We are so accustomed to seeing melodramatic courtroom dramas in Bollywood where we already know who the victim and the accused is, who will win and who will lose, that we forget to gaze at the law from a far more critical lens. Akshaye Khanna, while speaking about why he signed the film, spoke how law is a dense profession filled with an unseen murkiness shielded by Bollywood. Section 375, directed by Ajay Bahl, attempts to shatter tinted glasses and showcase how brutal the judiciary can be.
The film unfolds like a thriller, with both the sides being heard by the bench. Richa Chadha represents the victim, and Khanna the accused. As you may have seen in the trailer, there’s a lot more, a lot more than what meets the eye. And the film, in a much needed hour, raises very pressing questions- Do rape victims not deserve proper legal defense? Are trials by the media and social media the be all and end all? Are men guilty in all the cases of rape and assault?
These questions are haunting but the only way they can be answered is by letting truth prevail. But, it’s not as easy as this. We’re well aware that rape cases are traumatic for the victim. And, their trauma increases once the case goes to court, given how defence lawyers trivialise the incident.
It’s helped that Bahl and his team approach such a dense and complex narrative with restraint. There are no gratifying monologues or emotional speeches, the judges seem like real people and not actors hired to play their parts. Khanna is reliably solid and raises valid arguments about the section the film is based on. The actor has based his entire career in hushed whispers and subtle intensity. Just watch how he reacts when the bench suspends his license for six months. Any other star would have reacted with a strong outburst, he responds with a guilty smirk. Chadha, at first, fumbles and stumbles with the character, and in many places, pauses longer than required. But comparing her past repertoire, this is one of her better choices.
Forget the box office; this is a film that could commence debates and discussions. This is a courtroom drama that doesn’t dilute the sensitivity of the subject to gage a wider audience. A lot of the courtroom conversations unfold in English, with arguments we probably haven’t seen or heard on the Hindi film celluloid in years, last being Hansal Mehta’s Shahid and Anniruddha Roy Chowdhury’s Pink.
The end doesn’t come as a shocker as the audiences already sense where the drama is heading. As the film’s credits begin to roll, you ask yourselves all the questions Khanna raises in the film for his client’s defence. And now ask yourself this - when was the last time a film left you with a reality check?
Rating: 3 stars
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