Court Kacheri (Season 1)
Introduction
The new Hindi show Court Kacheri is more than a legal show, proof of which you get in the first few reels itself. When you are first introduced to Param Mathur (Ashish Verma), a quick flashback tells us a lot of things about his life. You see that Param has never quite been close to his father Harish Mathur (Pawan Malhotra) who is a lawyer at a district court. The typical father-son dynamic of difference of opinions is palpable in this opening sequence itself, even as a young impressionable Param is exposed to a world that exists in isolation for a child even as he witmesses his father warming up to “criminals” (because a character owns a gun) who double up as clients for his father. It is almost a shattering incident of having to witness a murder as a child, something that Param experiences early on, that immediately makes him weary about the profession of his father. And like is the case with every father-son dynamic, there is a connecting thread in the form of a mother, someone that Param, like all boys to their mothers, is close to. But when that link is disturbed, Param’s fate is literally sealed having to take up the profession as a lawyer, just like his father but against his wish.
Story & Screenplay
It is interesting how most folks of the country are impulsive about filing a case and sending a legal notice to their foes, while being woefully oblivious of the number of pending case in the judiciary. It is a mundane and unappealing world that you are better off, staying away from, something that Param experiences during his first visit to the court as a lawyer which is expertly showcased by the TVF writers Arunabh Kumar, Anurag Ramesh Shukla, Puneet Batra, Anurag Jha and Akshay Anand Kohli. And this is where the mundane setting of the district court sets in, featuring a pale building with most people in similar attire posing similar arguments for their clients, with the police personnel watching over. In fact in a scene, you are also witness to Param inquiring in an agitated manner on why is there an exposed nail on one of the benches of the court – only for him to get a reply to file a query with the bar council for a job that is literally of a couple of minutes to fix the issue (which Param himself does in a fit of rage). It is a fleeting scene but it tells you a thing or two about how the system functions within the four premises of the court, something that makes Param disdain his profession.
There is an underlying commentary on escapism that merges itself with a commentary on privilege. So on one hand, you witness Param discreetly trying various methods to escape his time in the courtroom – initially opting for a fake certificate, a la Ranchhordas Shyamaldas Chanchhad from 3 Idiots (2009), ironically given that he is a lawyer who knows that this is a criminal charge), or even considering shifting to a new country with a PR. This, while on the other hand you are introduced to Advocate Suraj (Puneet Batra) who is assisting Advocate Harish, and keenly awaiting his first break (in the form of his first case). Suraj represents many such folks from the profession that have virtually spent all their lives awaiting their first break, and even when that first break arrives for Suraj, the inexperience kicks in thereby making him squander an opportunity.
There is a searing commentary sandwiched between the main plot as well, that deals with the theme of hierarchy within the chambers of the court. This occurs through the character of Japtap (Amarjeet Singh) who aspires to start his own practice with Suraj. It is a classic representation of the food chain that was visually depicted in the Spanish film The Platform (2019). The ones at the top would get the best of the deal, also helping the ones in the middle like Suraj, while the ones at the bottom like Japtap, would be left to fend for themselves. In fact, the core trait of Japtap is insecurity and a sense of uncertainty with respect to his future, that constantly sees him pestering Suraj to start their own practice. But both Suraj and Japtap are drastically different individuals – Suraj is the honest one, only resorting to an unfair tactic to arrange money for their office once, but seldom fooling a client about the complexity of the case, much to the dismay of Japtap. The difference lies in their righteousness in a land that solely relies on the individual discretion for the same!
I enjoyed how the writing doesn’t have a binary gaze at viewing the subject matter here, particularly with respect to the ongoing case which is showcased on the show. The case on paper is simplistic – a man wants divorce from his wife, but the complexity is added when there is an ask for an alimony. If you are well-versed with the news lately, this has been a huge talking point on the social media even as the laws are tilted in favour of the fairer sex (no, this isn’t a gender issue but generally speaking). But what the show does is explore the nuances of the case while pitting the central father-son conflict in the middle – something that leads to rigidity and a game of one-upmanship along the way.
The drama minutely stumbles in the transition from the second act to the third act, even as a single event is repeated twice through two difference characters in the mix. But the recover is quick and non-binary even as there are a couple of themes expertly merged into one – one being nepotism, and the other feminism. It is ironic how the solution to one of these themes makes way for the solution of the other in a dramatic pre-finale followed by a resounding final act that allows you to gain perspective about the court cases and how they are fought. It isn’t always about wrong or right from a lawyer’s perspective – it is about picking a side and doing your bit to prove the morality of your side, that defines a lawyer. And that is doubly tagged with a searing emotion of a father-son dynamic that finds its own space, making for a heartfelt drama by the end of things.
