The Indian Film That Exposes the Bride's 'Humiliation' in Arranged Marriages
The Harsh Reality Behind Arranged Marriages in India
It is often said that marriages are made in heaven, but in India, where the majority of marriages are arranged, the matchmaking process can feel more like an ordeal for women and their families.
This is the premise of Sthal: A Match, a 2023 Marathi-language film that has earned acclaim at both Indian and international film festivals. Now set for its theatrical release in India, the film sheds light on the often degrading experience many young women endure in arranged marriages.
A Gritty Portrayal of Patriarchal Pressures
Set in rural Maharashtra, Sthal follows Savita, a young woman determined to pursue an education and build a career despite the rigid expectations of her patriarchal society. Her father, Daulatrao Wandhare, a struggling cotton farmer, is desperate to secure a good match for her.
“He wants a good price for his crop and a good husband for his daughter,” explains director Jayant Digambar Somalkar. Unlike the typical romanticized depictions of arranged marriage in Indian cinema, Sthal unflinchingly highlights the humiliating experience many women endure.
A Story Told With Authenticity
Adding to the film’s realism is its cast—composed entirely of first-time actors from the very village where the film was shot. Lead actress Nandini Chikte, who plays Savita, has already won two awards for her powerful performance.
The film opens with an unusual twist: Savita dreams of a scenario where she interviews a prospective groom, observing his nervousness as he serves drinks to her and her female relatives. The women laugh as he struggles to answer their questions. But reality soon crashes in—Savita is awakened and reminded that a group of men is coming to evaluate her instead.
A Disturbing and Repetitive Ritual
The humiliating tradition unfolds multiple times in the nearly two-hour film. When the prospective groom and his male relatives arrive, they are warmly received by Savita’s father. Once they are served tea and snacks, Savita is summoned. Dressed in a sari, she lowers her gaze and sits on a wooden stool, awaiting interrogation.
Questions are fired at her: What is your full name? Your mother’s clan? Date of birth? Height? Education? Hobbies? Are you willing to work on the farm?
Once the questioning ends, the men retreat for a discussion. “She’s a bit dark,” one remarks, scrutinizing her complexion. “She had makeup on, but did you see her elbow? That’s her real color.” Another dismisses her for being too short. Eventually, they leave, promising to inform the family of their decision.
This is not the first time Savita has faced rejection. Her parents admit that four or five such meetings have already ended in disappointment, leaving her in despair.
The scene mirrors reality—many Indian men have a rigid list of qualities they seek in a bride. A glance at matrimonial advertisements in newspapers and matchmaking websites reveals a widespread preference for “tall, fair, and beautiful” brides. Meanwhile, Savita’s own aspirations—to complete her studies and pursue civil services—carry little weight in a society that prioritizes marriage over ambition.
Challenging the Status Quo
Chikte, the lead actress, acknowledges the deep-seated nature of this problem. “Marriage is given far too much importance in our society,” she told the BBC. “Parents believe that once a daughter is married, they are free from responsibility. It’s time to change that narrative.”
She describes how demeaning it was to film the scene where Savita sits on a stool, forced to endure scrutiny. “I was only acting, but as the film progressed, I lived Savita’s journey. I felt angry for her. I felt insulted and disrespected.”
The Continuing Burden of Dowry
Sthal also tackles the ongoing issue of dowry—a practice where the bride’s family is expected to offer money, jewelry, and other gifts to the groom’s family. Though illegal for over 60 years, dowry remains entrenched in Indian society. Many families go into debt or sell their land to meet dowry demands, yet even that does not guarantee a secure future for brides. Thousands of women in India are killed each year for bringing insufficient dowries.
In Sthal, Savita’s father, despite his financial struggles, puts his land up for sale to afford her marriage. For director Somalkar, the story is deeply personal.
Having grown up with two sisters and five female cousins, he witnessed this process repeatedly. “As a child, you don’t question tradition,” he says. The turning point came in 2016 when he accompanied a male cousin to meet a prospective bride. “It was the first time I was on the other side. Watching the woman sit on a stool and be judged, I felt deeply uncomfortable.”
When he shared his experience with his fiancée—now his wife—she encouraged him to explore it through filmmaking.
A Bold Attempt to Spark Change
Arranged marriage has been a recurring theme in Indian cinema, with nearly 30 films on the subject produced in the last two decades alone. Netflix’s Indian Matchmaking recently gained widespread attention for its depiction of modern matchmaking. But, as Somalkar notes, such portrayals tend to glamorize the process.
“When people think of Indian weddings, they imagine grand celebrations, like in Hum Aapke Hain Koun,” he says, referencing the 1990s Bollywood blockbuster known for its lavish wedding scenes. “And Indian Matchmaking only represents the wealthy, educated class, where women still have a degree of choice.”
For the vast majority of Indian women, however, marriage remains a burden rather than a choice. “Parents often go through hell to get their daughters married,” Somalkar adds.
With Sthal, he hopes to disrupt the status quo. “I want to start a conversation about how women are objectified in the marriage process and how little freedom they have to choose between marriage and career.”
He acknowledges that no single film or book can change society overnight, but he remains hopeful. “It can be a start.”
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