Jolly LLB Movie Review

Jolly LLB a social satire on the law system of the country, where a small town struggling law graduate with frustrated ambitions unhappy with his life in Meerut files a PIL in court that takes on judicial corruption that favors the rich and privileged stars Arshad Warsi, Saurabh Shukla, Boman Irani, Harsh Chhaya, Mohan Kapoor and Amrita Rao written and directed by Subhash Kapoor is a National award winning Bollywood courtroom comedy drama film.

Jagdish Tyagi (Arshad Warsi), whom everyone called Jolly is a law graduate in Meerut, Uttar Pradesh. Like his colleagues, his office is simply a table topped with an antique typewriter in the courtyard next to the courthouse. It takes everything that occurs, but it is the crisis and the business is not good. This is even reduced to chain his poor machine to avoid that the steals. His girlfriend, the beautiful Sandhya (Amrita Rao), makes him mine and its potential stepfather is really not excited to welcome him to the family.

One of those days when nothing goes right, it loses a case, one more. On leaving the court, he is intrigued by the opposing party surrounded by a swarm of journalists. This ephemeral media fame was due to the nature of the prosecution. It was a PIL (Public Interest Litigation- a complaint in the public interest), where the lawyer erects itself representative of the company, not an individual victim. For now, Jolly decided to go exercise at New Delhi, in the distant hope of getting what he wants more than anything, money, fame, respectability and of course Sandhya.

His debut in the capital are easier to Meerut. But his life changes when he filed as a PIL him in a car accident case hit and run that left six dead on the sidewalk. The accused is a rich son candy, defended by a Bar tenor, Master Rajpal (Boman Irani). Jolly is then in the court of Judge Tripathi (Saurabh Shukla) to try to make the voice of justice.

Jolly LLB might suggest a film classic courtroom, where the little lawyer struggle with the energy of despair to the side of those without degrees, to uphold justice. It is actually inspired by a famous accident hit and run case: Sanjeev Nanda case that hit the headlines in 1999 - date of the accident - in 2008, when the accused was eventually sentenced to 5 years Prison. But the film's release in early 2013, the viewer can not help but think of Salman Khan , accused of having crashed 5 people on a sidewalk in the suburbs of Mumbai, in September 2002.

The arguments advanced by the defense in the film have much in common with those who make the field day the press today. It comes for example to question the fact that Salman himself drove the Land Cruiser. Besides, was it really his car which crushed the poor people? And anyway, what did they do to sleep on the sidewalk? Exposure of these demonstrations shortcut time of the film is both shocking and tasty. We think of a Bonfire of the Vanities backwards. The tragic humor that emerges clearly plays at the expense of defending Salman Khan, that observers were quick to note.

But Subhash Kapoor, for the third film he wrote and directed, has sought to reduce his remarks to individual turpitude, even if they are those of the greatest movie star of the moment. Moreover, it shows very few rich accused and never give him the floor. Its purpose is the regular attack of an entire system, that of the Indian courts where both parties are supposed to be on equal terms. British-inspired, it can not, obviously, not operate when the burden of proof becomes insurmountable, either because of police corruption, or simply the difference in funding.

The viewer is plunged early in the film that justice is not working. Ordinary lawyers are shown waiting to barge on their workplace the courtyard of the courthouse. It is a kind of court of miracles where everyone is trying to get out. He found even one that supplements her purposes with dual competency palmist. Recent films, such as OMG - Oh My God, provided an overview of the misery of this profession. But by the lawyer's main character, Jolly LLB goes much further. It starts with avoiding the pitfall of caricature so common in contemporary Indian cinema, where the chatty is shown as an obsequious thief who seeks only profit from his own client.

Instead, Jolly takes her job to heart. Certainly, his natural inclination at the beginning of the film is rather to aim its own social success, but he knows to recover. Conversely, Master Rajpal, the star of the courtroom, the lawyer powerful desperate to win, knows how to find the words when he finally realized that his usual disgusting tactics might not be enough to save his client. The characters are more complex than one might think at first, which gives a lot of strength in political office. And the omnipresent humor allows authors to overcome obstacles.

The principal is the corruption of the police whose role is to make the findings and to provide evidence. As also shown No One Killed Jessica , she is enslaved to money and the powerful. But here, Subhash Kapoor has made ​​this submission a truculent joke. He chose to make us laugh out loud about a subject that yet ready to cry. At the same time, even the police are ambivalent, like the "bodyguard" Jolly who did his best.

Jolly LLB is a low budget film played by actors usually confined to supporting roles. Arshad Warsi, we had not seen as comfortable since Ishqiya is impeccable Jolly. Boman Irani plays, meanwhile, a character which is customary. Despite being quite in tune, one can not help thinking that he is a bit overshadowed both by Arshad Warsi, but especially by an exceptional Saurabh Shukla. This tiny and obese character to the tunes taupe myopic, against all odds managed to dominate the debate, which is precisely what is expected of the judge he plays masterfully.

The construction of the film is fun, even if it is quite agreed. It also offers us enough unexpected twists to sustain interest until surprising denouement qu'émouvant. In parallel, we are entitled to hitting comic moments, like the gift offered to Sandhya Jolly. The sentimental part of this comedy masala is lower. Obviously, the authors did not want to develop it to better focus on the court about. But even if Sandhya is not present on the screen, it is far from a weak character and erased the contrary. Amrita Rao perfectly interprets this decisive and dominating a modern woman who seeks Jolly.

With few resources, Subhash Kapoor illustrates perfectly the current variety of Bombay cinema. His Jolly LLB is a fierce charge against the Indian judicial system. His description in illustrated daily by the press, may despair, but he chose to make us laugh. We end the film with the feeling of having had a great time. But with a little aftertaste of this Indian fatalism so difficult to grasp by a Western viewer.

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