Sir (2018)

[**** stars /*****]

Understanding and empathy in movies and 100% efficacy in COVID vaccines are a rarity, lately. 

What if you confessed your love to your housemaid? How would the housemaid react? 

How would a movie made on such a subject usually pan out? 

Bold scenes and what not? No attempt to explore characters, thoughts, hearts? 

Most probably, yes. 

Writer-director Rohena Gera's Sir is surprise, surprise, not that movie by the long shot.

Ratna (Tillotama Shome), widowed at 19, works at soon-to-be-married Ashwin (Vivek Gomber) and Sabina's spacious high-rise Mumbai apartment. 

An independent woman supporting her younger sister's education and family at her village, Ratna is asked by Ashwin's mother (Divya Seth) to rejoin work. 

Apparently Sabina has cheated on Ashwin, the marriage has been called off. 

Ratna doesn't mind working for a single man, she is unaffected by what others may think.   

Ashwin's continuing gloom over weeks causes her to remind him that life goes on despite setbacks, citing her own life as an example. 

Ratna also aspires to be a fashion designer, Ashwin encourages her to pursue her passion. He sees her as an equal, never as a servant.    

Gently, gradually like the changing of seasons, love blooms.   

Nuanced, sensitive take

An Indian housemaid is at the deep end of India's ruptured social fabric. Life is fragile, and loving someone from the so-called higher class, unthinkable. 

Gera channels this brick-hard premise through Shome's splendid, sparkling lead act, Gomber's controlled play, with some great supporting turns, Geetanjali Kulkarni as Laxmi is excellent. 

The nobility and intent of Sir won my heart.

The makers keep it real, the screenplay barely striking any cluttered notes. 

The pacing is lovely, no melodrama, understated tone elevates proceedings. 

A realistic, steady mirror to class disparities, affluent city life, dreams and passions, Sir is a rare flower, seeking-depth cinema. 

As seen on Netflix