Court – State vs A Nobody: Unjust Probation

Star Cast: Priyadarshi, Harsh Roshan, Sridevi, Sivaji, Sai Kumar, Harsha Vardhan, Rohini, and Subhalekha Sudhakar 
Music Composed by Vijai Bulganin 
Cinematography by Dinesh Purushothaman
Edited by Karthika Srinivas
Directed by Ram Jagadeesh 

Telugu cinema has produced several notable courtroom dramas over the years. Some of the classics include Chettu Kinda Pleader [1989], Sudigundalu [1968], Pedda Manushulu [1962], Ankuram [1993] and Abhilasha [1983]. Pushing further into films with strong courtroom sequences, Dharma Chakram [1996], Dharma Kshetram [1992], Bobbili Puli [1982], Manchi Manasulu [1962], Sarpayagam [1991], Nyayam Kavali [1981], Preminchu [2001], Pagapattina Simham [1982], Sravana Sandhya [1986], Sathruvu [1990] and Temper [2015] come to mind. These films feature pivotal courtroom drama scenes that shift the course of the story. However, films like Pakka Commercial [2022] don’t quite belong in the same category. The remake Sapthagiri LLB [2017] adapted from Jolly LLB, also deserves a mention. Occasionally, films such as Justice Chowdary [1982], Theerpu [1988] and Vicky Daada [1989] portray the leads as judges or lawyers, though the courtroom drama is not the core focus. The remake of Damini [1993] is intentionally excluded here, as the original is a timeless classic, while the remake fails to capture its essence. In Hindi cinema, the courtroom genre gained renewed attention with Pink [2016] and Jolly LLB [2013]. Following this trend films such as Mulk [2018], Article 375 [2019], Oh My God [2012], Oh My God 2 [2023], Rustom [2016] and Sirf Ek Banda [2023] have made their mark. Meanwhile, Tamil cinema produced a powerful courtroom drama with Jai Bhim [2021]. In Malayalam cinema, films like Jana Gana Mana [2022] and Neeru [2023] have gained recognition in recent times. Classics from other languages, such as Parasakthi [1952], Court [2014], Shaurya [2008], and Shahid [2013], remain memorable for their impactful storytelling. Films like Vakeel Saab [2021] and Nerkonda Parvai [2019], being remakes of Pink, are excluded here as they are not original.

The above list is for people who enjoy watching cinema, regardless of whether the films are old, new, or in a language different from their mother tongue. With this list, we can also make an argument that Indian cinema has not produced iconic courtroom dramas like 12 Angry Men [1957], The Firm [1993] or A Few Good Men [1992]. For example, Sudigundalu [1968] an attempt by ANR struggled at the box office despite its unique narrative. As a result, courtroom discussions in Indian films have often been relegated to climactic plot changing scenes, where the judge reverses their judgment after a new witness is introduced by the hero to the lawyer. In such an industry, Court: State vs A Nobody, directed by Ram Jagadeesh is a refreshing change of pace. However, it remains at a certain safer level and does not elevate the genre to greater heights.

Courtroom secrets follow. Consider this ‘in camera’ proceedings!! 

The Court trailer and teaser are open about their plot and even arguments. . By watching them, you can easily predict the beats that story revolves around, a youngster being charged under POCSO for falling in love with a girl from a wealthy family with a strong social background. The interesting question going in was, what kind of arguments would the film present? you just feel that the makers did not have clarity on how to really bring everything to a conclusion. The film includes various threads: Fascist, Submissive, and Overpowered, but they don’t naturally progress to meaningful or necessary resolutions. As a result, viewers are left feeling unsatisfied, struggling to connect with a love story that seems incoherent and lacks substance. While not every love story needs to follow the same pattern, take a film like C/O Kancharapalem [2018] as an example. Its young love story feels genuine and relatable, never giving the impression of the characters being forcibly paired as lovers. Furthermore, it features moments that truly draw the audience into its narrative, something Court struggles to achieve.

We keep wondering if there is any real necessity for Chandrashekar, also known as Chandu, to be in love with Jabilli. It’s hard not to notice the underlying symbolism: Surya Teja, the lawyer, acts as the one who brings light back into Chandu’s life, that is Jabilli. From a mythological perspective, Chandrasekhar refers to Lord Shiva, whose brilliance stems from his better half, Goddess Parvati. Surya Bhagawan plays a significant role here, as he carries their ansh to provide light to the universe in the form of Skanda. For those interested in more details, the Skandapurana offers a comprehensive explanation of this story. Returning back to the hearing, we can’t help but question whether this kind of love truly deserves support and at times, Mangapathi appears to be doing the right thing.

The issue here lies in the writing. While young love typically lacks maturity, it should still come across as adorable rather than laughable. Take a film like Masaan [2015], for example, where a young girl decides to have sex with a boy who is stalking her, and they are caught in the act by the police. The girl admits her mistake, and the director or the writing doesn’t attempt to justify her eagerness. Instead, it conveys that while she made a mistake, it doesn’t warrant ending her life. This isn’t to suggest that Chandu and Jabilli’s love is a mistake, but rather that we expect them to prioritize their careers while allowing their love to grow stronger with time. Many college love stories and neighborhood romances begin at a young age and evolve as the individuals gain maturity. There is no wrong in finding love at any age but the means need to be established properly.

