Then, immediately, to make things very tough and scary for all involved and us, a parent has to take a fall.Sharat Katariya has a very fine sense of small-town Hindu homes, and the rhythms of the cosmos outside. I imagine that they took a look at its rather lovely, compound film filling machines Suppliers simple, small, pulsing story and, finding it too khadi for their taste and expense, added to it the usual, exaggerated melodramatic highs and lows to illicit big tears and cheers.There’s a sweet-sad warmth to the daily beats of domesticity where the basic, crucial needs of two men are taken care of by two women from their dingy kitchen.
Now, though their paths cross daily, it’s only for communicating chores completed or the ones that need to be completed.But the attack of the house of YSR, which simply can’t stomach a film with A-category stars without big tears and bigger victory moments, is like a commercial vomit on a screenplay that would otherwise been able to breathe. His uncanny ability to infantalise a character whose growth trajectory is upwards is very irritating and makes the film crawl when it’s meant to soar. They’ll also cut here, nip that, add a collar or pockets that scream for attention.Let’s say someone truly talented sets out to create a dhoti-kurta ensemble by, first, weaving a cloth that’s designed especially for it.Soon, a rather farfetched scene is inserted to make Mamta weep tears of embarrassment as she watches the depths to which her husband will stoop to make a living, and this give the film its first twist, setting off Mamta-Mauji on their journey of self-discovery, saath-saath mein.
They live with Mauji’s Bauji (Raghubir Yadav) and mother (Yasmin Dass).Sui Dhaga has some very fine moments, but overall it’s just one more film ruined by the limited vision of a few who, sadly, decide what works and what doesn’t in Bollywood based on their balance sheet and a worldview too limited to see beyond their hits and those of their chubby pals. Its texture and weave is distinct and unique, and has a stand-out luminance when turned into a dhoti-kurta. Give him a scene with high emotion and he either pulls strange faces or dips into memories of his childhood tantrums to get the job done. Bauji, now retired, sits in the small veranda disapproving of Mauji, seeing in him nothing to encourage or appreciate, while his mother is too busy worrying about the erratic water pump. The cut is new, stellar, and while it looks simple, it’s stunning in its minimal elegance.

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