Set against the verdant backdrop of Kerala, Love, Sitara is a moving family drama about acceptance, forgiveness, and love. A fiercely independent interior designer named Tara (Sobhita Dhulipala) and a passionate chef named Arjun (Rajeev Siddhartha), who is on the verge of international success, are at the core of the plot. A marriage proposal arises out of the blue, putting their apparently flawless relationship to the ultimate test. In Tara's home, tensions between generations and long-buried secrets are starting to surface as the wedding plans come together. Shocking disclosures might shake the very core of the family and the future of the couple. Love, Sitara delves into the dynamics of contemporary relationships, the burden of familial expectations, and the bravery required to confront unsettling realities. Can love really triumph over all odds, or are some wounds too deep to mend as tensions rise and secrets emerge?

When Sobihta Dhulipala plays the character named Tara, complications from all possible angles enter without any invitation. Not only do these complications overstay their welcome, but they also elegantly weave the entire plot, showcasing the skill of the actor. This is the third time Dhulipala is playing Tara in Love, Sitara after Kaalakaandi (2018) and Made in Heaven (2019 and 2023). This time, in the ZEE5 original film, her full name is Sitara, but still, she is the star, come what may.  

Love, Sitara is a romantic family drama in which the former serves as a catalyst, setting up a marriage backdrop that allows the latter to enter and remain forever. Tara discovers her pregnancy at the start of the film, despite previously receiving information about her infertility. This initiates the initial phase of complications, which later intensify when Tara, who had previously rejected the institution of marriage, proposes marriage to her beau, Arjun (Rajeev Siddhartha). 

In no time, we witness the urban couple arriving in Kerala at her ancestral home, eager to embark on a journey of marital bliss. Her parents, Latha (Virginia Rodrigues) and Govind (Sanjay Bhutiani), her grandmother (B. Jayashree), and her aunt Hema (Sonali Kulkarni), are there. On a surface level, we see such a pleased family coming together for a joyous occasion. As time goes on, we realise this family is completely normal and dysfunctional.

The film's limited setup, particularly the interior of the house, is understandable given that it was shot during the COVID-19 lockdown. The film, however, lacks soul despite attempting to be a novice version of Kapoor & Sons (2016). The film opens up, revealing the ghosts of the past, starting with a family member's infidelity. To be honest, the portrayal of Kulkarni as a single aunt who has worked as an air hostess and doesn't shy away from casual dating isn't surprising.

Vandana Kataria's film tells the stories of three generations of women in a matriarchal family, with men only acting as catalysts for their current circumstances. However, in doing so, the film becomes so drab that there's nothing to look forward to even as the story progresses. Kataria employs an excessive number of chefs in a single, barely two-hour film, combining them to produce a dish that lacks flavour and enjoyment.

The film covers a wide range of topics, from infidelity to premarital pregnancy, and explores the concept of forgiveness. The answer to this question is straightforward, but you'll have to wait until the end of the film to find out. In a scene, Tara asks her mother if cheating in marriage is acceptable, to which she replies that it depends on various factors. The film portrays a delicate balance between Tara, a staunch feminist, and her mother's willingness to forgive and accept harsh truths. But that's when I perceive the film's triumph, as it unveils the twist and reveals its sole purpose. It doesn't linger long, and before we know it, the film concludes with a happily ever after and end credits.

The film's main problem is its setting in Kerala, where all actors who are not Malayalis feel compelled to speak in the language as a form of punishment. Only Dhulipala, whose mother tongue is Telugu, manages to get it right, yet the lack of effort is evident on screen. Given a different geography, this could have easily been a heartland story, akin to what we typically see in Bollywood films.

In terms of performances, Dhulipala anchors the story well, and to be honest, it feels like a chapter from her role in the Made in Heaven series. The actor's quick transformation from being a damsel in distress to the one taking charge is even channelled here. On the other hand, we have Kulkarni, who has shown her range for more than two decades on screen. However, this has to be considered one of her weakest performances. Sadly, the film wastes an actor of her calibre, despite her having the most striking screen presence throughout.

Love, Sitara is a breezy watch that is filled with complications as a compulsion, making it a typical Bollywood drama that nobody asks for, but here it comes!

Love, Sitara tries to thread the needle between a family drama and a love story, but it ends up stitching together a patchwork of clichés. While Sobhita Dhulipala shines as the ever-strong Tara, the film falters under the weight of too many melodramatic ingredients. 

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