Take a film like Cheeni Kum [2007]. We see a father opposing his daughter’s love for an older man who is almost his age. The conflict provides many laugh out loud moments while also highlighting the immaturity behind the opposition of a supposedly mature man. Additionally, the way the love story unfolds between Amitabh Bachchan and Tabu feels organic and destined. That is good writing. Now, when it comes to courtroom drama, a highly dramatic film like Jolly LLB 2 manages to keep us engaged throughout with its humorous arguments. Realism in courtroom scenes is appreciated, sure, but that doesn’t mean the humor has to be completely removed. Some punches from Priyadarshi’s character and a few of the arguments in the film work well enough, but the question remains – are they truly clever or memorable?

Among the list of films given at the start, see a film called Ankusam and A Few Good Men. The arresting power of the arguments is so strong that we tend to forget we are watching a film. Instead, we think about a wronged person and the justice that needs to be done. Here, we are reduced to witnessing an ego clash between a lawyer and a manipulator of the law. Pedda Manushulu [1954], the old classic, addresses a similar kind of person who looks to sue others and use the law to his advantage. As you observe the characters written in these films, you slowly but surely understand why they are so manipulative. Here, while Shivaji‘s performance is outstanding, it is hard to understand how a loud and dictatorial fascist resorts to law when he could easily use it to escape after committing a crime. Not to say that only cowardly people manipulate, but his loudness doesn’t align with his shrewd tactical use of the law. A layer of his cowardice needed to be unveiled, showing how he uses this over the top exterior to mask his inferior interior. While that seems to have been the intent, it did not come across as clearly as it could have.

Let’s analyse what has been written in this movie and identify the gaping holes left unaddressed. Firstly, in a poor family, we see the boy rebelling against his father to make his own money, while the girl is a hidden rebel. Why? Because wealthy families have pride issues, which lead to more restrictions being imposed on the girls. If this orthodox setup were explained further… why Shivaji is so overpowered and why Subhalekha Sudhakar and Rohini are submissive? we could have rooted for the girl to rebel against such a restrictive family. Instead, we are given only flashes of sparks here and there. It is not easy for an outsider to become the head of a family unless and until his submission to it is apparent through the things he brings to the forefront. What is he contributing to this family? A scene where his ways frustrate the women in the house while simultaneously compelling them to listen would have been impactful – a better option than the random mention of a son who died. To understand how manipulative he has been to gain so much power, we need to explore the dynamics of these relationships more deeply.

What is stopping Rohini from voicing her concerns? If it is an orthodox upbringing, that needs to be explicitly mentioned to better understand the family dynamics. A shouting scene alone is not sufficient. If the girl is attracted to him and plans a life with him, then why is that not highlighted? How she plans to rebel against this oppressive, orthodox upbringing is crucial and should take precedence. We are left wondering if the debate over who will be the head of the family will ever be revisited. Instead, we are left high and dry till the very end. Why are there no questions from the mother to the daughter about the incident? Why doesn’t the lawyer listen to the boy? To understand his thought process, it’s essential to include a scene with Priyadarshi that showcases a clash of ideological differences: this could make the narrative more compelling. Nuances are needed to build the story, not just generic, formulaic checkmarks addressing one cliche after another. A story cannot be resolved solely by laptop CCTV recordings in court, as solid statements and arguments are crucial to convince the judge. The courtroom scenes rely on the old cliche of a lawyer changing the entire direction of the case in the climax, which is presented as the initial step in this case. However, this approach fails to resonate with ‘real’ world dynamics.

The POCSO Act Section 22 does not leave unpunished those who misuse it. It seems that the makers did not thoroughly research this aspect when writing the dialogues. The inconsistency in attempting to follow the templates set by iconic courtroom dramas is evident. Jai Bhim demonstrates traits of exposing a botched investigation, and many other films aim to highlight how a person can be wrongly accused through fabricated evidence. It is understandable that the writers wanted to follow this direction, but it required the same intensity as seen in Damini, without the over the top dramatic loudness that aligns the audience with the innocent. Here, the writing feels more like the writers are saying, “please see this as well“, rather than urging us to “notice this grave crime being committed against an innocent“. The intent might have been the latter, but the execution leans toward the former. The difference is significant, in the former approach, we are presented with just another courtroom drama, while in the latter, we are compelled to watch and become emotionally involved.

Performance wise Sai Kumar, Shivaji, Harsh Roshan leave a mark while Priyadarshi needs to work on his close-ups. Sridevi looks the part but her voice and expressions are slightly off. Rohini, Harshavardhan and Subhalekha Sudhakar are undone by monotonic characters. Production design is good but camera work is unappealing. It is decent but see a court room scene in Pink or any good drama, you see how the camera defines the reality and involvement in drama. Unfortunately, that is not the case here. On the whole, Court aspires to be Supreme in intent but ends up being a village Panchayat or Racchabanda or Kaap Panchayat at best. It needed much stronger arguments to grant an arrest warrant against us in theatres but it gets only a simple custodial remand that too with fast expiry date.

Theatrical Trailer: