LOVE, SITARA’ REVIEW

When Sitara (Sobhita Dhulipala) discovers that she is pregnant before to her marriage, she decides to propose to her friend Arjun (Rajeev Siddhartha) in order to preserve face. To be fair, Arjun is the same individual who had previously made marriage offers to Sitara, but she had rejected them. In any case, Arjun gives his consent to marry Sitara; but, when she subsequently reveals to him that she is pregnant as a result of an affair she had with another man, he declines to marry her and instead departs to Singapore. During this time, Sitara had learned that her father, Govind (Sanjay Bhutiani), had been having an affair with her maternal aunt, Hema (Sonali Kulkarni). This affair was kept a secret from Sitara. Sitara's mother, Latha (Virginia Rodrigues), becomes enraged with Hema and Govind as a result of her decision to expose her aunt Hema and her father Govind in front of the family. As a result of the stress, Hema, who is not married and lives with her mother, Amumma (B. Jayashree), decides to leave her family.

Afterwards, what are the effects? What happens to the baby when Sitara gives birth or has an abortion? How often do Arjun and Sitara get together? Is Hema going to go back to her property? Does Latha have forgiveness for Hema and Govind, her husband? How does Amumma feel about the situation throughout?

It is rather strange that the account, which is attributed to no one, does not provide any answers to the many issues that have been raised. Why does Sitara choose not to disclose the fact that she is pregnant to Arjun before to making her marriage proposal to him? In addition, if she had concealed such a significant piece of knowledge, what exactly are the circumstances that drove her to share what she had concealed up to this point? For what reason did she now make the decision to tell the truth? On the whole, the script that Sonia Bahl and Vandana Kataria have written is nothing special. The spectator gets the impression that practically everyone in the family is anything but clean as the drama progresses, and it is not a pleasant sensation to have. The spectator is left wondering if Amumma is attempting to make a connection between all of the episodes on account of the fact that the reveal of the past by Amumma seems to be strange since it has no influence on the present. The conversations that Hussain Dalal and Abbas Dalal have are quite enjoyable.

The performance of Sobhita Dhulipala as Sitara is excellent. The performance of Rajeev Siddhartha as Arjun is quite good. The performance that Sonali Kulkarni does as Hema is quite impressive. B. Jayashree is doing well in her role as Amumma. During the performance of Latha, Sitara's mother, Virginia Rodrigues makes her presence known to the audience. As Sitara's father, Govind, Sanjay Bhutiani is adequate in his role. The performances of Tamara D'Souza (in the role of Anjali, Sitara's friend), Rijul Roy (in the role of Dr. Majeed, Sitara's friend), Sudhanva Deshpande (in the role of Arvind, the pilot), Neerja Ramachandran (in the role of Arvind's wife), Ikhlaque Khan (in the role of Arjun's father), and the others are sufficient.

In terms of direction, Vandana Kataria is about average. Exactly what she had in mind to communicate via the movie is not quite obvious. If her intention was to convey the idea that love is of the utmost importance, then the message is conveyed in a somewhat peculiar manner. The musical quality of Sangeet and Siddharth Haldipur's song is pretty impressive. It is reasonable that Rashmin Dighe, Garima Obrah, and Joshua Newton are responsible for the lyrics. Oh, Uma-Gaiti's choreography is not terrible. The background music composed by Shrikanth Sriram is quite captivating. The quality of the camerawork that Szymon Lenkowski and Siddharth Kale have done is good. Meghna Gandhi and Natasha Gauba are responsible for production designing, while Pradeep Nigam, Bhagyashree Pande, and Sathyajith Sathyanathan are in charge of art directing. Both efforts are satisfactory. Quite impressive is the editing that was done by Paramita Ghosh, with Namrata Rao contributing extra editing.