Susan B. Anthony, an American campaigner for women’s rights, once said, “No man should govern any woman without her consent.” The fascinating storyline of Mohanlal’s latest film, “Neru,” directed by Jeethu Joseph, explores this emotion. The story centers on a blind girl who is raped in her home, creating a difficult legal struggle.
The movie poses the issue, “Will any advocate emerge to champion the cause, and can justice prevail for the visually impaired victim?” as the opposition becomes more and more formidable.Neru not only delves into these important subjects but also adds an emotional dimension to the narrative.
Mohanlal assumes the role of public prosecutor attorney Vijayamohan, who supports Sara (Anaswara Rajan), the victim, and her family. Following a long break from practicing law, the film investigates if this advocate can handle a trial with skill.
The way the film progresses is largely driven by Mohanlal, who shows remarkable adaptability while fitting the role well. The movie shows off how well-prepared he was, deftly depicting the subtleties of a real advocate. Nevertheless, the exaggeration of events causes the film to lose its equilibrium. This impression could result from the fact that Malayalam movies frequently do a great job of presenting tales with an authentic and raw touch.
It’s difficult for Jeethu Joseph, who is well-known for his complex narrative turns in movies like “Drishyam,” to replicate the same degree of suspense in this one. This limitation may be ascribed to the limitations that come with portraying courtroom processes.
Throughout the first part of the film, captivating courtroom sequences keep the audience interested. A pivotal scene comes when Siddique’s character, who is a defence lawyer, examines the victim’s actions and implies that she isn’t responding in a way that one would anticipate from a victim of rape. Mohanlal’s character responds sharply, asking, “How should a rape victim behave?”—a moment that struck a chord with the crowd and drew cheers.
However, the last portion of the movie feels overly drawn out and includes unnecessary suspenseful scenes that seem to be included only for show. Even though the cast—which includes Jagadish, Priyamani, and Anaswara—gives respectable performances, some of the situations seem too dramatic.
Unquestionably a delightful film, “Neru” marks Mohanlal’s triumphant comeback to more somber roles. It’s very energizing to watch Mohanlal play a lawyer and take part in exciting courtroom arguments for the case.
The movie also emphasizes an important point: in the legal system, people who can properly support their claims win out in the end. In terms of the law, everyone is treated equally up until that point. It also serves as a warning that sometimes powerful people attempt to bend the law to their will.
The first half of the movie keeps the audience engaged with intriguing courtroom scenes. A notable moment occurs when Siddique’s character, playing the defence lawyer, questions the victim’s behavior’s, suggesting she isn’t reacting as expected of a rape survivor. In a powerful retort, Mohanlal’s character counters with, ‘How should a rape victim behave?’—a scene that resonated with the audience and garnered applause.
However, the last portion of the movie feels overly drawn out and includes unnecessary suspenseful scenes that seem to be included only for show. Even though the cast—which includes Jagadish, Priyamani, and Anaswara—gives respectable performances, some of the situations seem too dramatic.
Unquestionably a delightful film, “Neru” marks Mohanlal’s triumphant comeback to more somber roles. It’s very energizing to watch Mohanlal play a lawyer and take part in exciting courtroom arguments for the case. The movie also emphasizes an important point: in the legal system, people who can properly support their claims win out in the end. In terms of the law, everyone is treated equally up until that point. It also serves as a warning that sometimes powerful people attempt to bend the law to their will.
