By Vishnu Mahesh Sharma
The holidays are approaching and so is the star release. Over time, this combination of start and leave has become an increasingly commonplace and formulaic means of star service. Seeing Satyaprem (Kartik Aryan) slip into the famous monologue avatar, the fear of witnessing something similar is not unfounded. Luckily, this fear is allayed with a very nice scene.
Very early in the story, Katha (Chiara Advani) attempts suicide. No praise for her, though she speculates that she employs her most trusted and favorite method of suicide to end her own life: cutting her wrists. Nonetheless, the cut left a scar on one of her wrists. The continuity of this scar is maintained even in the second half. This scar can be observed in the post-intermission sequence when Satu kisses her hand. However, just before this kiss, Kiara said:Kuch sach ese hote hein jo dusaron se bardasht nahi hote aur kuch aise jo khud se bardasht nahi hoteSo the wound exists not only literally, but also metaphorically. The wound may be a part of the body, but it is her soul that is really injured.Jab kud se sak borne ki himat a jay to sammage rena ki main bi sak san ko taiyal hun“It tells us that when the soul is healed, the body is also healed.
This scene is quite surprising for a film that largely follows the typical Namaste London template for the first half (the distinction between the first half and the second half is so obvious here that it’s actually two halves). (Sorry) I can’t talk about the movie without using this vocabulary, even though the first half and the second half are mentioned until it gets boring in this essay). It could very well be her one of those nice accidental touches. Otherwise, why is this intentionally present in a story that until this point had purposefully ticked all the romantic comedy boxes? But it’s precisely this sequence that proves to be the transition point along the way, where the film turns and conditions us to handle certain stories in certain ways.
Posting this beautiful sequence will get the movie excited masala feed and dramatized. The seemingly routine scene in the first half begins to resonate in the best way in the second half. For example, consider the scene where Satu finds out about the tragedy that Kata went through. The scene very seamlessly transitions from a romantic love relationship to a psychological trauma. Shortly after this sequence, a couple can be seen standing on either side of a closed door with glasses fitted in the frame. Of course, this glass wall is literally there, literally.
Up until this point in the story, Satu was unknowingly facing the effects of the tragedy. He doesn’t know the gravity of the tragedy. When the cause and its nefarious nature are revealed, he knows what is right to do, but at that moment he has not mustered the courage to do that right thing. A glass wall is a social barrier. If this tragedy becomes known to society, it will surely happen. But in that moment, Satu is just as hurt and depressed as Kata, and like the hero, he cannot instantly resolve to fight the social prejudices that come with tragedy.
The script flips not only the genre, but also the sensibilities and attributes of the characters. In Satu’s family, women do the heavy lifting and keep the kitchen running. Her father and son duo take care of the household chores. They give the impression of docility. It gives a sense that the conventional male ego does not exist between father and son. Nonetheless, when Katha breaks the news of her date rape by her ex-boyfriend Tapan, we see Narayan’s (Gajraj Rao, who plays Sattu’s father) ego and awareness of the dignity that comes with sexual activity. to be as unscathed as the men of Chauvinist. So in the climactic part, when Satu wants to file police charges against Tapan, Narayan objects to the idea. He argues that this kind of rape (which he literally divides into intelligible and incomprehensible rape) cannot be proven or explained. This lawsuit will damage the family’s reputation. It will bring defamation and stigma. This quasi-machoism and false sense of dignity is mirrored by his son through his highly effective (cinematic, but in a good way) speech.
These parts of the film also very subtly comment on “how men and women react differently to this type of crime.” All this time we feel that Satu is getting closer to his father. At one point he states that his father is his only best friend. But when the reason for Kata’s escapist behavior becomes clear, it’s not Narayan who approaches Satu in moments of isolation and loneliness. This is his mother Diwali (Supriya Pathak) who consoles him and gives advice that only a compassionate female heart and mind can give.
This inversion and echo transcends these senses of gender. There is a very cute sequence in the first half. Satu says to Kata:Agali Baal Jab Kishi Ki Jaan Len Ki Icha Ho To Kud Ki Nahi Balki Uski Rena Jiskif Aja Se Ye Icha Ho Rahi Hai . I play a supporting actor, Karunga, Kanten Jallat Padi Tu.The climax begins with Satu filing charges against Tapan and convincing Kata to put him in prison. Guiding and ready to support her no matter what lies ahead in the near future.This drive for justice may sound like typical masala heroism, but it is a well-crafted moment To fully comprehend it, one must once again recall a small sequence from the first half that firmly underpins this heroism.
After treating Katha after a suicide attempt, a doctor, hoping to extort money, tells her father that this is a suicide attempt and that she should file a police complaint. But our hero is there for the rescue effort. Satou silenced the doctor by stressing that the laws related to this had been amended and there was no need to file a police complaint at this time. This humorous, minor sequence offers a glimpse of Sats’ inherent heroism. Like other mediocre scenes in the first half, the superficiality of this scene is revealed in the second half. The contents of the first half cannot be taken at face value. Most of the stupidity of the first half is given a purpose and motivation that only makes sense when complemented by the second half. The script is so solid after the break that even mundane props like the end credits song serve a greater purpose.
When we are first introduced to Casa, her full name is announced as “Kasa Halkarshan Kapadia”. A year later, on the same stage, same occasion, cut to her end credits song, she is introduced as ‘Satyaprem Ki Katha’. This is quite natural given that the entire arc is about how Satu makes Kata his own. Whatever she went through, he was there like a pillar. In every way he has won her, her body, her spirit, her heart, her soul, her companionship, and the respect of her and of us. This journey can only culminate in one way. That is, when he can rightly say,satyaprem ki kata‘.
A few minutes into watching the movie, the meta reference hit me. Approximately he was 11-11 years ago, Karthik’s character helped Nusrat his Balucha character. Akasvani (The title has the lead pair’s name in it.) It deals with marital rape. Here, in Satya Prem Ki Katha (with the lead pair’s name in the title), his character helps Kiara’s character deal with date rape and its trauma. Hearing this made me think of two things. One, for Kartik Aryan, it’s actually his life coming full circle, and two, Kartik’s casting has only to do with his stardom, which he did a few years ago as well. that it has nothing to do with casting in the role of
Only director Samir Vidwans can answer this, but I can answer that this movie is a story of the first half and the second half, and the woman sitting next to me in the theater cursed the movie in the first half. I’m saying that. But in the scene where Satu fearlessly tells her family about the news of her dating rape, she is the first to applaud Katha. It’s nothing short of amazing that the inversions and echoes burst off the screen and forced such a polarizing response that the reel’s conclusion gave an equally strong sense of true closure. The film conveys a social message, but without compromising its accessibility and entertainment value, as a star-driven holiday release it’s a delightful deviation to witness.
