Love, Sitara begins with a promising premise but stumbles as it tries to balance romance, comedy, and family drama. Directed by Neeraj Ghaywan, the film is led by Sobhita Dhulipala in the titular role of Sitara, a woman preparing for her wedding while uncovering buried family secrets. The story takes place in her ancestral home in Kerala, where she is about to marry Arjun, a Punjabi man played by Rajeev Siddhartha. The couple’s mixed backgrounds set the stage for cultural clashes, but the film is more concerned with the deeper issues that arise within Sitara’s family.
Sitara’s family, led by her no-nonsense grandmother, played convincingly by B Jayashree, is a matriarchal setup. The grandmother runs a dairy and keeps a tight rein on the household, which includes Sitara’s parents and her unmarried aunt Hema, an air hostess. Virginia Rodrigues portrays Sitara’s mother with stoic restraint, while Sanjay Bhutiani adds a soft presence as her father. It is during these pre-wedding moments that old secrets start bubbling to the surface, creating tension between the characters. The film tries to navigate these family revelations while keeping a light touch, but it often feels uneven.
Sobhita Dhulipala brings her usual grace to the role of Sitara, a woman who is grappling with her own inner turmoil while attempting to keep her family together. The film hints at her own hidden struggles, but these moments of introspection feel underdeveloped. There is a richness to her character that could have been explored further. Dhulipala’s performance shines in the quieter moments, but she is let down by a script that doesn’t fully flesh out the complexities of her character. Her chemistry with Rajeev Siddhartha is pleasant, though not particularly memorable.
The film’s attempt to blend a rom-com with family drama feels mismatched at times. On one hand, there are lighthearted moments between Sitara and Arjun, and on the other, there is the heavy burden of family secrets that Sitara’s aunt Hema has been carrying for years. Hema, played by Virginia Rodrigues, is perhaps the most intriguing character in the film. She is a woman trapped by societal expectations, stuck in a romantic relationship that hasn’t progressed. Her arc holds promise, but the film doesn’t give her enough room to fully explore her frustrations and desires.
The family dynamics in Love, Sitara are portrayed with warmth, especially in the scenes involving the grandmother. The matriarchal setup is depicted with authenticity, and the film does a good job of showing how traditional values and modern aspirations clash within the household. The cinematography captures the beauty of Kerala’s lush landscapes, adding a sense of place to the film. The wedding preparations, the old homestead, and the family’s interactions are filmed with an eye for detail, making the setting a character in its own right.
However, Love, Sitara struggles to maintain its momentum. The film’s pacing feels off, with certain scenes dragging while others are rushed. The balance between comedy and drama never quite lands, leaving the audience unsure of whether to laugh or cry. Some of the film’s twists, particularly the revelations about Hema’s past, feel predictable and don’t have the emotional impact they should.
While the film aims for fresh strokes within a familiar genre, it doesn’t quite achieve its goal. There are nice touches scattered throughout, but they are few and far between. Love, Sitara could have been a compelling exploration of family, love, and secrets, but it falls short in its execution. The film’s uneven tone and underdeveloped characters prevent it from reaching its full potential.
As Love, Sitara progresses, the tension between the characters intensifies. Sitara’s personal struggles begin to mirror those of her aunt Hema, whose long-kept secrets start to unravel in unexpected ways. The film attempts to juxtapose the generational differences between the women in the family, each dealing with their own version of repression and societal expectations. Sitara’s impending marriage to Arjun is supposed to be a joyous occasion, but it becomes a catalyst for unresolved family issues to surface. This emotional undercurrent gives the film some weight, but it also reveals the gaps in the storytelling.
One of the film’s strengths is its portrayal of the complexity of family relationships, especially in a traditional Indian household. The sense of duty and the expectations placed on women are subtly woven into the narrative, and there are moments when you feel the strain that the characters experience. However, the film doesn’t delve deeply enough into these themes. Virginia Rodrigues’s portrayal of Hema, in particular, had the potential to be a powerful commentary on the sacrifices women make in the name of family, but the film only skims the surface of her pain and longing.
Additionally, Love, Sitara takes a somewhat simplistic view of its male characters. Arjun, played by Rajeev Siddhartha, is more of a plot device than a fully realized character. His role is primarily to be the supportive fiancé, and while his relationship with Sitara provides some lighter moments, it feels disconnected from the heavier themes of the film. There’s an opportunity to explore the dynamics of an intercultural marriage, but it’s never fully explored. The film touches on this theme briefly but fails to develop it into something meaningful.
Ultimately, Love, Sitara aims to be more than just a romantic drama, but it falters in its execution. It tries to balance too many elements without fully committing to any of them. The family secrets, the cultural tensions, and the romantic subplot all compete for attention, leaving the viewer feeling as though none of them are given enough time to breathe. The film is ambitious in its scope, but in trying to do too much, it ends up feeling scattered.