In director Gururaj Kulkarni’s latest cinematic endeavor, “The Judgement,” viewers are taken on a journey through the labyrinthine corridors of the Indian legal system. The story revolves around Anil, played by Diganth Manchale, an investment banker accused of murdering his client Roopa, portrayed by Roopa Rayappa, the head of an NGO. Right from the outset, there is an uncanny sense that Anil is innocent, a sentiment that lingers even as Govind, a character brought to life by V Ravichandran, demonstrates his prowess as the best lawyer in town and ensures that Anil is found guilty.
“The Judgement” leans heavily on the intricacies and idiosyncrasies of courtroom procedures rather than the whodunit aspect of its plot. This choice makes the audience privy to the apparent details and inner workings of the case, often keeping them a step ahead of the film’s intended surprises. While this might sound like a narrative flaw, it serves as a testament to the film’s interest in exploring the often opaque facets of legal machinations.
The plot thickens and takes an engaging turn when Govind begins to question his initial assumption of Anil’s culpability. This evolution in Govind’s character provides an intriguing lens through which the viewer can examine the motivations behind a lawyer’s choice of cases. Govind’s ego, inflated by those who extol his virtues and liken him to a deity of justice, comes into question. His wife, portrayed by Meghana Gaonkar, who works as a lecturer, becomes a voice of conscience, compelling him to reflect on whether pride can eclipse the truth.
The narrative gains momentum as Govind dives deeper into the case. As he starts to connect Roopa’s murder to another seemingly unrelated case, the audience is introduced to a gamut of legal theories and courtroom possibilities. While these insights enrich the film’s texture, they also occasionally make it feel like an extended legal primer.
Despite the evident effort to craft an engaging legal drama, “The Judgement” sometimes strays into familiar TV serial territory.
. The soundtrack, particularly during the scenes of murder investigation, is overly dramatic to the point of being distracting. The courtroom set, unfortunately, lacks authenticity and feels somewhat dated, detracting from the immersive experience that such a genre demands.
Character dynamics within the film oscillate between earnest and overly theatrical. Anil’s parents, played by Rangayana Raghu and Rekha Kudligi, go through bouts of intense lamentation over their son’s fate, reminiscent of characters in soap operas. The character of Qureshi, a corrupt minister, is painted with broad strokes of villainy, although Krishna Hebbale salvages this role with a strong performance.
Additionally, the film occasionally gets bogged down by its own desire to focus excessively on Govind’s character. Junior lawyers and other courtroom staff periodically chime in with their awe and commentary on Govind’s capabilities, an aspect that sometimes feels forced and detracts from the story’s central mystery.
An examination of the motives behind the delayed production of star-driven Kannada films reveals that “The Judgement” may have missed an opportunity to delve deeper into its whodunit angle. Clues in the film surface with convenient timing, making the identification of the real perpetrators relatively straightforward. Despite this, the courtroom scenes, bolstered by Ravichandran’s performance, ensure the film remains watchable, although the sheer volume of information can be overwhelming.
In sum, Gururaj Kulkarni’s sophomore effort is far from forgettable. “The Judgement,” while treading predictable territory, manages to engage its audience to a considerable extent. The film might not stand as a paragon of the genre, but it provides a decent exploration of the legal world, anchored effectively by Ravichandran’s compelling portrayal of Govind. The blend of legal insight with human drama, though not flawlessly executed, makes “The Judgement” a noteworthy addition to Kannada cinema.
