the excitement between them builds — Gera’s use of silent tension is a masterstroke; shots seem hold on them longer and longer each time — the danger builds just as quickly. Ratna knows what people will say if they learn about their tête-à-tête. Ashwin seems to know too, but he lives on cloud nine, since the consequences for him wouldn’t be nearly as severe.

It takes Ashwin being chewed out by a friend (of his own social standing) for him to finally see things clearly, but by the time he does, he and Ratna have become the only two people who seem to fully understand each other. They know each other intimately, in a way few people in their lives are allowed to. They know each other’s secrets — but Ratna is still his servant. “Please don’t call me ‘sir’,” Ashwin begs her, but how can she not?

Whatever the possibilities— A secret affair? A brief fling? Lifelong love and happiness? — dreamy fantasy and harsh reality keep brushing up against each other, forcing Ratna to exercise caution while Ashwin remains tethered to his naiveté. And yet, the two find uncanny compassion and companionship, despite a romance that can seemingly never be. At least, not yet. Not while Ratna and Ashwin still have lives to live, and happiness to find elsewhere. Perhaps their purpose is to help each other find it, but the livewire chemistry they share makes them feel like an eternal open question; a “what if…” that echoes long into the night.

Rating: ****1/2

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• Movie Reviews

SIR (2023) Movie : What's Behind

Kollywood actor Dhanush is known for doing different genre roles and versatile performances. When he teamed with Telugu director Venky Atluri, everyone got excited. The film's title Vaathi/SIR generated immense interest. The film's first look, teaser, and trailer got a good response and the film is released on 17 February 2023. The film's OTT rights have been bagged by Netflix and streaming will be done after the completion of its theatrical run. Let us find out what Dhanush offered to movie lovers as SIR.

SIR Movie : Story Review

Vaathi/SIR story is all about a young lecturer and how he faces the might of the private college's president and emerges successful. SIR's story deals with the lecturer taking on the entire educational system and the powers that be.

Few students are unable to cope with the pressures of the intense coaching at the inter classes. When one of the students, father decides to sell off their video shop, they come across a video, where they come across a person teaching mathematics in the easiest way. Their curiosity increases and goes in search of the person and in the process meet the collector of Kadapa.

Through him, they come to know about a junior lecturer Balu aka Bala Gangadhar Tilak (Dhanush). What Balu did and what he has got to do with Srinivas Tripathi (Samuthirakhani), owner of Tripathi Private College, and how he is related to biology lecturer Meenakshi (Samyuktha Menon), Siripuram Sarpanch (Sai Kumar) from the rest of the story.

SIR Movie : Artists Review

Dhanush is known for his versatile performances. He lived in the role of the junior lecturer Balu. He played his role to perfection. The way he showed emotions as a junior lecturer who got nothing to do at the private college, the way he showed excitement when he was transferred to the government college, the way he takes care of the students, his interactions with the biology lecturer, the way he deals with the village sarpanch, his verbal war with the private college owner, all is wonderfully shot. Dhanush's body language and mannerisms are perfect and he nailed it to the point. His expressions make a lasting impression on the viewers. Dhanush acted as the livewire and he carried the film on his shoulders.

Samyuktha Menon performed her role neatly. She complimented Dhanush perfectly. She carried herself well on the screen and made her presence felt. Her chemistry with Dhanush is good and a treat to watch. Samuthirakhani played the role of the private college owner quite well. Though there is nothing much in his role, he did not overdo it. He is apt for the role. Sai Kumar in the role of a Sarpanch did well at first as an enthusiastic person out to impress the private college owner and get publicity. Later his transformation is shown quite well in a smooth manner. Tanikella Bharani is ok. However, the scenes featuring Narra Srinivas and Hyper Adi impacted the narration. They tested the patience of the viewers and irritated them to the core. Others performed according to their roles. All the children performed well as the students.

