Court – State vs A Nobody Movie Review: Priyadarshi anchors an entertaining legal drama that settles for less

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It makes one wonder what’s more important; imparting a ‘message’ to a wide audience, preaching to the choir, or staying true to the cinematic language of the genre? Are these ingredients mutually exclusive? Director Ram Jagadeesh’s Court: State vs A Nobody, addresses a very important aspect of the Indian legal system, but prioritises mass appeal above all else. It’s an entertaining film that should have been more compelling, but it works simply because it delivers what was promised.

Unlike its Marathi namesake, Court – State vs A Nobody isn’t a realistic representation of the Indian legal system. It is a bombastic drama that revolves around an ‘unwinnable’ case, and features a lawyer who has never argued a case in his life. The set-up might remind you of films such as Jolly LLB, OMG, etc — a down-in-the-dumps lawyer needs that one case to prove his mettle. It invariably involves an innocent person pitted against a corrupt organisation. In many ways, Court is similar to Vakeel Saab, only with an actor of a lesser star stature. As advocate Surya Teja, Priyadarshi gets a rather straightforward role, and he plays it to the court gallery. And the case in question? POCSO… Protection of Children from Sexual Offences. 

Here’s the COURT trailer

Considering that the film operates on a rather thin line between what’s right and what’s legal, it makes sense that Ram Jagadeesh has a light and superficial take on the misuse of the POCSO Act. The premise is rather simple; a 19-year-old man loves a minor girl. The fact that she’s almost 18 is a pivotal detail. Take, for instance, a school romance between a class 11 boy and a class 10 girl. This high school romance can be deemed illegal the moment the boy becomes a man and goes to college, and the girl is still in school, or vice versa. And in a country so fractured by caste and class hierarchies, no points for guessing what could transpire if one of the parties is rich, powerful, and conniving. This is the predicament of young Chandu, the son of a watchman-ironwoman couple, who falls in love with the younger Jabili, who lives in a house governed by her patriarchal uncle Mangapathi (Shivaji). 

The film is as predictable as it gets, and the case unravels in the most tired fashion. The prosecution puts up false witnesses, and the defence breaks their argument down rather easily. There is a scene in which Surya Teja, as a junior lawyer to Mohan Rao (A regal Saikumar), guesses the line of questioning his senior is planning to put forward in a case. Similarly, the audience too can easily foreshadow the questions Teja will ask the various stakeholders. Similarly, Mangapathi is menacing, conniving, and unforgiving, but he is a villain who likes taking the legal route to exact his revenge. It is a rather interesting character sketch, and there is a sense of poetic justice to his arc. But he is let down by an increasingly one-note note. 

Full points to Ram for showcasing the romance between Chandu and Jabili with utmost dignity. The music and the editing of Karthika Srinivas elevate their scenes together. Roshan is wonderful as Chandu, and so is Sridevi as Jabili, but it is the former who gets the emotionally heavy scenes, and it is his performance that stands out. And although it feels like he’s taking the safe route with this character, the filmmaker is able to subvert expectations as well.

On the flip side, the court proceedings in the movie don’t feel very authentic, and the movie treats the ‘villain’ lawyer as a caricature. This removes any possibility of the movie being seen as a serious drama. Court does treat patriarchy, casteism and elitism as the primary motivators for Mangapathi wreaking havoc in the lives of Chandu and family. Interestingly, Ram also shows how unquestioned patriarchy will always have its roots inside our homes, and it is that weed that has to be cut off first. Although Rohini gets a rather minuscule role, it is clear why she was chosen. There are very few actors who can convincingly portray quiet vulnerability with such sincerity on screen.

Full points to the makers for never showing Mangapathi backing down from regressive behaviour, because why humanise someone just because the film is coming to a close? Similarly, when Chandu is kept in remand, there is a beautiful scene in which he reaches into his wallet to pick up a photograph to keep it close to him inside the prison. Moments such as this counterbalance all the bombast of the courtroom scenes. It is actually ironic how the best conversation between the lawyers in the film happens inside a house, and not the courthouse.

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The film straddles a rather thin line that separates sensationalism and pragmatism. Even when asserting the importance of the POCSO act, Court points out that there are certain operative challenges because of the social fabric of the country. While it is a double-edged sword, mainly because exceptions don’t become the rule, Court smartly puts the onus on the system rather than the people. The film urges the pillars of democracy to educate society about the laws protecting them, and, in some cases, how they can be used against them. But it doesn’t go out in its indictment of the system, including the police and courts. Instead, it just gives them a rap on the knuckles and asks them to pull up their socks, and be truthful to the public they are assigned to serve. Will they do it, was this enough? Let’s reserve judgment. 

Court – State vs A Nobody Movie Cast: Priyadarshi, Sivaji, Rohini, Harsh Roshan, Sridevi 

Court – State vs A Nobody Movie Rating: 3 / 5 

Court – State vs A Nobody Movie Director: Ram Jagadeesh