- Date of Release: 07 March 2025
- Genre: Drama
- Language: Marathi
- Watch On: Zee5 Premium
Sthal
Introduction
It is funny how most of us would term the cold open of the new Marathi film Sthal to be ‘peculiar’, a subtext in itself on what the film wishes to address. In its opening sequence, you see a male character quietly serving water to a host of ladies who have come to ‘audition’ him for a potential marriage proposal. The usual questions follow – on how old is he, how tall is he, what is his clan, what is his education like…to quote a few. And it is funny how this same sequence wouldn’t have been termed as ‘peculiar’, if the genders were to be reversed – something that we get to witness on innumerous occasions in the film. The opening sequence is a dream, but reality is far from perfect for Savita (Nandini Chikte), who is quietly a victim of her own gender in her village Dongargaon in Maharashtra. Subsequently, you get to witness the same opening sequence again – this time with a gender reversal – even as a hapless Savita sits through the process of being judged over a handful of questions by a groom’s family, that quietly bicker on her height and her dark-skinned tonality. This isn’t the first occasion on being judged, and it definitely wouldn’t be the last for Savita.
Story & Screenplay
Written by Jayant Digambar Somalkar, Sthal (aka A Match) unfolds more like a black comedy than a pure preachy drama. The marriage ‘auditions’ eerily resemble each other, so much so that the repetitive nature of them as much amusing as them being inclined to form a social commentary. At the helm of things is Savita, an intelligent young girl in her early 20s who has to bear the brunt of these ‘auditions’. And whilst you are acquainted with her, you realise her levels of maturity – on emphasizing on wanting to study, not just for the sake of escaping the rovering question of marriage, but being fully aware on how only education would improve the financial status of her family. In a scene you see Savita telling her mother on how she wishes to complete her graduation while also appearing for her Maharashtra Public Service Commission (MPSC) examination, only for her mother to retort on how an ‘overtly’ educated girl won’t get as many marriage proposals in a time when even educated guys don’t get jobs. And that remains an irony in itself for Savita…
The setting of Dongargoan plays an important character in itself, particularly being reflective of the mindset of people that live in the vicinity. The village remains a hub for many love stories that are discreet – almost reducing the couple to exchange glances at a local shop, or occasionally have meetings in fields – but never in the open. These are people who have potentially grownup together and have known each other for years, but the general belief of a love marriage is non-existential. It remains an irony on how the parents are fine to hand over their daughters to virtual strangers on the pretext that they are earning well and are well-settled in life (or alternately belonging to their own caste). The commentary is fleeting but supremely powerful while drawing a mirror to the double-standards that exist in the society.
The focus remains on the humble background of Savita’s family wherein her father is a farmer who earns money while cultivating cotton. In a fleeting scene, you see a bunch of characters retort on how the marriage proposals won’t be extended to a farmer’s son, particularly when there is an option of a person working in a government office. The context extends to Savita’s brother Mangya (Suyog Dhawas) who loves a local girl, in the midst of an uncertain future with respect to his relationship with her. But the writing quickly takes a step back while comparing Mangya’s contrasting journey to Savita’s.
In a scene, you see Savita leaving for college early in the morning while Mangya is fast asleep – something that tells you on how focused Savita is with her life, even as Mangya whiles away most of his time at home. The subtext remains that Mangya has that luxury on the pretext of an existing form of patriarchy that is present in the society – but Savita doesn’t have that option. The argument can extend to the results in the educational stream with girls outscoring the boys in various subjects. It tells you a thing or two about the luxuries that come with respect to the two genders.
The amusing sequences remain the ones involving matchmaking when Savita gets to meet different grooms at different instances. In a particular sequence, Savita is made to skip her MPSC examination, simply because it coincides with the day that her potential match would arrive to see her. The subtext is even more amusing as much as it is infuriating – the potential groom has already ‘auditioned’ a couple of other girls, treating Savita as merely an option that wouldn’t materialize into a solid prospect very easily. This once again extends to the privileges that come with respect to patriarchy in a society, wherein the options are unlimited for the males, but not so for the fairer gender. This argument would potentially extend as an LGBTQIA commentary like we witnessed in Sabar Bonda (2025). Ironically, it did feel that both these tales existed within the same universe – something that is really close to reality.
