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A legally dramatic tale

There’s a certain predictability that sets in when you get the premise of C/O Saira Banu; a young mother Saira (Manju Warrier), of a boy Joshua Peter (Shane Nigam) in Law College, a lawyer, Annie John

Published: 18th March 2017 04:02 AM  |   Last Updated: 18th March 2017 04:02 AM   |  A+A-

Express News Service

There’s a certain predictability that sets in when you get the premise of C/O Saira Banu; a young mother Saira (Manju Warrier), of a boy Joshua Peter (Shane Nigam) in Law College, a lawyer, Annie John Tharavadi (Amala Akkineni), who is a big name, all suggest at an impending court drama and a hands-down winner by the end of it all. 

It begins with the cutesy relationship between the (spoiler alert) mother and son. Saira and Joshua make for the awesome twosome, who get by with the former’s job at the post office.

Film:  C/O Saira Banu 
Genre: Drama
Director: Antony Sony
Cast: Manju Warrier, 
Amala Akkineni, Shane Nigam

Another thing that gets established early on is Saira’s simple-mindedness; the woman who watches daily soaps, and cannot pull off that driving license test. This sets the tone for the climax, the congenial scenario for the story of the underdog.

And, like bait on a hook, an untoward incident puts the life of Joshua in trouble. And, like how they say, when the going gets tough, the tough get going.

Since that was already expected, what’s new here? One could say, the plot twist, which is more like a wild card entry, that makes for the saving grace, yet it leaves behind a torrent of questions. 

The pitiful lives of migrant labourers come into play, but we realise it’s only a prop. And, ultimately, it feels as though justice wasn’t quite served.

Manju has taken centre stage yet again, and while it’s great to see that, one could take the ‘salutations’ down a few notches. Not that we don’t see that happening in the case of male superstars, but an overdose is never quite palatable. Her meek-woman-who-turns-the-tide act engages, but also forces a recollection of her numerous other characters. 

Amala’s characterisation is disappointing, and the talented actor could have done much better, had it been a wholesome role. However, Shane gets his act right, and adds depth to the character he plays.

The film, that could pass off as ‘legally dramatic’, could have invested in better writing and envisaged a more intense and justifiable courtroom drama, instead of resorting to ‘all’s well that ends well.’

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