Aap Jaisa Koi: Desi Love Story Drenched in Dharma-style Dilemma, From Two Worlds, One Flat Romance

Director Vivek Soni tries to create an unusual love story of a 42-year-old Sanskrit teacher, Shrirenu Tripathi (R. Madhavan), and a well-groomed, French-speaking lady, Madhu Bose (Fatima Sana Shaikh), of 32 years of age in Aap Jaisa Koi. The movie is set in the background of Jamshedpur and Kolkata and starts on a light-hearted note: a mismatched couple and an arranged marriage that gradually leads to other things. But with further development of the plot, the promise dissipates into a mess of baffling accounts and unimpressive character progression.

Old-School Meets New-Age: A Love Beyond Borders (and Beliefs)

The first half is promising: Shrirenu is an uncool, traditional man with misgivings about being considered a virgin at 42 years of age, and the liberal and unabashed Madhu throws his world off-axis. The chemistry between Madhavan and Fatima is pure, even adorable in places. Their discussions place doubts on patriarchy, older conventions, and social embarrassment over age and experience. However, as their romance sprouts with jokes and rain-drenched moments, the movie gradually falls under its own weight.

A Dharma Déjà Vu: When Identity Gets Lost in Familiar Tropes

Even though it is a new environment, Aap Jaisa Koi takes on a lot of Rocky Aur Rani Kii Prem Kahaani, not only in the theme but also in the tone. The tropes of the liberal Bengali language, the discourse of gender, and the family mess make the film something that we have watched. There is a difference between intimate and cute at the beginning, and a list of the traditional arguments that downright take away the authenticity of an otherwise nuanced story.

A Wasted Opportunity with Stellar Cast Performance

Madhavan and Fatima perform emotionally, yet the dialogues do not allow them to do more. Their love story, which was supposed to talk of vulnerability, insecurity, and change of companionship, turns out to be drowned by louder subplots. The camera work is great, particularly during rain sequences, but a handsome picture cannot save a plotless story.