Here is a moral science fable that intends to educate on the use of mobile phones. 'SIM' directed by Diphan has a message that is best suited for a 3 minute commercial, but which gets elongated beyond imagination into a two hour long humdrum drama.
There is this man in his late thirties named Iyer (Manikandan) who is an employee at the RTO office. Plagued by horoscope issues, the man has not yet tied the knot. Aided by his friends Ramesh (Anoop Kumar) and Mustafa (Vinod Kovoor) and a newly purchased mobile phone, he sets out in search of a bride, and soon gets bowled over by Pooja (Ann Augustine).
At times, Iyer in 'SIM' reminds you of 'Paavam Paavam Rajakumaran', and he is portrayed as some village pumpkin who cycles an enormous distance every day to buy cow's milk. What's more, he is technophobic and has disgusting table manners.
There isn't something even remotely funny about Iyer's antics, and he certainly does not have you in splits. What is interesting is that the film features a series of jokes that have been copied from popular text messages.
'SIM' has a police officer commenting on the number of families that are wrecked by the mobile phone menace every day. He adds that men and women are equal partners in the crime, and that a judicious use of the mobile phone is what is essential. And you cannot help nod your heads in agreement.
Performances are quite impressive in the film what with actors like Manikandan and Vinod Kovoor taking over the mantle. Ann has nothing much to do except brandish her long hair, which incidentally plays an important role in the film. Deepak Parambol, seen in an impressive role in 'Thattathin Marayathu' appears in a cameo as Karthik.
Which brings me to the one impressive scene in the film. Iyer, obsessed with women with long hair, insists that he be found a bride with knee length hair, at the matrimonial office. Mustafa isn't amused, and we soon realize why he isn't at the scene that follows.
'SIM', is also used as an acronym in the title, which stands for 'Sorry I'm Mad'. I am yet to grasp the significance of the latter title, and am not really sure who has gone nuts in the film. Iyer sure has his share of eccentricities, but he is far from insane.
Perhaps the pointer lies towards a society that has gone bonkers over the mobile phone; to those scores of young men and women who spend sleepless nights whispering sweet nothings into it or to an all new generation, which Ramesh points, out has forgotten to love.
Whatever be the case, 'SIM' reminds you of those films from a bygone era, that had long ago disappeared from the scene. Disappointing is the cue word here, and the impact that it has on the viewer far from impressive.
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