“Cobalt Blue” is a film based on the Marathi novel by the same name. It is available for viewing on Netflix.
The film has been directed by the same person who wrote the book: Sachin Kundalkar. Before we move ahead, it becomes imperative to mention that there are sexual harassment allegations against him. Apparently, he was accused of improper conduct by a crew member.
Coming back to the film, it has Prateik Babbar playing an artist. Sound familiar? In my opinion, it is almost like an extension of the character he played in his debut film, “Jaane Tu… Ya Jaane Na”. I also think that both films (his first and latest one) mark his finest works so far.
So, he is an artist who moves into a Marathi, Savarna household in picturesque Kochi, as a paying guest. A pair of siblings, Tanay (Neelay Mehendale) and Anuja (Anjali Sivaraman), who are the children of the owners of the same house, fall for him. While Tanay is a student and a writer, Anuja is a talented hockey player.
Cobalt Blue also reminds one of “Call Me By Your Name” as both have many similarities. These include a “younger boy falling in love with the older paying guest” arc, their common love for bicycle rides and books, not to mention the creative use of a fruit to convey sexual passion.
When Being Queer Was A Crime
The film is set in 1988, back when being a queer person in India was a legal crime and social taboo. If you remember: Deepa Mehta’s “Fire” was released in the same year, leading to huge public outcry and debate. The film exploring lesbian love, finds a mention in the story, in that one can see posters of Fire being stuck to a wall.
In such a setting, the way queer love has been explored between Tanay and Prateik’s character, is commendable. They fall in love at their own pace, away from the prying eyes of Tanay’s parents. There are no smartphones, only Walkmans. According to me, the tenderness with which they look at each other, form some of the best moments of the film.
But, female sexuality hasn’t been explored the way male sexuality was. Maybe, because the author-director isn’t a woman. Or perhaps, he did so deliberately only to reveal it at the right time. Whatever be the case, I longed to see more of Anuja’s sexual awakening, too.
All complaints aside, Anuja’s arc highlights the patriarchy a woman who wants to live life on her own terms, is forced to endure. She doesn’t conform to society’s idea of what a girl should look, dress or behave like.
The Amar, Akbar & Anthony We Deserve
This leads to her by-the-book, older brother, Aseem, and parents telling her how to conduct herself, even forcing her to get married at one point. Her friendship with a nun (who never wanted to be one) gives her respite in the patriarchal setup she is living in.
A scene featuring Anuja, the nun, and their friend, Fathima, riding a motorcycle and eating orange ice candy, will remain etched in my mind. It is the “Amar Akbar Anthony” we deserve.
That Tanay and Anuja fall in love with the same person, speaks to how similar they are. They are the two people in their family who can understand each other’s queerness. By queerness, I am not just referring to the sex they have (or don’t), but much more.
“Queer not as being about who you’re having sex with (that can be a dimension of it); but queer as being about the self that is at odds with everything around it and has to invent and create and find a place to speak and to thrive and to live.”
Heartbreak Is A Lonely Journey, Not A Destination
Cobalt Blue is as much about falling in love as it is about falling out of it. “Love is a habit. The habit ends, you die,” remarks Tanay, when speaking about their grandmother’s death to Anuja. She passes away on the same day as their grandfather. Little does he know how true the statement will ring for him, later.
Tanay is distraught when the paying guest leaves his life, all of a sudden. He takes solace in a queer professor’s arms. Neil Bhoopalam masterfully essays the role of a lonely, literature teacher. It is Neil’s performance that moved me the most.
Tanay tells his teacher that his boyfriend left him. “Ghosted” would be more appropriate, in my opinion. As someone who has been there and done that, Tanay’s teacher warns him saying—women take away every man we love. It will happen again and again so be prepared.
Cobalt Blue is a treat to the eyes because of the way it has been shot. From Kochi’s vibrant landscapes and seascapes, to the various paints and other paraphernalia in the paying guest’s room, the cinematography (by Vincenzo Condorelli) and art only adds to the impact of the film. Smita Patil fans will be delighted to spot a photo of her in Prateik’s character’s room.
In conclusion, the film may not be the best queer film out there, but it is an honest attempt that deserves to be watched. I rest my case.