Kundalkar’s film is a story of love rather – one where Tanay loses what he has and ultimately finds an authorial voice. Even when it takes complex romantic turns, the professor is a remote catalyst. Cobalt Blue isn’t a love triangle in the conventional sense. The professor who lives a solitary life in a museum-like house is gay – repressed by society and attracted to his student. Forster’s iconic Maurice and its queer-classic film adaptation. They bond over common interests which include E. Tanay is taught literature and cinema by an alluring professor (Neil Bhoopalam alias ‘Sir’). Not much is known of Anuja, barring the defiant streak in her, for Cobalt Blue is not her story. If the former is visibly feisty, the latter, having sacrificed her dreams for her family, secretly lusts after matinee idol Nagarjuna. Anuja roams around with her friends – a motorcycle-hopping Fathima and a nameless Christian nun. Of course, she wears her hair short and her underarms are unwaxed. A hockey player with zero culinary skills, she ticks all things quintessential of a lesbian stereotype in Indian films. It is somewhere there, we are told, to whom Tanay would echo his fears and desires.Īnuja is Tanay’s elder sister. Living with his orthodox parents, the youngster’s best friend appears to be a tortoise named ‘Pablo Neruda’ in the water lily pond. Tanay (Neelay Mehendale), a budding writer, is a soft-natured collegian. Sachin Kundalkar’s Cobalt Blue (based on his Marathi novel by the same name) works around this fascinating premise, but only to minimal impact. The man is everything the family is not – liberal, uncommunicative, and attractive. Enter a young paying guest – an artist – aloof in demeanor and imposing to the eyes. An outdoorsy young woman analyzing her pursuits.
A curious gay man exploring his sexuality. A Marathi family that is far away from their roots.
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