Unions in India are frequently depicted as festive and opulent gatherings, where families unite to celebrate customs. Nevertheless, for numerous women, the arranged marriage process may be a profoundly troubling ordeal, stemming from societal pressures and patriarchal norms. The Marathi-language film Sthal: A Match
Marriages in India are often portrayed as joyful, grand celebrations, with families coming together to honor traditions. However, for many women, the process of arranged marriage can be a deeply distressing experience, rooted in societal pressures and patriarchal expectations. The Marathi-language film Sthal: A Match
sheds light on this lesser-seen side of Indian weddings, offering an unfiltered look at the indignities faced by women and their families during the matchmaking process.
Set against the backdrop of rural Maharashtra, Sthal
follows the story of Savita, a young woman with dreams of pursuing higher education and building a career. However, her aspirations are overshadowed by her father’s relentless efforts to find her a husband. Daulatrao Wandhare, a struggling cotton farmer, is determined to secure a good match for his daughter while grappling with the challenges of his livelihood. For Daulatrao, a favorable marriage alliance is as important as getting a fair price for his crops.
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 an introduction that sets the stage for Sthal
establishes the narrative’s tone. In an imaginative sequence, Savita conducts an interview with a potential suitor, humorously flipping conventional gender roles. Accompanied by her female relatives, she observes as the anxious young man awkwardly serves drinks. This amusing scene quickly ends as Savita is jolted awake and instructed to get ready for another group of men evaluating her as a prospective bride.
In truth, the situation is markedly different. Savita, adorned in a sari and seated on a low stool with her gaze downcast, endures a flood of inquiries from the potential groom’s family. They quiz her on her personal details, education, pastimes, and even her openness to farm work. After the interrogation, the men leave to deliberate over her physical looks. Remarks about her complexion and stature expose the superficial metrics by which she is appraised. Despite her abilities and dreams, Savita is diminished to a subject of examination, her value assessed by random criteria.
This scenario is replayed multiple times in the film, underlining the monotonous cycle of the matchmaking process. Savita’s parents admit this is the fourth or fifth occasion she has been turned down. Each refusal exacerbates the family’s frustration and hopelessness, as they confront the societal pressure to wed their daughter. For Savita, the ordeal is both humiliating and exasperating. Her objections—voicing her wish to finish her education and embark on a career prior to marriage—are brushed off as impractical in her traditional community.
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.
The movie also tackles the widespread problem of dowry, a practice still common in India even though it has been outlawed for more than sixty years. Dowry frequently imposes a heavy financial strain on the bride’s parents, who may go to great lengths to satisfy the groom’s family’s expectations. In Sthal
, Daulatrao is depicted attempting to sell his land to raise money for his daughter’s wedding, despite farming being his sole livelihood. This illustrates a grim reality where families frequently accumulate significant debts to arrange a marriage, only to encounter the threat of dowry-related abuse afterward.
, Daulatrao is shown putting his land up for sale to gather funds for his daughter’s marriage, even though farming is his only source of income. This reflects a harsh reality where families often incur massive debts to secure a marriage, only to face the risk of dowry-related violence later.
from his personal background. With two sisters and numerous cousins, he observed the matchmaking rituals closely. As a child, he didn’t question these practices, but his perspective shifted as an adult. The moment of change occurred in 2016, when he attended a meeting between a male cousin and a potential bride. Seeing the young woman seated and being questioned about her looks and background made him uneasy. “The focus on her height and skin tone felt dehumanizing,” Somalkar reflected. Motivated by his fiancée, who is now his wife, he chose to delve into this topic through his film.
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 inaugural Indian film to address this theme. Over time, both Bollywood and regional cinema have created various narratives about arranged marriages. The well-known Netflix show Indian Matchmaking
explores the matchmaking process as well, but it centers on affluent, urban families where women tend to have relatively more autonomy.
, for example, delves into the matchmaking process, but it focuses primarily on wealthy, urban families where women have comparatively more agency.
By shedding light on the challenges encountered by women such as Savita, Sthal
By highlighting the struggles faced by women like Savita, Sthal
challenges viewers to reconsider deeply ingrained traditions. It questions the objectification of women in the name of marriage and the societal pressures that prioritize marriage over education and career aspirations.
delivers a powerful narrative and genuine performances, Sthal
acts as a strong criticism of social norms that sustain gender inequality. It gives a platform to women like Savita, whose narratives are frequently ignored, and advocates for changing perspectives on marriage, education, and women’s autonomy in India.
Though progress might be gradual, movies such as Sthal
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.
