Aap Jaisa Koi

Started off very well - characters did justice at the start - but it became a very slow moving tv serial style drama after Curt's half - it stayed with the essence of the message until the end - but the dialogues and BGM was not powerful enough to let audience stay in love with the characters.. lack of power toward the end .

Cast was good for each character - each person played with full justice individually - just when the characters get woven together as the family - the chemistry was not powerful enough.

Coming of age in terms of equal respect to both sides of the relationship in a marraige - message stayed consistent - that was good.

At one point in the movie she says that a nerdy guy like him and a cute girl like her would make a nice romcom . Unfortunately this doesn't happen and what follows is a collection of pointless scenes with confused sentiments.

The plot is about a shy, docile, unromantic Sanskrit teacher Shrirenu who plays a Sitar and a young lady Madhu teaching French language who plays a piano. He belongs to a middle class family of Jamshedpur while she belongs to a Bengali family based in Kolkata.

Despite their different approaches to life both get along fine at first, romance blooms but there are disagreements over petty issues and they break up. They love each other and later when their misunderstandings are getting cleared Madhu's earlier boyfriend makes an appearance. This complicates matters and creates the customery triangle but worse follows when there is an emotional upheaval in both families.

The movie meanders between the endearing and the insipid. While the vicissitudes of romantic relationships are well projected there are quite a few totally unconvincing scenarios in the families of couple. To me the plot twist at the end appeared grossly unconvincing and outlandish. Overall the movie looked like a missed opportunity for the makers. Both Madhavan and Fatima do what the character limitations permit them to do but these characters could have made a better impression if the plotline was realistic and stronger.

I watched this movie primarily for R. Madhavan, and he truly delivered an excellent performance. His chemistry with Fatima Sana Shaikh was a definite highlight and widely appreciated.

The film began on a strong note, with each actor doing justice to their role. However, after Curt's arc, the narrative noticeably slowed and unfortunately took on a TV-serial-like tone. Combined with weak dialogues and an underwhelming background score, it became difficult to stay emotionally engaged.

The cinematography stood out, especially in its portrayal of Kolkata's old-world charm. The music compositions and background score were also well-received. However, the integration of side characters felt weak and unconvincing.

While individual performances were commendable, the family chemistry lacked depth toward the end. Although the core message - mutual respect in marriage and relationships - was meaningful, its execution could have been more impactful.

Vivek Soni's directorial debut delivers a competently crafted romantic drama that feels frustratingly familiar despite its earnest intentions. This Netflix original attempts to breathe fresh life into the middle-aged romance template, pairing the reliable charm of R. Madhavan with Fatima Sana Shaikh's spirited energy in a cross-cultural love story that tackles contemporary social issues with varying degrees of success. While the film succeeds in creating genuine moments of warmth and connection between its leads, it ultimately falls victim to the very conventions it seeks to challenge, resulting in a viewing experience that satisfies without truly surprising.

Soni demonstrates solid technical competence behind the camera, crafting a visually pleasant film that captures both the academic tranquility of Jamshedpur and the cosmopolitan vibrancy of Kolkata. The cinematography serves the story adequately without ever achieving the kind of visual poetry that might elevate the material above its generic roots. The production design effectively contrasts the traditional world of Sanskrit academia with the modern sensibilities of contemporary urban life, though these contrasts often feel more schematic than organic. The pacing remains steady throughout, though certain sequences drag when the script indulges in overly explanatory dialogue about societal expectations and gender roles.

Madhavan delivers exactly what audiences expect from him at this stage of his career: a measured, thoughtful performance that invests even mundane exchanges with genuine emotional weight. His portrayal of Shrirenu Tripathi, the reserved Sanskrit professor, captures both the character's inherent decency and his deep-seated insecurities about stepping outside societal norms. Shaikh brings considerable vivacity to Madhu Bose, though her character occasionally feels more like a symbol of liberation than a fully realized individual. The supporting cast, including Ayesha Raza and Manish Chaudhari, provides solid work within the confines of their somewhat predictable roles as family members representing various degrees of traditional resistance.

The film's greatest strength lies in its willingness to address serious topics about patriarchal expectations and the challenges facing middle-aged individuals seeking romantic fulfillment. However, these themes often receive treatment that feels more dutiful than inspired, with conversations that sound more like position statements than natural dialogue. The script, penned by Radhika Anand and Jehan Handa, demonstrates clear knowledge of contemporary social discourse but struggles to integrate these ideas seamlessly into the romantic framework. The result is a film that occasionally preaches when it should simply observe, undermining the very naturalism that makes the central relationship compelling.

Despite these structural weaknesses, the film generates genuine emotional resonance in its quieter moments. The developing relationship between Shrirenu and Madhu benefits from both performers' commitment to finding truth within familiar situations. Their chemistry feels authentic rather than manufactured, allowing viewers to invest in their journey even when the surrounding circumstances feel contrived. The cultural clash between traditional expectations and personal desire provides rich material, though the film's resolution leans toward the overly tidy.

If you're bored, scrolling endlessly for something to watch - here's a sweet little film that might just surprise you.

"Aap Jaisa Koi" is not your typical love story. It's about a man in his 40s - single, calm, and quietly dealing with life's noise - until destiny (and maybe a little chaos) brings someone perfect into his life. Starring the ever-charming R. Madhavan and the effortlessly graceful Fatima Sana Shaikh, this film explores the idea of companionship beyond the usual stereotypes.

What really stood out to me was how the film subtly breaks down patriarchy within families. It doesn't shout its message - it lets it unfold naturally through the characters. You'll see how a man deals with societal expectations, family pressures, and still manages to stay true to himself. At the same time, it beautifully captures equality in a relationship - no dramatic speeches, just real conversations and relatable moments.

Every actor delivers - nobody overacts, nobody underdelivers. It's all just... right. The kind of film that doesn't scream for attention but grows on you quietly.

If you're looking for a light-hearted, feel-good movie with a heart, "Aap Jaisa Koi" could be a perfect weekend pick. It's warm, simple, and leaves you smiling - like a cup of chai on a rainy day. ☕🎬