Vacillating between the logical and the illogical

By

Bhawani Cheerath Rajagopalan

Sorry Bhai;

Starring: Sharman Joshi, Sanjay Suri, Chitrangada Singh, Shabana Azmi and Boman Irani;

Director: Onir

Director Onir’s earlier film was “My Brother Nikhil” and then comes “Sorry Bhai”. The latter has picturesque shots of Mauritius. This film is one more example of the trend heralding a shift in the themes and style of filmmaking, thanks to a new breed of filmmakers. The new jet-set lifestyles, the ‘casual-is-in-look’ of the stars and the emerging situation wherein families are scattered all over the globe, yet they manage to remain in touch as distances don’t really matter, thanks to technology. 

Harish (Sanjay Suri) and Siddharth (Sharman Joshi) are brothers. The family members meet in Mauritius where the elder brother has planned to get married to fiancée Gayatri (played by the beguilingly beautiful Chitrangada Singh). The parents are an interesting pair, viz., Boman Irani and Shabana Azmi. The bonhomie and back-slapping relationship between the foursome is conspicuous.

Boman Irani gets better each time I see him in a film. Shabana, there is no need to elaborate how she carries herself throughout the film. She is just what is demanded of her as mother of the two boys. She is quite sharp at detecting even a mild aberration in the behavior of the men in her family. The new entrant to the family is Gayatri towards whom the mother is amiable; however the element of restraint in her conversations is evident. In fact it is Shabana’s ability as an actress that shows very subtly the manner in which she handles the family and the reservations she has of the ‘bahu-to-be’. She is aplomb personified in her new role.

All these elements may appear to suffice for the plot’s development. Things do seem to be progressing in a logical manner. But, there is a twist. There is a conversation between Gayatri and a friend wherein she reveals that she is falling in love with the younger brother. It appears that she is not happy with the attention she is getting from her beau as is signified by this dialogue, “Hari has no time for me. He has changed. I want to make a career; he wants me to join him in the US.” Moreover, in the company of Siddharth she is apparently happy and pursues him with her intentions quite apparent. It does not take long for Siddharth to succumb to her irresistible charms.

From here on illogic begins to take over. Shabana, whose redoubtable discerning abilities had already acquainted her with the development of this new love angle, expresses shock when she is actually told of it, and rants, “This will not happen. You have to forget her. Harish and Gayatri will have to get married.” Confusing, is it not? But who is more confused – the script-writer, the director or the viewer? Another clichéd and unimaginative scene is one in which she forces the poor sod to utter ‘Maa kasam’ in order to ensure that he does things the way she wants it to happen. So, even as the Gayatri-Harish parting of ways is halted midway in steps the father. He “inspires” Siddharth to get married to Gayatri “Maa Kasam” or not.

Boman Irani gets his wife to see reason. It task needs some doing, but, well, is done. You have to give the film a happy ending. No? It’s funny… perhaps not… I mean it is the Boman-Shabana duo who steals the show. Sorry bhai!

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