Jayant Digambar Somklar’s Sthal is a strong critique of arranged marriages especially in rural areas where the girl is a commodity to be sold off. The constant cycle of being decked up as a doll and being judged by the prospective in laws has a realistic feel to it. Much like Jeo Baby’s The Great Indian Kitchen Sthal also has a sense of repetitiveness with repeated shots still the film makes a strong impact
Starcast: Nandini Chikte, Taranath Khiratakar and others
Genre: Social drama
Director, writer and producer: Jayanth Digambar Somklar
Additional producers: Shefali Bhushan, Karan Grover and Riga Malhotra
Cinematography: Manoj Karamkhar
Music: Madhav Agarwal
Running time: 1 hour and 47 minutes
Production house: Dhun Production
Streaming site: Zee 5
In Indian movies the arranged marriage set up is generally used to explore budding romance. Two contrasting people coming together and becoming one. But in reality, things always don’t pan out in this manner. Sthal written and directed by Jayanth Digambar Somklar looks at the entire scenario through a young girl’s suffocation. The grind of getting appropriately dressed to please the prospective in laws and answering every question. Jayanth Digambar Somklar in short strips off the glamor generally associated with this genre.
Sthal in brief focuses on Nandini Chikte’s Savita Daulatrao Wandhare. She is in the final year of BA. Her specialization is sociology. Savita has major aspirations of studying further but her parents want to get her married off as soon as possible. This is the story in short.
A strong aspect of Sthal is how the movie depicts the cycle of arranged marriage especially in a rural setting. There are repeated shots of elders having a chat and then the girl is made to sit uncomfortably on a stool. Barrage of questions start making her feel as if she is a criminal.
The humiliation comes out in a strong manner. Above all the girl’s consent isn’t taken into consideration. The structuring of these episodes has a distinct hangover of The Great Indian Kitchen. A sense of repetition can be felt still it works.
The movie also throws light on dowry which still exists in our society. Mention must also be made of how the movie juxtaposes the celebration of SavitriBhai Phule with the regressive practices. There is an important portion where the college is seen celebrating her birth anniversary and she is being hailed for being a torchbearer for women’s education: however, the situation in Savita’s home is completely different.
There is also a male professor who teaches women empowerment to the students pretending to be modern. But the reality is very different. These touches add a lot to the movie.
Sthal also sheds light on farmer’s issues through the father played by Taranath Khiratkar. Taranath Khiratkar does a very fine job in making the viewers emphasize with him. Both the parents are presented as victims of their circumstances rather than outright villains. As viewers you understand from where their thought process comes from. The ending of Sthal reminds the viewers of Nagraj Manjule’s Fandry. There is the sound of a strong slap.
Nandini Chikte does an extremely fine job in bringing out the ordeal. She conveys a lot with just expressions. The rest of the cast led by Taranath Khiratkar are formidable too in their respective parts.
Technically speaking both the music and the background score are appropriately minimal. Manoj Karamkar’s cinematography goes perfectly well with the rustic surroundings too.
Final word: Sthal is definitely worth a watch especially for fans of rural social dramas