SIR Movie : Technicians Review

SIR/Vaathi story written by Venky Atluri is nothing new. He came up with a story that is routine, predictable, and well-known to all. Movie lovers are used to watching such films since the advent of the films. One remembers films from the days of NTR,ANR,Krishna,Sobhan Babu,MGR,Rajinikanth,Kamal Haasan etc. There are many films that come to mind and the recent being Super 30 in Bollywood. While that one was inspired by real-life incidents, this is quite similar to it.

Venky Atluri not only touched on the privatization of education during the 90s with the LPG (Liberalisation, Privatisation, Globalisation), and as the story heads to the rural region, he also touched on the caste system. While the story and narration is predictable and so too the screenplay and direction, he included a few scenes that are thought-provoking and will get a good response from the viewers.

Scenes like Dhanush addressing the villagers in front of the Saikumar, Dhanush's conflict with Samuthirakhani, the video classes, the scene where he was banished and students coming in support of him, and a few emotional scenes and dialogues. Venky Atluri emerged successful in getting the optimum out of all the actors. The story and narration sail smoothly and the first half ends on a decent and predictable note. The real conflict starts in the second half and finally everyone passes through the motions in an emotional manner following which the film ends in a happy manner. With nothing new, viewers get bored as many scenes test the patience of the viewers.

GV. Prakash Kumar's songs are situational. The song Mastaru Mastaru which turned out to be the chartbuster is well shot. This song appeals to and attracts viewers. Other songs are just ok. He elevated the scenes with his background music. Editing of Naveen Nooli is ok. Except for a few lags during the comedy track featuring Hyper Adi and Narra Srinivas, everything else is fine. Yuvraj's cinematography is neat. He showed the rural atmosphere quite well. Production values of Sithara Entertainment, Fortune Four Cinemas, Srikara Studios are good.

SIR Movie : Advantages

• Emotional Scenes
• Good Dialogues
• Cinematography

SIR Movie : Disadvantages

• No Commercial Elements
• Predictable Narration
• Routine Story
• Lack of powerful conflict

SIR Movie : Rating Analysis

Altogether, SIR/Vaathi is a routine message-oriented film. Venky Atluri took viewers down the lane in their memories to the 90s when private colleges and tuition centers increased to cash into the engineering and medical courses craze with entrance exams. All the scenes and dialogues like education shouldn't be for sale, it should be accessible to the poor, the importance of education, etc turn the film into a monotonous one. But Venky Atluri balanced it with good emotions and with an actor like Dhanush, he got a versatile performance ably supported by others. Though the roles are routine, everyone shone in their roles and Dhanush as the one-man army carried the film on his shoulders. Few dialogues are good, and thought-provoking and the same is the case with scenes that draw good applause from the viewers. Had Venky Atluri concentrated on elevating the conflict between Dhanush and Samuthirakhani and included a few interesting developments in the narration, SIR would have been even stronger. Considering all these points, Cinejosh goes with a 2.5 Rating for SIR .

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Release Date : February 17, 2023

123telugu.com Rating : 3/5

Starring: Dhanush, Samyuktha, Samuthirakani, Sai Kumar, Tanikella Bharani, Narra Srinivas, Hyder Aadhi, Aadukalam Naren, Ilavarasu, Rajendran

Director: Venky Atluri

Producers: Naga Vamsi and Sai Soujanya

Music Director: GV Prakash Kumar

Cinematography: J Yuvraj

Editor: Navin Nooli

Related Links : Trailer

Dhanush’s highly-anticipated biggie, Sir (Vaathi in Tamil), created a huge buzz before its release. Directed by Venky Atluri, the bilingual film has hit the screens today. Check out this review and see if the film has lived up to the expectations or not.

