This ends up adding to the film’s authenticity the action doesn’t feel directed by force as much as it feels captured by fluke. Scenes continue a few seconds or even minutes after the point where other filmmakers might have opted to cut. The seemingly interminable drawl of the case is echoed in the filmmaking style, with cinematographer Mrinal Desai utilizing lengthy, static takes. In the case of the woman who plays theĭeceased’s widow, it’s eerie how unaffected the scene is before you realize Marathi when she’s done, is hilarious in its accuracy. The way she reads out the list of chargesĪgainst the accused in fluent but monotonous English, only to segue into Sadness that’s moving it’s his exhaustion. Of what a regressive environment he lives in, he breaks down. At one point, after being shockingly reminded Gomber, who also produced the film, brings a sense of lumbering calm The acting elevates the words on the page and makes Underlines, emboldens, and italicizes the purpose of his film.
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With a series of scenes that are remarkable in their assuredness, he Over a coda that’s perplexing at first, Tamhane unveils his trumpĬard. And the filmmaking builds up to a memorable closing shot. The viewer has understood what this universeĮntails. There is a moment where it feels like “Court” could end. Using olive oil in cooking is a matter of fantasy to be discussed with commute Forget ignoring the price tags, for her even
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Her professional duties with her responsibilities as a mother and wife, all Nutan for who she might be in real life: a competent woman who tries to juggle Towards a dead-end, and no wonder he continues speaking English in theĬourtroom even though it wins him neither favor nor friend. Clearly, he can afford to pick up a case so obviously headed His bourgeois friends, and shops for cheese and wine without looking at the The viewers follow Vora as he attends a posh club with They are all just cogs in an unfair machine. No character is a villain hell-bent on destroying His script, carefully structured but not gaudily so, considers theĬharacters’ lives outside the courtroom as essential to comprehending what they do once inside it. Tamhane takes the opposite means to achieve a Help viewers understand why people’s lives deeply influenced how they interpreted the law and cold, hard facts. The setting’s claustrophobic nature would Nearly 60 years ago, Sidney Lumet locked the “ 12 Angry Men” of a jury inside one room. There are times when it feels as though the real accused in "Court" are India's judicial system and society. In the funniest scene in this surprisingly funny film, the Judge refuses to hear a case because the plaintiff, a woman, Joshi), who doesn’t care for anything except upholding his archaic morals and Together they’re in front of Judge Sadavarte (Pradeep ( Geetanjali Kulkarni), who couldn’t be bothered with the plight of Narayan or He’s up against the public prosecutor Nutan Vora ( Vivek Gomber), a well-educated and well-off lawyer The stateĪlleges that a song he performed drove a manhole cleaner to commit suicide, and that he is therefore responsible for the man's death. In Mumbai, Narayan Kamble, who’s arrested on a bizarre accusation. “Court” deals with an aged Marathi folk singer living And yet, Indian filmmaker Chaitanya Tamhane’s firstįeature is a masterpiece, one of the best films of the year.
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