Neru

اچھی فلم!

اچھی فلم!

اچھی فلم!

اچھی فلم!

اچھی فلم!

The climax was predictable from the beginning. They should have kept the sculpture part only for the end as a surprise package. They just followed very old and typical template from the beginning. The way first PP lawyer acted was very irritating and as usual hero not showing any interest in beginning and then taking up the case. The film and characters did not have any energy at all. They all acted very mechanically. There is not even single scene which is engaging and refreshing. Judge looked unfit for the role they should have added more dignity for his role. We could not connect with the story and characters.

Neru is a Malayalam movie that takes viewers on a powerful journey of a blind sculptor named Sara, played by the talented Anaswara Rajan, who faces a brutal assault and must fight for justice in a complex legal system. The film is more than just a courtroom drama; it's a story about resilience, finding your voice, and the unwavering pursuit of truth. Stellar Performances and a Gripping Narrative Mohanlal delivers a nuanced performance as Vijayamohan, a lawyer with a checkered past who takes on Sara's case. The chemistry between Mohanlal and Rajan is palpable, making their characters' connection all the more impactful. The supporting cast, including Saiju Kurup and Krishna Shankar, add depth and dimension to the narrative. The film's pacing is excellent, keeping viewers engaged throughout the twists and turns of the legal battle. The courtroom scenes are particularly gripping, with Mohanlal's sharp wit and passionate arguments keeping you on the edge of your seat. Themes of Social Significance Neru tackles crucial social issues such as disability rights and gender equality. Sara's journey as a blind woman navigating the complexities of the legal system is both inspiring and thought-provoking. The film also sheds light on the challenges faced by women in seeking justice, particularly in cases of assault. A Visually Stunning and Emotionally Resonant Experience Neru is not only a well-acted and well-written film, but it is also visually stunning. The cinematography captures the beauty of Kerala, while the music adds another layer of emotional depth to the story. The film's climax is particularly moving, leaving a lasting impression on viewers. Overall, Neru is a must-watch for anyone who appreciates well-crafted cinema with a powerful message. It's a film that will stay with you long after the credits roll.

The story is an interesting concept, but when you have the weight of Dhrishyam's expectations on your shoulders every time you helm a film, you are bound to disappoint at one point or another. Neru appears to be such a film; a story that's over emotionalized at various points throughout its narration. Quite frankly, the lead role could have been performed by a few other competent actors of contemporary Malayalam cinema. I really felt that Mohanlal didn't quite bring the gravitas and aura he normally brings to most of his roles. The twist you normally expect in Jeetu Joseph's films was sorely lacking. At best this is a passable courtroom drama, scattered with tense scenes that try to oversell themselves.

Neru does exhibit the hangover of other courtroom dramas such as Pink and Oru Abhibhashakante Case Diary, alongside writer-director Jeethu Joseph's own family-thriller Drishyam. The writer in Jeethu has always impressed me more than the director, as his writing always offers scope for his actors to shine. That's the case here as well, with some excellent performances from the likes of Anaswara Rajan, Siddique, and (..hold on.. it's been a while..) LALETTAN! Anaswara, who plays the role of a rape victim who's blind, gets the meatiest part and absolutely nails it. Also, having Santhi Mayadevi assisting Jeethu in the screenplay this time around helps look at things from a balanced perspective (as opposed to the clichéd male savior trope), although her featuring in a prominent supporting role feels like an uninspired choice. Vishnu Shyam composes an affecting theme song, which is used throughout the film. Once again, we're subjected to the "first drama, then thriller" treatment that Jeethu Joseph has worked in his favor in the Drishyam films (including a few notable callbacks). The developments feel slow in the initial half and Mohanlal's entry as Adv. Vijaymohan takes its own sweet time to happen. He's initially presented as a prosecutor who has lost his professional touch, and this is justified in the first half when he's chewed up and spat out by the defense lawyer (a can-do-no-wrong Siddique). However, as audiences, when Vijaymohan slowly regains his lost aura and strikes back, it's almost like a meta-moment where Lalettan the actor is also hinting at getting back on track with his upcoming film choices. It is just WHOLESOME! Jeethu Joseph makes his usual mistake of casting unconvincing actors in minor roles, to the point of occasionally making you think you're watching a soap opera. While it won't entirely tune you out of the proceedings, this is something the director can take better care of, as it's a recurring element. Also, I don't think audiences need to "revisit" a rape scene (like EVER!) to drive the point home. All this is still forgivable since we get an emotionally satisfying conclusion to the story, with some neat yet subtle statements being made in those closing shots. P. S. Special shoutout this time goes to Mathew Varghese who played the Judge.

Even with a predictable storyline Jeethu Joseph's mastery of scriptwriting with Shanthi Mayadevi's knowledge as an advocate makes this engaging and effective. Jeethu Joseph has always been a better writer than a director and there are a lot of instances in the movie that clearly shows that aspect. Some of the smaller characters' acting was not very good, the music was overused a lot and there were a few things that could've been trimmed out. But when it works, the film works great. Even though, it's not something very novel, Mohanlal saying some dialogues did make me clap hard, knowing that I'm sitting in a packed theatre with a lot of families. Anaswara and Siddique were brilliant in their roles and Mohanlal has done a role that is subtle, vulnerable and serious in a very effective way after a long time. Despite the film using easy ways to tell a lot of things, despite the plot being nothing new, it being not new makes more of a case of how it is still so important in every aspect, due to which I was very satisfied by the end of the movie.