Sir (2018) Review
“Kaise ho? Kuch kaam tha? Nahi.”
There are a lot of interesting cuts in this film, like the one where the Engineer (Ashwin) visits tarped labor camps in the underbelly of his high-rise project – cut to a house party where Ratna blends into the background, handwaved away. The two share a strange kind of cohabitation, one where there is a clear yet invisible boundary. Ratna, a maid, a tailor, an emotional caretaker, sets Ashwin’s dinner every night, offering him advice, joy, and protection after his engagement falls apart. Ashwin’s mere attention to Ratna sets him apart from the status quo. He is willing to see Ratna’s humanity.
The Engineer is a well-meaning man, able to put others before him and unwilling to take shortcuts at work, much to the dismay of his boss, who is also his father. It’s unclear if he pays special attention to class politics, or if he’s simply surrounded by it. He tells Ratna, “tum kuch bhi ban sakti ho.” Does he know Ratna beyond someone who cares for him – does he know the systemic barriers she’s crossed just to reach him?
No. He wouldn’t have kissed her if he did. As much as I smiled when it happened, it didn’t last long knowing the consequences of that one kiss. I think he was selfish at worst and at best, optimistic. Or maybe in denial – a denial that his friend shakes off him. In the next scene, we see the Engineer make a scene: a lingering gaze that Ratna fears could end her livelihood if anyone else caught it.
“Aadmi mujhse darte hain,” says a faux feminist, threatening to cut Ratna’s wages, and her husband, who levels Ashwin’s blunt response on the same plane as his wife’s threat. Disrespectful, lazy, and assuming – the upper-class project their own worst qualities onto those deemed less in society. The truth that they didn’t work any harder to deserve the things they have must erupt somewhere.
The higher you sit, the more you must dismember yourself from society – Ashwin isolates himself in his room, fills the silence with state propaganda, voices shouting over one another, arguing from a moral high ground. This is different from the community Ratna belongs to: mutual aid networks formed out of necessity that propel her forward. And sometimes, those same current turn against Ratna, when a simple question like “main tumhari liye wait karun?” become rumor.
Ratna is constantly adorning colorful patterns, in direct contrast to the plain blacks, whites, and pinks of the rich who use these patterns to paint the inside of their walls instead. I don’t know what it is about Ratna that makes her stand out to the shopkeeper immediately: her dark skin? Her sandals paired with the traditional sari? Does she wear her sense of unbelonging on her sleeve? I wonder if Ratna wishes she had acted on her impulses with the Engineer in the end, standing on the balcony, overlooking the city, having achieved the near-impossible. “Ashwin.” I know she does.
I immigrated to Canada when I was young, but before I did, my family had a maid named Asma. My mother took to the village to visit her for her birthday. She had the same generosity Ashwin did. I remember how dusty it was and the chorus of other maids that watched as we dropped her gift off. On the car ride home, I had a brief moment of reflection but I couldn’t still understand why she lived the way she did. I wonder where she is now, I wonder if she remembers me.