Bala Gangadhar Tilak (Dhanush) aka Balu is a Junior Lecturer at Tripathi Educational Institute (TEI). The college management adopts several government colleges in the rural areas of Andhra Pradesh and sends Balu to Siripuram Govt. College for teaching the students. Balu, with the help of lecturer Meenakshi (Samyuktha), ensures that the local students come to college and score decent marks in exams. This makes the TEI Chairman Tripathi (Samuthirakani) unhappy and he ruins Bala’s future plans. Why did Tripathi spoil Balu’s plans? What did Balu do next? Did he take any stand or turn a blind eye? The film has all the answers.

Plus Points:

Director Venky Atluri, who is quite confident about the film’s success at the box office, has already revealed the main plot through the promos. He writes a fine story that is filled with emotional scenes, which standout well in the film.

Coming to the artists’ performances, Dhanush fits well in the role of Bala, a junior lecturer who believes that education is important for everyone and it should be taught for free. He nails the character with utmost ease and his performance in the emotional scenes is whistle worthy. He solely shoulders the entire film. The emotional scenes between him and the students worked out big time.

Samyuktha as Meenakshi looks beautiful. Though her screen time is less compared to Dhanush’s, she leaves a mark with her decent performance. The man in form, Hyper Aadhi, though he is limited to very few scenes, leaves his mark and evokes decent laughs. Samuthirakani also justifies his role. Sai Kumar and others are okay in their respective roles.

Besides performances, the emotional scenes are neatly established, thanks to the heart-touching background score by GV Prakash Kumar.

Minus Points:

As mentioned above, director Venky Atluri had already revealed the story through the promos. The main task for him was to narrate it in an engaging manner. He does the job well in the first half, but fails to maintain the momentum in the latter part. Some of the scenes in the second half failed to make audiences glue their eyes to the screens.

On the other hand, the love track between the lead pair is not shown well. Of course, there is no space for love between the leads as the main plot revolves around education and the emotions between Dhanush and the students.

It looks like the director has concentrated much on the emotional scenes rather than focusing on the main plot. He should have written better confrontation scenes between Dhanush and Samuthirakani to pep up the proceedings. Also, Samuthirakani’s role is just limited to very few scenes and he has nothing to do but challenge the protagonist.

The director should have written better pre-climax and climax scenes to make Sir an engaging social drama. Except for Maastaaru Maastaaru, no song will be remembered when we come out of theatres.

Technical Aspects:

Venky Atluri succeeded well in writing a nice story with a good social message. But, he failed to execute and narrate it engagingly, especially in the second half. The cinematography by J Yuvaraj is fine and the background score by GV Prakash Kumar is impressive and helped the film big time.

Though the film has a decent runtime, there is so much scope to chop off a few unnecessary scenes in the second half. Editing by Navin Nooli could have been better. Production values are good and you can witness the same on the big screen.

On the whole, Dhanush’s Sir is a decent social drama that talks about the education mafia in the present times. Besides impressive emotional scenes, the movie has an underlying message for the society. Dhanush excels in his role and solely lifts the film up. Barring a few unnecessary scenes in the second half, you can give the film a watch this weekend.

123telugu.com Rating: 3/5

Reviewed by 123telugu Team

Click Here For Telugu Review

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Movie Review: Sir

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సినిమా రివ్యూ

‘సార్’ మూవీ రివ్యూ

విమర్శకుల రేటింగ్, యూజర్ రేటింగ్, మూవీకు రేటింగ్ ఇవ్వడానికి స్లైడ్ చెయ్యండి.

సూచించబడిన వార్తలు

మూవీ రివ్యూ

• కౌంటింగ్ కి ముందే పదవి ఎగిరిపోయింది!
• దేవుడు కనిపిస్తున్నాడు!
• విశాఖ జాతకం ఎలా ఉంది?
• బుజ్జి చుట్టూ తిరుగుతున్న కల్కి
• దిల్ రాజు.. మైత్రీ రూట్ లో..!

