To everyone his own! This is the very line on which director Rajaatesh Nayar wishes to exploit in Sirf, which has four couples from different strata of life dealing with love and relationships born and breeding in a Metro and none seems to be content with what they have, pining to exchange lives with the other without realizing that life isnâ€™t really green on the other side as well. Sirf, or say only, deals with the dilemma that we all live in, we have something and we lack something else, which keeps us wondering what to do with what we have. We all people who live in the so-called metros will be surprised at the concern the tinsel screenplay writers put on display. There was a time when Bollywood directors used to love the village with most movies being based on the life of people living in villages, now with the modernity touching our lives, these directors have matured from villages to cities. But as much as these metro-centric stories look good in a novel fail to capture your fancy in the silver screen, and more so, when they have been depicted time and again. That is also fine but what fails in most movies dealing with such sensitive pieces from our lives is the fact that the relating factor is either missing or not devised well. The catch point of the realistic movies is that they just touch your heart and catharsis is not deliberately created, which is also a selling point. While Anurag Basuâ€™s Metro clicked at the box office pleasing the audience as well as the critics, what stops Sirf from joining the league of good movies is that even though it was nice of the director to think about the only things that we miss in life, he gives a very lousy job of presenting it in the big screen.
No director can breathe in peace by just getting some talented actors in a movie when the plot is as loose as a far too much stretched elastic. Courage in picking up a difficult storyline isnâ€™t everything, while having four couples with each one being as intricate as a labyrinth, keeping track of the growth of each character and the way they should be presented in the movie was not a simple task for a debutant director. Even when he wishes to make a realistic presentation looking at it through a rose-tainted glass, Rajaatesh Nayar has lost track of the gray colors of life. Possibly the whole narration is superfluous and the hints of realism is only a matter of desire! Coming straight to the story which fails to win itself a place among the general audience has four couples, taken right from the top strata of life to the low-income group. Devika and Gaurav (Manisha Koirala and Kay Kay Menon) are a high-profile couple with every pleasure at their feet while they lack the basic necessity in a relationship, the lack of compassion for each other. In the run for success, money and grandeur, they accept that their relation is minus any love, which clouds the very future of their togetherness. The flagship punch line this couple holds is that having only money doesnâ€™t necessarily buy you love.
The upper middle class newly-married couple Suchita and Amit (Rituparna Sengupta and Parvin Dabas) have plentiful in life, in terms of money and love. Suchita belongs to a conservative family from a small town that makes her quite clueless about the way people meet and live in a metro and is quite perturbed at the fact that her husband is meeting so many open-mined women everyday. Her innocent mind gives in to hysterics that starts driving her relation with her husband to an uncertainty beyond repair. The flag this handsome pair holds is that only love and money canâ€™t ensure a healthy relation.
The third couple, which is the more realistic of the four is from the affluent working middle-class. Namita and Akash (Sonali Kulkarni and Ranvir Shorey) are a couple who have everything, love, money and trust. They are both successful professional who are able to maintain a decently financially stable life. Their issue is nothing to do with their relation but having a daughter with a chronic illness that forbids them to leave her alone at home while they work. The lack of time or rather qualitative time with family creates the contravening antagonism between them. This pair proves the third and powerful fact that only love, money and trust is nothing without sufficient time for family.
The fourth and the most lovely couple from the lower income group is in search of a complete world, weaving dreams of a successful life with the little means they have. Shalu and Rahul (Nauheed Cyrusi and Ankur Khanna) are madly in love with each other and they are searching for means to fulfill their dream home. Their wish to marry is on hold owing to lack of money and so life is nothing with only love, trust and time without money. These people meet in some cultivated coincidences and imagine the other being happier than them. Ironically, the shoes that they are pinning for is made of unseen thorns not roses. This completes the circle of unsuccessful desires and lives.
Acting wise, Manisha Koirala is desperately wishing to make a come back but isnâ€™t very successful with even this one. Kay Kay Menon is pretty good as usual. Ranvir and Shonali are like ever before, refreshing and exhibit their usual charm. Rituparna Sengupta and Parvin Dabas look good together and their chemistry is not given full justice. Nauheed hasnâ€™t got any meat while Ankur Khanna shows much promise with the limited screen time he had. Sohail Sen and Shibani Kashyapâ€™s music is nothing astonishing or fresh, sounds far too much inspired. Cinematography by Baba Azmi is ok-ok. Editor Rajendra Surve seems to have taken an off during the initial screening of the movie as a decent amount of editing is required and gives an uncouth look.
Over all, good to be seen in television with some amount of ads, at least the ads will give you some punches!
— Mahua Ray for Hamara Photos