Maddy’s blues: This Sanskrit teacher is no French lover…

Love is blind in this adult rom-com. But this infatuation lacks punch.

By R Kalpana

Maddy is always Maddy.

And in Aap Jaisa Koi, a film by Vivek (a Netflix production), he just fits so well into the shoes—and into the socks—of the film, it content, and its form. Fatima Sana’s sensuous appeal gives the right vibe to be paired with Maddy, providing the expected contrast between the two characters.

The two adults, with different personalities and orientation, are poised for a romantic union. They pull it off well in the beginning; while you can so clearly see that all this is going to fall apart because romance and love are sustainable only if compatible minds meet.

This adult romance gets a raw bite after a few moments of initial drama, because challenges in terms of upbringing, mental outlook, and value systems pull down the love sentiments.

“Love is all about equality and respect,” is the conviction of Madhu Bose, a Bengali progressive French teacher from Kolkata. She falls head over heels in love with a 42-year-old Sanskrit school teacher from Jamshedpur. He does not hide his inhibitions, his ‘nerdiness’, his shyness, or his virginity, but he is not able to understand and appreciate a man-and-woman relationship beyond his limited sense of freedom, equality and patriarchy.

These questions emerge in the film, and all of them are interestingly presented with a certain drama, emotions, and a bit of light love melodies. Just when we are on the verge of getting impressed by what is happening—Madhu Bose rejects the relationship. Indeed, she is in for a rude shock when she discovers that her lover, the schoolteacher, is yet another mirror specimen of the entrenched, patriarchal, male stereotype.

Now the engine of the film reverses gear. So as to patch up and tie up some loose ends, the entire romantic episode is built again through some stupid innuendos, mostly by Maddy, which feels rather uncanny in the midst of the strong beliefs.

An adult rom-com needs much more punch, and it is not only about mere infatuation. But we all know how love is blind and there is no logic. Besides, the movie needs more power in terms of storytelling.

Having said that, we have to give credit to the use of light and photography that is able to blend both dark and bright effects beautifully, arriving and disappearing in rhythm. The light in the library scene, the light when the vintage tram moves, slow and steady, in Kolkata, the light and shadow on the white marble of the Victoria Memorial, the Bengali family essence of food, and the celebration of Saraswati Pujo, the goddess of knowledge -- they are all remarkably blended. And on top of the iceberg is the final naming and casting templates, springing to life, with great painter Jamini Roy–style frames.

Loved that in the end.

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R Kalpana is an educator and film buff based in Bangalore.