• ఆ స‌ర్వే సంస్థ టార్గెట్‌...!
• స్పష్టం అవుతున్న గులాబీ పతనం!
• వైసీపీ అప్ర‌మ‌త్తం!
• ఇండియా టుడే ఎగ్జిట్ పూ(పో)ల్‌!
• ఎగ్జిట్ పోల్స్ కావు ఇవి.. కిచెన్ రెసిపీ పోల్స్!

• తెలుగు

Gam Gam Ganesha Review: Funny But Mostly Silly

Movie: Gam Gam Ganesha Rating: 2.25/5 Banner: HiLife Entertainments Cast: Anand Deverakonda, Pragati Srivastava, Nayan Sarika, Emmanuel, Vennela Kishore, Satyam Rajesh and others Music: Chaitan Bharadwaj DOP: Aditya Javvadi Editor: Karthika Srinivas Art: Kiran Mamidi Producers: Kedar Selagamsetty and Vamsi Karumanchi Written and Directed by: Uday Bommisetty Release Date: May 31, 2024

After the super hit "Baby," Anand Deverakonda followed it up with this crime comedy.

Let's analyze.

Story: Ganesh (Anand Deverakonda) and his friend Emmanuel are small-time criminals in Hyderabad. When his girlfriend leaves him for a rich guy, Ganesh decides to become rich at any cost and agrees to steal a diamond.

Kishore Reddy, a politician from Nandyal in Andhra Pradesh, seeks the assistance of a businessman in Mumbai, who arranges Rs 100 crore money for upcoming election. 

Kishore Reddy intends to import a Ganesh idol from Mumbai, and crores of rupees are hidden inside the idol to avoid police inspection.

The rest of the drama revolves around Ganesh's encounter with Kishore Reddy's gang and his involvement with the Ganesh idol.

Artistes' Performances: Anand Deverakonda has previously appeared as a boy next door, but in this film, he plays a small-time crook and performs comedy. He is fine in this role.

Emmanuel shines as Anand's sidekick. In the second half, Vennela Kishore, as Organ David, entertains the audience with his comedic performance.

Pragati Srivastava, of Pedda Kapu fame, looks beautiful. Raju Arjun, as Kishore Reddy, is fine.

Technical Excellence: Chaitan Bhardwaj's songs are pretty ordinary, and the background score is also weak. Aditya Javvadi's cinematography is basic, while the production values are sufficient.

The editor should have made the film crisper, and the writing is weak.

Highlights: Anand – Emmanuel banter Vennela Kishore’s comedy

Drawback: Beaten track from start to end Poor writing Forgettable love tracks

Analysis The basic narrative structure of "Gam Gam Ganesha," which includes various subplots revolving around a heist that ultimately intersect, is highly predictable and unoriginal. This style has been excessively used in many Telugu, Hindi, and Tamil films. These types of films work only when they provide many LOL moments.

"Gam Gam Ganesha" only has a few genuinely funny instances. The remainder of the film presents disordered situations. Throughout both halves, the film experiences a sense of stagnation as events seem to revolve in a repetitive cycle without progressing.

The banter between Anand and his friend Emmanuel undoubtedly elicits laughs. The humor regarding Anand's tattoo is also amusing. Additionally, there are a few eccentric episodes, such as Vennela Kishore's portrayal as an organ doctor. Aside from the aforementioned sequences, there are few moments for laughter in this two-plus-hour crime caper.

The director should have employed more skilled writers to incorporate better comedic scenarios. The romantic subplot between Anand Deverakonda and Pragati appears contrived.

On the whole, "Gam Gam Ganesha" evokes a sense of being outdated. Both the comedy and narration come across as clichéd but still evoke some laughs. The plot and screenplay are funny but silly. While there are fun moments, they are not sufficient and the film feels like it needs more.

Bottom line: Few laughs

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Tags: Gam Gam Ganesha Gam Gam Ganesha Review Gam Gam Ganesha Movie Review Gam Gam Ganesha Telugu Movie Review Gam Gam Ganesha Rating Gam Gam Ganesha Movie Rating Gam Gam Ganesha Telugu Movie Rating

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