Satyaprem Ki Katha Movie Review: SATYAPREM KI KATHA is a progressive film that rests on the towering performances, strong second half and the message.
SATYAPREM KI KATHA is the story of an unusual couple. Satyaprem (Kartik Aaryan) lives in Prahlad Nagar, Ahmedabad with his father Narayan (Gajraj Rao), mother Diwali (Supriya Pathak Kapur) and sister Sejal (Shikha Talsania). He has attempted to pursue law but failed the entrance exams multiple times. Narayan, too, hasn’t been able to do much in life. Diwali and Sejal run the house with their dance classes. Satyaprem wants to get married but since he’s not earning, no one is ready to tie the knot with him. He is meanwhile besotted with Katha (Kiara Advani). He met her a year before during Navratri. At that time, she tells him that he has no chance since she’s dating Tapan (Arjun Aneja). Nevertheless, Satyaprem eagerly waits for Navratri in the current year so that he can bump into her again. On top of it, his hopes are up as he learns that Katha has broken up with Tapan. On D-day, he arrives at the venue only to realize that Katha is nowhere to be seen. Her father Harikishen (Siddharth Randeria) informs Satyaprem that she’s at home as she’s not well. Narayan advises Satyaprem to go to her house since she’ll be alone. Satyaprem does so and sees that Katha has tried to commit suicide. He immediately rushes her to the hospital and saves her life. Harikishen is impressed with Satyaprem and decides to fix Katha’s marriage with the former. Both get married and Katha avoids consummating. She doesn’t even allow Satyaprem to sleep with her under the pretext that he snores loudly. One day, Satyaprem asks her if she’s trying to avoid him. This is when Katha drops a bomb. What happens next forms the rest of the film.
Karan Shrikant Sharma’s story might seem clichéd but is unexpected land also progressive. Karan Shrikant Sharma’s screenplay is neat and most importantly, sensitive. Karan Shrikant Sharma’s dialogues also complement the script. A few dialogues are very funny while certain one-liners in the second half are sharp.
Sameer Vidwans’ direction is exemplary. He has done justice to the challenging subject at hand and treated it in a correct manner. Despite a story like this, he has added commercial elements in such a manner that it doesn’t seem out of place. While doing so, he has given the film a mainstream appeal. The way love blossoms between Satyaprem and Katha is lovely. This aspect along with the message will be wholeheartedly accepted by the female audiences.
Songs are soulful but there are too many of them in the film. ‘Aaj Ke Baad’ is well-shot and tuned. ‘Naseeb Se’ is catchy while ‘Gujju Pataka’ is energetic. ‘Pasoori Nu’ doesn’t impress but comes at an important juncture. ‘Raat Baaki’ and ‘Le Aaunga’ are not memorable. ‘Sun Sajni’ is played in the end credits. Hitesh Sonik’s background score is appropriate.