Film Review: Chaitanya Tamhane's 'Court' is a strong take on India's judiciary and social system

“Did you watch Court?”

“You still haven't seen Court?”

“Please watch Court!”

Various film buffs had given me this unsolicited advice at this year’s Pune International Film Festival. When I caught a glimpse of the unending queue at the screen where the film was about to be screened, I knew I wasn't the only one. Knowing it would be impossible to get into the theatre, I sheepishly used my influence. Something I have never done before and most likely will never do again. The build up around the film made me fall for it.

The reason behind this prelude is simple. When the expectations are sky high, more often than not you end up being underwhelmed. But Court did not disappoint. Not me and not anyone I spoke to after the film. It was hence not surprising when it recently received the National Award for the Best Film of 2014.

The title gives away the pivot of the film - it is a courtroom drama. But the drama in this film is virtually nonexistent. The story unfolds in such an unexciting and matter of fact manner, that the reality of the film shatters you.

Narayan Kamble (Veera Sathidar) is a Dalit folk poet and activist, creating awareness through his songs in different localities. He also tutors kids from his chawl to keep the income flowing. One day, he is arrested for inciting suicide of a manual scavenger. Police allege that the scavenger, inspired by Kamble’s poems to rebel, embarked into the manhole without any protective gear.

The case begins in the court of Judge Sadavarte (Pradeep Joshi). Vinay Vohra (Vivek Gomber, who is also the producer of the film) is the defence lawyer and Nutan (Gitanjali Kulkarni) is roped in as a government prosecutor.

The genre is not new, the storyline and the treatment is. When we talk about a courtroom drama, so many good films come to our mind. The duel between Tom Cruise and Jack Nicholson in A Few Good Men, an old classic like Kanoon or the recent Jolly LLB. Then there are Bollywood films and those television serials that make you cringe with their unrealistic, loud and synthetic scripts. Court evades everything - it is a courtroom drama sans drama. The mundane proceedings of the court, the monotonous recitations of the law and the by laws, the tussle between the sensitive and not so sensitive gets you engrossed and involved.

On the one hand, we watch Sadavarte, Vinay and Nutan’s interactions with Kamble and the testimony of the dead scavenger’s wife. On the other, the film discloses the personal characters of the three professionals. The personal and professional is so juxtaposed that the contrast is striking.

Nutan is a middle-class woman. She goes home post work, cooks and serves food for her family, looks after her son’s studies and takes care of the house. A Marathi play and lunch in a small restaurant on a holiday is her concept of enjoyment. She is also seen advising her friend over the phone. Though a good wife and mother, she is completely oblivious of the social divide and appears mechanical while doing her job.

Vinay is different. He comes from a well-off family and belongs to the elite strata of the society. An odd visit to a pub, consuming quality liquor are part of his lifestyle. Yet most of his cases invoke activism. He is socially aware and perturbed by the existing caste and class divides and has consciously decided to do his bit in the attempt towards transformation.

Sadavarte also belongs to a middle-class family. Though a judge, he is part of the patriarchal society and even endorses it.

Director Chaitanya Tamhane has brilliantly linked the lives of these three with the existing case at hand. While doing this, he has shown us the mirror by making a strong statement on our judiciary, police force and social system. He raises questions on the way we look at social movements, how easy it is to harass anybody and everybody who fights against this system, how the law can be twisted in favour of those in power and how those giving justice have their own biases too.

The film is layered, and these layers are entangled with each other. The middle class is so self contained that it has forgotten about the ones living below their social strata. Perhaps the daily hectic schedule has consumed the empathy within. On the contrary, Vinay, who belongs to the upper class, is socially aware. He feels obliged towards the society. However, the director has rightly not made a generalisation. Vinay’s parents or his NRI sister do not have the same sensitivities and sensibilities.

Every character seems genuine in this film. Some of the characters are played by skilled actors while some are non-professionals. Yet, it is impossible to differentiate the two. Locations chosen by the director augment the film and the camera too, plays an integral role. Never has the director tried to be gimmicky with a smart shot or a clever dialogue. Everything in the film is portrayed with hundred percent authenticity. Precisely why it makes you uneasy, makes you think and stays with you for a long long time.

Watch the trailer here: