“Romance films used to be Bollywood’s bread and butter, but it has failed to create good romances lately” is an opinion almost everyone shares these days. And while there’s a lot of truth to that statement, I think it misses a key point: real-life romance is pretty much dead. Until the 1990s, and perhaps even the early 2000s, the idea of love presented by the Hindi film industry and what people imagined their lives would be like after falling in love were somewhat in sync. But as reality set in and social media came into the picture to distort an already skewed perception of relationships, Bollywood couldn’t keep pace.
It couldn’t figure out how to address the ever-increasing sexism, unrealistic expectations, and the unhealthy dose of “traditionalism” that had permeated something as tender as love, while simultaneously trying to teach people how to “fix” things. Thus, the genre began to feel gimmicky, hollow, and just plain bad. There were some good ones here and there, but not enough to bring about a change. With releases like Mrs., Dhoom Dhaam, Bhool Chuk Maaf, Metro In Dino, Aankhon Ki Gustaakhiyan, Saiyaara, Dhadak 2, and Aap Jaisa Koi, 2025 could be Bollywood's last big push to revive the genre.
Director: Vivek Soni
Writers: Radhika Anand, Jehan Handa
Stars: Fatima Sana Shaikh, Madhavan, Sachin Kavetham
Vivek Soni's Aap Jaisa Koi, written by Radhika Anand and Jehan Handa, tells the story of Shrirenu, a 40-year-old young man from Jamshedpur. He teaches Sanskrit. He lives with his brother, Bhanu; his sister-in-law, Kusum; and his niece, Nisha. His best friend is a man named Deepak. And while everyone tries day and night to get him married, Shrirenu constantly fails for reasons no one understands. Desperate, and on Deepak's advice, Shrirenu finally joins the dating app of the same name, also called AJK, which allows face-to-face voice chatting.
Shrirenu connects with someone and regains hope. Coincidentally, that's when his neighbor, Joy, recommends he meet her niece, Madhu, a French teacher from Kolkata in her 30s, especially because she's interested in him. Although Shrirenu doesn't want to talk to a real girl, as he's obsessed with the one in the virtual world, he pleases his family and neighbors by showing up. Surprisingly, they connect and agree to get married. But it's then that the revelation that Madhu is the same girl Shrirenu was talking to in AJK hits him like a freight train and changes his outlook on her.
I guess I should clarify that "Aap Jaisa Koi" isn't just about Shrirenu and Madhu's love story; it's also about Bhanu and Kusum's "marriage story." That is to say, after a certain point, Bhanu and Kusum become the central focus of the film, which is a bold decision given that their relationship hasn't been marketed as such. But it's a logical one because they are what Shrirenu and Madhu will eventually become if the latter accepts the patriarchal norms imposed on her by the former. And in doing so, the film raises some very important questions.
First, is machismo the basis of "romance" in India? Second, was "romance" kept alive by women who accepted/accept said machismo? And third, do people think "romance" is dead just because a generation of women is seeing the light, rejecting chauvinism, and boldly asserting that exploring sexuality is a two-way street? Now, the writers' responses seem a bit simplistic to me, but after seeing the unbridled outrage the woman caused, I will say that they are compelling enough to start a much-needed debate about what we Native Americans understand by love.
In addition to unraveling the ever-evolving concept of love, Aap Jaisa Koi addresses the issue of the cultural divide, which almost seamlessly transitions into an analysis of the myriad ways women across the country are sexualized. Namely, the way Anand and Handa expose how the media and society objectify relatively liberated women because they have no other way to subjugate them is truly masterful. And all this analysis and dissection is superbly supported by Soni's visual storytelling. This is probably one of the most compelling Bollywood films I've seen in a long time, especially since it's not aesthetically pleasing just for the sake of it.
There's purpose and effort behind the lighting and filming. The costumes speak volumes about the characters wearing them. The composition of every frame in the film, and the way it's edited, is so meticulous that even if you remove the dialogue, sound, and soundtrack, you can still understand what's happening. Incredibly, the dialogue is incredible; The film has some of the most captivating, dialogue-filled scenes. And perhaps that's why the visuals complement them rather than seeming like mere window dressing. The pacing is brilliant. They lose control towards the end, which is made worse by that crappy animated end credits sequence that reeked of AI (I can't confirm). However, it's not so bad as to ruin the overall experience.
After suffering through countless Bollywood films where Bengali characters are caricatured, forced to speak with exaggerated accents, and forced to be simply insufferable, it's refreshing to see a film like Aap Jaisa Koi, where none of that nonsense is present. And it's not that Soni and his team haven't showcased the unique blend of chaos and sweetness that characterizes Bengalis; it's just that the tone is truly heartfelt. So, yes, a shout-out to Shubhronil Chatterjee, Beena Banerjee, Anubha Fatehpuria, Kumar Kanchan Ghosh, Pubali Sanyal, Ananya Chatterjee, and Shashie Vermaa for seeing this project of portraying Bengalis (well, Kolkata Bengalis) authentically through to the finish line. Also, credit must go to Sachin Choudhary, Namit Das, Ritu Seth, Shriyam Bhagnani, Sanjeev Wilson, and the rest of the supporting cast for being simply brilliant. That said, the standouts in the film are Fatima Sana Shaikh, Ayesha Raza Mishra, Manish Chaudhari, and R. Madhavan. In my opinion, all four have delivered the best performances of their respective careers. Everything from their body language to their dialogue delivery is perfect. I really have nothing more to add. Yes, it can all be attributed to the great writing and direction. However, if these guys hadn't risen to the occasion, they would have only themselves to blame for the film's shortcomings. Films are a team effort, and Fatima, Ayesha, Manish, and Madhavan have done an excellent job of taking on the responsibility that fell to them. So, a round of applause for them.
Despite my complaints about the ending (I think it should have been a little more bitter to convey the film's essence), I will say that Aap Jaisa Koi is one of the best films of the year. It's undoubtedly one of the most beautiful Bollywood films I've seen recently. It's like an aesthetically pleasing sledgehammer thrown at machismo and patriarchy in the hopes that love will once again be a two-way street. Therefore, I definitely recommend watching it. This brings me back to the topic of Bollywood's latest big push to revive the romance genre.
Look, I don't normally believe in the concept of "supporting our filmmakers," regardless of what they do. At the end of the day, it's a transactional relationship. We pay to be entertained, and if there's no entertainment, what's the point? However, after seeing directors like Laxman Utekar, Nitesh Tiwari, Vipul Shah, and others making propaganda films to stay afloat, I'm compelled to say that if you want Vivek Soni, Anurag Basu, Mohit Suri, and artists with halfway decent opinions on love to continue making romantic films, you should openly support their projects. Perhaps that will change the course of this film industry, which currently favors hyper-nationalist, sexist, and retrograde alpha males with a god complex.
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