‘Satyaprem Ki Katha,’ featuring Kartik Aaryan and Kiara Advani, presents a muddled blend of commercial entertainment and a film with a social message. The movie struggles to find a balance between these genres, trying too hard to satisfy both. Initially, the Sameer Vidwans-directed film appears to be a straightforward entertainer, as evident when Kartik starts dancing in the opening credits song. Kiara’s introduction song further reinforces this notion, as does the wedding song 45 minutes into the film.
However, it is only an hour into ‘Satyaprem Ki Katha’ that viewers realise there is more to the story than just a comical Gujarati tale with exaggerated characters. Special mention should be given to Gajraj Rao’s printed kurtas, which add to the caricatured aesthetics of the film.
The plot revolves around a married couple who navigate physical and emotional intimacy after the woman, Katha (played by Kiara Advani), experiences a brutal incident of date rape with her boyfriend. Kartik Aaryan portrays the titular character, Satyaprem, also known as Sattu, who undergoes personal growth and maturity after marrying Katha.
Performances
First and foremost, Kartik Aaryan and Kiara Advani make a great on-screen pair. However, in ‘Satyaprem Ki Katha,’ despite the sincerity in Kartik’s eyes in many moments, Kiara steals the show from the beginning. Her screen presence is remarkable.
On the other hand, supporting cast members like Gajraj Rao and Supriya Pathak are underutilised, and the cringe-worthy scenes they are given make the overall presentation embarrassing. Although there are a few scenes where the two veteran actors shine, they are only given a minute or so. For the most part, they are part of an inverted household setup, where the women are the breadwinners and the men, including Kartik and Gajraj Rao, take on domestic responsibilities such as dusting, cleaning, washing dishes, and cooking for the women.
Screenplay
In the pre-interval portion of ‘Satyaprem Ki Katha,’ the screenplay feels like it was written by a completely different writer. The cringe-worthy dialogue hit the mark. While some scenes provide glimpses into the typical middle-class reality of many lives, others feature cheap humour involving newlyweds, where the groom says, “I saved myself for you… I don’t know if you believe it or not, but I’m a virgin.” Is this line merely a catchphrase, or does it reflect the reality of men who have little hope of marriage resorting to such statements on their wedding night?
Returning to the screenplay, ‘Satyaprem Ki Katha’ initially feels like a commercial entertainer with songs, cringe-worthy dialogues, exaggerated melodrama, and an isolated Gujarati family seemingly unaffected by the socio-cultural changes in Indian society brought about by globalisation. In the first half, it seems like Gajraj Rao, as Kartik Aaryan’s on-screen father, and Kartik himself have no other purpose in life than to get the latter married, despite lacking the means to support the marriage or the intelligence to do so.
The post-interval segment takes a completely different direction, introducing social commentary with deeper meaning. Suddenly, ‘Satyaprem Ki Katha’ becomes more than just an entertainer. It feels as though the film had to pass some social examination to be considered watchable in theatres. While this formulaic approach has been explored by many filmmakers, particularly in the post-pandemic era with changing content consumption patterns, one wonders why filmmakers feel the need to pander to audience preferences. If a film has the potential to stand on its own based on its story, why add elements that spoon-feed social messages when they can be conveyed naturally within the narrative?
While catering to commercial success in theatres and creating a paisa-vasool (value for money) film may be understood from an economic standpoint, as an audience, should we not question such tactics?
Technical Aspects (Direction, Design, Camera)
Director Sameer Vidwans, known for his work in Marathi cinema, attempts to create a mass-oriented film with a message that resonates with Hindi-speaking audiences in ‘Satyaprem Ki Katha.’ Despite the cringe-worthy and predictable three-act structure that avoids intellectualising its content, the film manages to succeed. There are no layers; everything is literal and in your face. The audience is spoon-fed and given a cathartic moment at the end. What more can a filmmaker strive to achieve?
The production design is extravagant yet tacky, sometimes feeling out of place. Ahmedabad, the setting of the film, lacks a cultural ethos beyond its skyline and city view. Similar to the ‘Jayeshbhai Jordaar’ controversy, where Gujarat was caricatured, ‘Satyaprem Ki Katha’ fails to capture the essence of the region.
There isn’t much experimentation with the form. Grand dance sequences are awkwardly shot in places, and there are instances where Kartik Aaryan appears blurry in master shots.
The film employs sudden close-ups of faces during emotional meltdowns, providing a cringe-worthy yet introspective experience. Mid-shots, mirror shots, and master shots are extensively used, aiming to immerse the audience in this grand spectacle.
Music
‘Satyaprem Ki Katha’ is a highly musical film. It features a loud background score that complements emotional and dramatic scenes, and there is a song for every significant sequence in the film. The music suits the genre, and the grand songs add to the immersive experience of a Hindi film on the big screen.
Theme
Despite being a story about two naive individuals who undergo a coming-of-age experience and become responsible and empowered adults capable of making correct decisions, ‘Satyaprem Ki Katha’ is problematic. It touches on consent but avoids addressing women’s clothing or careers.
For instance, while the film showcases Katha’s realisation that seeking justice against her rapist is the right course of action, it fails to challenge years of patriarchy regarding women’s clothing and careers. The film depicts equality in emotional relationships, but women are still portrayed as primarily working in the kitchen during significant moments. Additionally, they are dressed in ethnic attire to conform to societal standards. One wonders why, if the film aims to empower through its tale of consent and inverted gender roles, it doesn’t fully commit to these themes.
Does our society have the courage to confront these issues, or are filmmakers who lightly touch upon feminism in their films uncertain about their intentions or the audience’s intellect?
Conclusion
In conclusion, ‘Satyaprem Ki Katha’ serves as a safety net that wraps important contemporary social messages in familiar packaging, ensuring acceptance by all. This Kiara Advani and Kartik Aaryan starrer is worth a weekend watch if you desire a complete paisa-vasool experience once in a while.
