Kartik Aaryan takes on the role of Satya, a spoiled and entitled son of a Gujarati family in “Satyaprem Ki Katha.” Satya embodies the archaic ideal of seeking marriage, children, and a fairy-tale ending—a narrative deeply ingrained in our cinematic culture. Despite his amateurish nature, his closest confidant is his gentle father, portrayed by the warm and jovial Gajraj Rao, while Supriya Pathak plays his somewhat hardened mother.
Satya, more interested in pursuing companionship than work or purpose, becomes captivated by Katha after witnessing her mesmerising dance performance. However, there’s something amiss about her; she appears to be on the brink of a breakdown. Satya’s act of saving Katha’s life after her suicide attempt leads to an arranged marriage, more than a connection that feels earned. This scenario raises questions about consent, making “Satyaprem Ki Katha” a cautious exploration into a place where the clarity about this aspect becomes unnervingly apparent.
The film has several commendable aspects. Aaryan convincingly portrays the charming yet bumbling loser, earnestly searching for a deeper purpose in life. He even boasts about being fired from the job handed to him by his father-in-law, a testament to his commitment to doing absolutely nothing. The comedic elements are likeable, though ultimately forgettable. Aaryan effectively embodies the role of the inept yet harmless boy next door. Kiara Advani delivers a good performance in a problematic role that doesn’t quite allow her to shine as her film “Guilty” did. Gajraj Rao and Supriya Pathak are effortlessly adorable in their roles.
However, the film has its share of problems directed by Sameer Vidwans. Despite its intention to convey a progressive message, the film’s moral compass is often awry. Many of the male characters repeatedly say the wrong things. Unfortunately, while attempting to defy a problematic template, the film sometimes falls into its easy traps. Despite the grim social backdrop, the writing struggles to inject a sobering, non-traditional narrative with the fresh pathos from which such a revision could benefit. The question arises whether the film needed the grandiose musical elements it has been promoted with.
Another challenge lies in the Kartik Aaryan conundrum. He comfortably embodies innocence and daftness but appears overwhelmed when portraying grief. A more skilled actor might have elevated the material, which, although it rarely falters, also seldom shines.
A film like “Satyaprem Ki Katha” should be admired for its attempt to reframe structural aspects in a cinematic tradition striving for innovation in love and romance. Here, the hero’s pursuits are benign and untimely. Toxic enablers don’t surround him, nor does he dominate the scene through sheer bravado, except for the unnecessary songs and dances. Instead, he seeks to win the woman’s heart by giving her space, allowing her to conquer her fears. The film represents a form of mansplaining heroism, but it grants the archaic Bollywood heroine an opportunity for personal growth and strength. “Apni ladai ka hero tumhe khud banna padega,” Satya encourages Katha to become the first member of the village that will support her redemption journey. “Satyaprem Ki Katha” may not fully construct this village, but it digs a hole wide enough to plant ideas and plans that have the potential to grow and flourish.
Sameer Vidwan’s recent venture doesn’t claim to be groundbreaking; it appears to rely on the success of the “Bhool Bhulaiyaa” team. Including Kartik Aaryan and Kiara Advani may not bring any significant surprises. It might be considered mainstream Bollywood entertainment and a potential moneymaker at its best.
Our filmmakers must comprehend the value of time. Even from a presentation standpoint, precision is crucial for art forms that undergo a mechanised production process. Unfortunately, our cinema seems reluctant to evolve. At its core, the characters’ mindset and the unfolding events impact the final product. In this process, a recurring problem is the excessive time spent on setting up the premise rather than delving into the central conflicts or challenges of the story. Director Sameer Vidwan, who is still finding his footing in the industry, is heading in the right direction. In this instance, he realises halfway through the film that there’s a story to tell, a challenge to tackle, and, for those receptive, an exploration of what “NO” signifies in the realm of gender dynamics.
We are introduced to Katha (Kiara Advani), torn between her unremarkable boyfriend and a growing admirer following a dramatic Garba performance. But before we delve into her dilemma, we witness an extravagant dance performance by the agile Satya Prem, also known as Sattu (Kartik Aaryan), who is in full swing, only to be awakened and brought back to his everyday life in middle-class surroundings. This reality is far from the flashy, extravagant sets the choreographer recently raced him through. In the real world, he is a seemingly incompetent young man who failed to complete his law degree. However, on his way to his final year of law school, he seems to have a solid grasp of criminal law. Smitten by Katha, Sattu has no time for logic, reality, or social norms. His virtue lies in his unfiltered honesty, especially when it involves uncomfortable truths, and his knack for speaking his mind candidly.
Sattu’s world isn’t filled with many friends, as is often the case with young men. His father, Narayan Bhai (Gajraj Rao), is his cheerleader. The middle-class Gujarati family includes his mother, Diwali (Supriya Pathak), and an unmarried sister (Shika Talsania). This household subtly embodies women’s empowerment, as the women take charge of the kitchen and don’t hesitate to assert themselves.
Narayan Bhai has grand plans for his son, while Sattu’s mother has more modest expectations. Sattu, however, is captivated by Katha, and he manages to win the approval of her affluent prospective in-laws (Siddharth Randeria and Anuradha Patel). After a failed suicide attempt, Katha succumbs to her father’s emotional manipulation and agrees to marry the assertive but seemingly aimless Sattu. To his credit, Sattu is charming and unapologetically genuine.
The ill-fated union of Katha, a privileged and elusive woman, with Sattu, a middle-class, unemployed, and aggressive man, sets the stage for disaster. Her parents hope the marriage will restore the family’s reputation following their daughter’s suicide attempt. Another daughter is also awaiting marriage with an equally suitable fiancé.
The Sattu-Katha marriage faces difficulties as Katha resists conforming to traditional matrimonial norms, citing asexuality as her defence. Up to this point, the film needs more direction, and despite Sattu’s relentless energy, it feels inept and dull. The filmmaker fumbles his way to the central conflict. Once there, the narrative gains momentum, introducing engaging twists and turns that are best left unspoiled.
However, it’s worth noting how Supriya Pathak’s character evolves. Her role is performed exceptionally well, and for a while, one wonders what the talented duo of Gajraj and Supriya are doing. As the film progresses, Gajraj Rao justifies his approach, and Supriya becomes the linchpin of this middle-class Gujarati household that genuinely understands the essence of women’s liberation. Her character and performance challenge prevailing social biases and gender prejudices often taken for granted. In addressing these issues, “Satyaprem Ki Katha” makes significant progress and leaves the viewer with food for thought. This is perhaps Supriya Pathak’s most notable role to date, and she has come full circle from her earlier portrayals as a vulnerable young girl in films like “Kalyug” and “Bazaar.” In many ways, she is central to the film’s theme.
Kiara Advani and Kartik Aaryan share a decent on-screen chemistry, as evidenced by their success in “Bhool Bhulaiyaa.” Kiara is visually striking but occasionally appears blank in front of the camera. While garners attention, she struggles to convey the depth of the trauma her character is experiencing. A more powerful performance was needed, perhaps someone like Taapsee Pannu. Kartik Aaryan is in his element, benefiting from his box-office success. He can afford to shed the Akshay Kumar-style persona and carve out his unique space. The fact that established filmmakers like the Nadiadwalas support him is encouraging for his career. He doesn’t shy away from playing the glamorous character with a cinematic flamboyance. He must, however, know where to draw the line and avoid emulating Mithun Chakraborty. His presence and energy salvage the film during dull moments, especially in the initial stages.
“Satyaprem Ki Katha” is an intriguing film, provided you have patience. Kartik Aaryan stands out, with Supriya Pathak delivering an exceptional performance.
