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Marital unions in India are commonly depicted as vibrant, lavish festivities where families unite to uphold customs. Yet, for numerous women, the journey of an arranged marriage can be profoundly unsettling, driven by societal pressures and patriarchal norms. The Marathi-language film Sthal: A Match
reveals this often overlooked aspect of Indian matrimonial ceremonies, providing an unvarnished view of the hardships encountered by women and their families throughout the process of finding a suitable match.
takes place in the rural scenery of Maharashtra, Sthal
narrates the tale of Savita, a young woman eager to seek higher education and develop a career. Yet, her ambitions are eclipsed by her father’s constant endeavors to find her a spouse. Daulatrao Wandhare, a cotton farmer facing hardships, is resolute in arranging a suitable marriage for his daughter while dealing with the struggles of his trade. For Daulatrao, an advantageous marriage proposal is as crucial as obtaining a just value for his harvests.
, helmed by Jayant Digambar Somalkar, distinguishes itself with its candid portrayal of arranged marriage practices and the emotional impact on women. In contrast to Bollywood’s glitzy depiction of nuptials, Sthal
Directed by Jayant Digambar Somalkar, the film stands out for its raw depiction of arranged marriage rituals and the emotional toll they take on women. Unlike Bollywood’s glamorous portrayal of weddings, Sthal
begins with a gripping scene in Sthal
establishes the mood for the narrative. In a dream-like scenario, Savita questions a potential suitor, humorously flipping conventional gender roles. Accompanied by her female family members, she observes the anxious young man awkwardly handling drinks. Yet, this amusing scene is fleeting, as Savita is suddenly awakened and informed to get ready for another round of men arriving to evaluate her as a prospective wife.
In actuality, the scenario is markedly different. Clad in a sari and perched on a small stool, Savita sits with her gaze downcast, enduring a flood of inquiries from the potential groom’s family. They question her about her name, education, interests, and even her readiness to work on a farm. After the interrogation, the men retreat outside to deliberate on her physical attributes. Remarks about her complexion and stature expose the superficial metrics by which she is evaluated. In spite of her qualifications and dreams, Savita is diminished to an object of examination, her value assessed by capricious criteria.
In reality, the dynamic is starkly different. Savita is dressed in a sari and seated on a small stool, her eyes lowered, as she faces a barrage of questions from the prospective groom’s family. They interrogate her about her name, education, hobbies, and even her willingness to work on a farm. Once the questioning ends, the men step outside to discuss her physical appearance. Comments about her skin tone and height reveal the shallow criteria by which she is judged. Despite her qualifications and aspirations, Savita is reduced to an object of scrutiny, her worth determined by arbitrary standards.
This scene is repeated several times throughout the film, highlighting the repetitive nature of the matchmaking process. Savita’s parents reveal that this is the fourth or fifth time she has been rejected. Each rejection deepens the family’s frustration and despair, as they face the societal expectation of marrying off their daughter. For Savita, the experience is both degrading and infuriating. Her protests—expressing her desire to complete her education and pursue a career before considering marriage—are dismissed as unrealistic in her conservative community.
In an interview, Nandini Chikte described how emotionally taxing it was to portray Savita’s journey. “Even though I was acting, I felt the anger and humiliation on behalf of Savita,” she said. “It was disheartening to see how little consideration was given to her dreams, while the prospective groom was never subjected to the same scrutiny.”
The film also addresses the pervasive issue of dowry, a practice that remains widespread in India despite being illegal for over six decades. Dowry often places a significant financial burden on the bride’s family, with parents going to extreme lengths to meet the demands of the groom’s family. In Sthal
from real-life experiences, Director Jayant Digambar Somalkar crafted Sthal
Director Jayant Digambar Somalkar drew inspiration for Sthal
from his own life experiences. Growing up with two sisters and several cousins, he witnessed the matchmaking process firsthand. He recalls observing these rituals without questioning them as a child but began to see them differently as an adult. The turning point came in 2016, when he accompanied a male cousin to meet a prospective bride. Watching the young woman sit on a stool and answer questions about her appearance and background left him uncomfortable. “The discussion about her height and skin color felt dehumanizing,” Somalkar said. Encouraged by his fiancée, now his wife, he decided to explore the subject through his filmmaking.
is not the initial Indian film to address this topic. Throughout the years, both Bollywood and regional films have brought forth various narratives about arranged marriages. The widely watched Netflix series Indian Matchmaking
explores the matchmaking process as well, but it centers on affluent, urban families where women tend to have relatively more autonomy.
Somalkar asserts that his film provides a more realistic viewpoint. “The reality for the majority of Indians differs significantly from mainstream media portrayals,” he stated. “For families in rural or low-income areas, securing a match for their daughters often seems daunting. Marriage is perceived as a means to uphold the family’s honor, prompting parents to make considerable sacrifices to meet this societal duty.”
Somalkar believes his film offers a more grounded perspective. “The reality for most Indians is very different from what’s shown in mainstream media,” he explained. “For families in rural and lower-income communities, finding a match for their daughters often feels like an uphill battle. Marriage is seen as a way to secure the family’s honor, and parents are willing to go to great lengths to fulfill this societal obligation.”
urges audiences to rethink entrenched customs. It scrutinizes the objectification of women under the guise of matrimony and the societal pressures that place marriage above educational and career aspirations.
Somalkar aspires for the film to initiate significant discussions. “One film can’t transform society immediately, but it can begin a conversation,” he remarked. “I want audiences to reflect on how these customs affect women and their families. It’s time to shift away from viewing marriage as the pinnacle achievement for a young woman.”
delivers a powerful narrative and genuine performances, Sthal
acts as a strong critique of societal norms that uphold gender inequality. It gives voice to women like Savita, whose stories frequently go unnoticed, and advocates for changing perspectives on marriage, education, and women’s autonomy in India.
serves as a powerful critique of societal norms that perpetuate gender inequality. It offers a voice to women like Savita, whose stories are often overlooked, and calls for a shift in attitudes toward marriage, education, and women’s agency in India.
While change may be slow, films like Sthal
play an important role in challenging the status quo and inspiring audiences to imagine a more equitable future.
