Searching for to ship a social message through a musical love story, Satyaprem Ki Katha, directed by Sameer Vidwans, makes an essential level however not earlier than it covers itself with a complete lot of froth. Furthermore, it doesn’t say something that Mumbai movies have not articulated in recent times.
Satyaprem Ki Katha tries exceedingly exhausting, however largely in useless, to realize a stability between the necessity to present leisure and the urge to preach on a matter of simple import. The movie swings wildly from comedy to melodrama, from facetiousness to solemnity, in an elusive search of the proper mix.
The movie’s two leads, Kartik Aaryan and Kiara Advani, are known as upon to do many of the heavy lifting whereas supporting actors of the calibre of Supriya Pathak Kapur and Gajraj Rao are saddled with roles which are riddled with deleterious inconsistencies. The veterans give performances which are strikingly efficient regardless of the percentages.
Want one might say the identical about Kartik Aaryan and Kiara Advani. The hassle that they make to strike the important notes reveals. That solely aggravates an already sluggish and stodgy movie that seems to place an excessive amount of strain on itself in an try and be significant in a means that style motion pictures hardly ever are. The intention is seen however the affect is erratic.
Satyaprem Ki Katha, which is ready within the metropolis of Ahmedabad, is what might be likened to fafda. It’s at greatest a small snack, not a full meal. The movie takes a chew of this and a chew of that because it strives to string collectively a narrative of a cheerful boy who strives to rescue a woman from emotional and psychological misery.
A drifter with a coronary heart of gold enters the struggling younger girl’s life and thus begins a means of therapeutic that often runs into heavy climate. Flippancy provides method to indignant fulminations, a wedding runs into hassle, and a near-platonic friendship begins to take form because the boy and the lady wrestle to return to grips with grave points.
The movie opens with a dream sequence – a peppy track, to be exact – that has the male protagonist, Satyaprem alias Sattu (Aaryan), imagining himself to be a ‘hero’ who can do no flawed. When the man is not daydreaming, the good-natured Sattu is a jobless school dropout in a determined hurry to get married and cease his mother from incessantly underestimating him.
With the assistance of his dad Narayan (Gajraj Rao), Sattu does the family chores whereas his cantankerous mom, Diwali (Supriya Pathak Kapur), and dismissive sister Sejal (Shikha Talsania) run Garba and Zumba lessons respectively on the terrace of their two-storey home.
There isn’t any love misplaced between Sattu and his mom and sister. His father is his sole soulmate, a person who relates along with his lack of vanity and encourages him to do all that he must do with the intention to discover a appropriate lady.
The younger man does have a woman in his sight. The difficulty is Katha Kapadia (Kiara Advani), daughter of the town’s high farsan and dhokla vendor, Harikishen (Siddharth Randeria), is out of his league by many, many miles. He’s from Prahlad Nagar, she from Satellite tv for pc Street.
However when Sattu and his dad least count on it, Katha’s father seeks his hand in marriage for his daughter. A shellshocked Sattu checks with Katha if she is in settlement together with her father. He deigns to proceed solely when the lady signifies her willingness. It’s a marriage of two disparate minds – one unsullied, the opposite scarred. That seems to be solely the start of Sattu’s troubles.
About thirty minutes into the movie, the impression one begins to collect is that Satyaprem Ki Katha is out to make mild of psychological trauma and suicide. One squirms in discomfort. However issues take a lethal severe flip within the second half as a yawning hole opens up between Sattu and his new bride for causes that are not immediately obvious however are essential to the progress of the overly knotted plot.
From this level on, Satyaprem Ki Katha makes the proper noises but it surely does means an excessive amount of beating across the bush earlier than it truly begins to completely verbalise what it’s making an attempt to convey to the viewers. Katha talks about “second base” and “third base”, ideas that Sattu is blissfully oblivious of till issues get out of hand and he’s required to swing into motion.
A darkish and painful secret tumbles out of the bed room and all hell threatens to interrupt unfastened. Sattu’s amiable dad does a volte-face when his son wants him probably the most. The mom who spends the primary half and past raving and ranting at Sattu seems to be much more supportive – she takes a agency stand when push involves shove.
Practically two and a half hours lengthy, Satyaprem Ki Katha ends with an elaborate non secular ritual signifying each a means of cleaning of and a stamp of social endorsement for a lady who has been by means of hell however has acquired no salve from her speedy household till the appearance of the righteous Sattu.
Earlier than the end-credits merchandise quantity – one other Garba efficiency – unspools, the movie offers statistics on the alarming frequency of sexual assaults in India and the overwhelming underreporting of instances that ensures that the nation has the bottom per capita rape victims on the planet.
So, Satyaprem Ki Katha educates whereas it entertains, however lots of the inventive selections that the script by Karan Shrikant Sharma makes and the directorial sleights that Vidwans resorts to result in avoidably mawkish convolutions that the movie is unable to snap out of, particularly within the second half.
If mere intent might make a movie, Satyaprem Ki Katha can be deemed successful. As for what it truly delivers, unevenness mars the present.
Kiara Advani, Kartik Aaryan, Gajraj Rao, Supriya Pathak