The movie starts off as an investigative plot that unravels at an extremely fast pace, and
it is the acting of Anaswara Rajan that holds it together. The plot is simple—nothing
complicated or too difficult to understand.
However, when the court drama begins, it weaves a curious web. What seems like an
open and shut case complicates into a spiral of factors that appear imperfectly
nuanced. Although the story is detailed, it has faults every now and then. Half an hour
into Jeethu Joseph’s Neru, almost all the cards are on the table, unlike the filmmaker’s
previous outings. We know almost everything about the crime, the accused, and the
court proceedings have started. No groundbreaking reveal happens in the two hours
that follow, as we have come to expect in his films. Yet, it leaves one with a sense of
satisfaction.
Neru has one compelling idea at its heart—the challenges faced by Sara (Anaswara
Rajan), a blind rape victim, in identifying the accused and convincing the world that her
other senses can compensate for the lack of eyesight. This one idea is powerful enough
to sustain the film, even when it is close to sagging. The way she identifies him is quite
a story. No less is the manner in which it is ripped apart in court and used for character
assassination in sequences mirroring some high-profile trials. Neru is also the story of
redemption of Vijayamohan (Mohanlal), a down-and-out lawyer who hasn’t been in
court for a long time after being suspended from the bar. Ranged against him are
powerful forces—a rich business group and their high-flying lawyer Rajasekhar
(Siddique), with whom Vijayamohan has some history. This plot is quite
normal—nothing overboard, nothing different or unique—it's just the characters in it
and the influence of the characters on the story.
After setting the stage, Jeethu, who collaborated with Santhi Mayadevi on the script
(who also has a role in the film), delves into the court proceedings, occupying a
significant portion of the film's duration. While certain courtroom scenes, particularly
those involving the victim, are gripping, others feel awkward, such as the recurring
reaction shots of a smirking accused or overly impressed spectators during the
prosecutor's triumphs. The frequent shifts to television commentary for additional
courtroom explanation also dampen the overall experience. There are occasional nods
to "Drishyam" through passing references. Anaswara Rajan excels in her role,
portraying it with immense conviction. Mohanlal delivers his performance in a
subdued manner, introducing a noticeable shift in his dialogue delivery that adds a
more natural tone compared to his recent films. It was a delight to witness him in good
form after a long time, although it doesn't quite match up to the excellence of his finest
performances.
In a genre often centered around the portrayal of a brilliant male lawyer saving an
innocent woman, Neru presents Sara as a survivor who is equally intelligent. Sara's
bravery is portrayed without patronizing survivors, acknowledging the significance of
her courage. She serves as an almost flawless character study, advocating for consent
in one scene while being allowed the space to break down in another. Sara's sculptures
often convey her thoughts, even though there's a desire to learn more about her
beyond her passions. While scenes of abuse are not sensationalized, they could have
been omitted in a film that otherwise empowers women to narrate their own stories.
However, one of Neru's notable strengths is its departure from the typical dramatic
courtroom scenes often seen in Malayalam films like Jana Gana Mana (2022) and
Queen (2018). In those films, a star or well-known actor playing the lawyer delivers a
powerful speech that dramatically changes the course of the case, prompting the court
to "acknowledge its errors." Instead, Neru skillfully focuses on the intricacies and
routine aspects of a trial, avoiding the opportunity for both Vijayamohan and Sara to
use the courtroom as a stage to showcase their acting skills or deliver impassioned
monologues.
Jeethu Joseph’s Neru is a straightforward courtroom drama—among other things,
about navigating the complicated corners of the Indian judicial system. And there’s
nothing really wrong with an ousted advocate (Mohanlal) fighting for the justice of a
young woman (Anaswara Rajan) violated by a man who comes from wealth, even if
we’ve seen it play out on the screen many times. But what Jeethu and Santhi (whose
expertise in law lends Neru a unique touch) do with this film is what makes this a
memorable fixture in this genre. It takes all the tropes of the courtroom drama,
nodding along with every stock reactionary shot and heavily vitriolic defence lawyer,
only to open our eyes and ears to an ingenious take on a woman’s right to consent.