Dialogues, Music & Direction
The dialogues are conversational, at times infused with subtle bouts of humour that makes for a compelling watch with frequent bouts of humour. In fact, the tonal transition of the drama is evident from something frivolous to something purposeful, ironically overlapping with the life of Param, which is also represented through the lines. In that regard, this can also be termed as a coming of age drama ably supported by the lines. The BGM makes its presence felt in the drama at various instances in the narrative, subtly elevating the impact of the drama while also accounting for the emotional core stemming from a father-son conflict. The cinematography exudes of a pale colouring, almost symbolizing the mundane life around the courtroom while conveying the fact that many lives are simply wasted around it, even as the dates are piled on. The frames also account for the emotional core of the characters (resorting to tight closeups in confrontational scenes between Param and Harish), and their own insecurities – in a scene, you see an agitated Param entering his room in his father’s bunglow, while drawing a parallel with Suraj who has a small tattered place with no privacy at all. Privilege is a virtue oblivious to Param, something that is reflected through the frames too.
The editing is crisp for most parts of the runtime, maintaining a tempo without compromising on the nuances with respect to the emotions in store. Director Ruchir Arun does a swell job in creating a world and observing his characters with a neutral gaze, much like a judge in a courtroom. He allows the story to unfold from a certain POV, while accounting for the flaws of the characters, before subtly flipping the narrative – both in terms of the drama and the characterization. This was tricky on paper but Ruchir handles it perfectly, while stamping his authority as a director. The slight fumble lies in the second act to the third act transition that felt a touch patchy, but overall, the director definitely handles the subject matter really well.
Performances
The performances are wonderful by the members of the cast. Anandeshwar Dwivedi as Advocate Vikas is one of those goofy lawyers that you will spot in court, and he manages to touch upon this streak perfectly. Vidyuth Gargi is wonderful to witness as the certificate scammer, a role diabolically opposite from his stoic role in The Hunt. And that is the sign of an actor who seamlessly is willing to adapt to different roles and situations. Ayushi Nema as Shilpi has a sweet presence and she manages to leave a mark despite a limited screentime. Sumali Khaniwale as Kaghzat is as subtle as her character name, imparting bouts of wisdom to characters around her – on the lines of Jeetu Bhaiyya from Kota Factory or Sandeep Bhaiyya from Aspirants. And she does a swell job here. Rohit Tiwari as Tony Singh has his moments to shine. Brij Bhushan Shukla as Bhati has a playful presence while leaving a lasting impression as the cop. Chandan Anand as the sub inspector is stoic and often acts as a strong nemesis for Param, atleast at two junctures in the narrative.
Bhushan Vikas as Satyavan (notice the name that often creates a dilemma) and Kiran Khoje as Ratna are diabolically opposite characters that will coax you to frequently switch sides with respect to your loyalty towards them. And they contribute to the nuance in the drama, wherein you are unsure on which side is right (something that most courtroom dramas are guilty of – a binary approach). SK Batra as the Judge is wonderful to witness, and his irritation and frustration are engulfed in a rather restrained performance. Priyasha Bhardwaj as Anusha is a character with a mix of youth and feminism (and not in a negative sense, folks), something that is reflective in her character’s argument during the courtroom scenes too. She is sharp and precise despite being guilty of a skewed morality, wherein she often asserts herself and puts forth a commendable act.
Amarjeet Singh as Japtap is a character that you are often conflicted about. You empathize with his situation, but you also don’t necessarily agree with his approach. And this dichotomy was perfectly represented by him. Puneet Batra as Suraj is quite an affable character who doubles up as an average joe in a courtroom. You are connected to his character because of the simplicity and honesty that he brings in, often posing himself to be a victim of his circumstances even whilst wanting to make a difference. There is a sincerity that shines throughout his act, thereby making for a solid act.
Ashish Verma as Param is tailor-made for this role simply because you needed an actor who could balance out the frivolous nature of the character along with a transition into something more purposeful. And the balance is maintained perfectly here, hitting the right notes with respect to the emotional core of the character, in what is essentially his coming of age story. He was a treat to witness here. Pawan Malhotra as Advocate Harish presents a nuanced portrayal of a father who wants the best for his child, but doesn’t know how to express his affection towards him. You often see him as a pompous and carefree character, but deep within, the emotions are there to be discovered. The communication gap with Param is evident through his character, and there is a lot of restraint and poise that he brings to the table, something that doesn’t distance you from the emotional core of the character. It was a beautiful portrayal of a character caught in the cross-fire of his profession and his relationship with his son, that is expertly presented by an actor for whom we all have the deepest respect for!
Conclusion
The first season of Court Kacheri is an emotional father-son dynamic explored in a heartfelt legal drama that makes for a wonderful watch. It is nuanced with its approach and often presents a deeper take into the life around courtrooms while keeping a check on interpersonal relationships too! Available on SonyLiv.