In fleeting moments, you see Savita’s affinity for her teacher Khapne sir (Sandip Parkhi), something that is reciprocated from the other end too. Their love story comprising of awkward conversations inside the college library, or the occasional glances along the way, make you want to root for them for most parts of the runtime. This remains true given how the drama unfolds through the gaze of Savita, that exudes of purity and love. And yet, the age-old practice of dowry acts as a staunch reminder on how the best of relationships are mounted on customs that are heavily inclined towards patriarchy. It is as much heart-breaking as it is infuriating, given a series of setbacks that Savita and her family have to face. And yet, this passage in hindsight acts as an element of hope, creating a strong case of assertiveness and strength for Savita – something that she exhibits in a brilliant finale that was a nod to Nagraj Manjule’s Fandry (2013), particularly with respect to the fourth wall. The screenplay isn’t preachy while still driving home its intended message with a lot of grace and flair!
Dialogues, Music & Direction
The dialogues are conversational while doubling up as a mirror to the society that we live in. In the same breath, the subtext that is prevalent through the lines is hard-hitting, something that isn’t easy to shrug off after the film. The BGM is sparingly used, allowing the raw nature of the drama to take centerstage whilst also using ‘silence’ rather efficiently. The cinematography captures the subtext of the drama wonderfully with a case in point being the deliberately designed shot-breakup during scenes of matchmaking. And I use the world ‘deliberate’, given the monotonous mindset of the ‘auditions’, wherein the same set of questions are repeated, and answered by Savita. The frames also account for the emotional core of the protagonist, even in fleeting moments involving a tear trickling down the cheeks of Savita.
The editing is razor sharp here, keeping the length of the drama in check while also retaining its subtext from one scene to another. Director Jayant Digambar Somalkar does an incredible job in holding onto to the tonality of the drama, while never venturing into a preachy space. His world building and characterization is subtly intense, while holding up a stark mirror to the society. Even his commentary is fleeting but supremely impactful, given how he allows you space to process and form your opinions about the characters and the practices that they cater to, without serving things on a platter. The direction is excellent here!
Performances
The performances are wonderful by the members of the cast. Mansi Pawar as Suman, Gauri Badki as Ranju and Swati Ulmale as Gauri have their moments to shine. Ironically, each one of their journeys have a strong resemblance to that of Savita, making them Savitas in their own world while having to deal with similar issues. Sandip Parkhi as Khapne sir is sincere and earnest while putting up a facade (in the context of the drama) with his cutsie body language and antics rather efficiently. Suyog Dhawas as Mangya is a character that rather repulsive giving his affinity to while away his time – and Suyog exploits this trait rather well while doing a great job here. Sandip Somalkar as Kale guruji is someone that will infuriate you with his coaxing marriage proposals for Savita, and in that regard, he does a good job. Sangita Sonekar as Lilabai and Taranath Khiratkar as Daulatrao – Savita’s parents, deliver heartfelt performances given the plight that they have to undergo for their daughter’s marriage. The burden is evidently visible through their immaculate performances that leave a lasting impression here.
Nandini Chikte as Savita is the soul of the drama here. In many ways, this can also be labeled as a coming of age drama for Savita, who is sedate and resentful but understated with the portrayal of a girl with an uncertain future. You see her palpable emotions in play, often drowned in a sea of hopelessness and resentment. And still, the fire to keep going on is what defines her character, leading to a powerful finale. Nandini nails these raw emotions and delivers a subtle performance that stays with you long after the film has ended!
Conclusion
Boasting of excellent performances, Sthal is a sharp critique of the prevalence of patriarchy in the matchmaking setup that makes for a brilliantly pondering watch. Available on Zee5 and Highly Recommended!