My regular readers know this fact: I love courtroom dramas, even the average ones. I plunge into anything that involves courtroom and social issues mixed together, and that is exactly what “Patna Shuklla” was marketing itself to be. The film chronicles the journey of Tanvi Shuklla (Raveena Tandon), a small-time lawyer and homemaker who has a loving husband and child but is weighed down by the fact that she is more recognized for her culinary skills than her exploits in the courtroom as a lawyer. She does win a case or two but is never noticed. She wants her husband’s recognition and respect, but she gets it not for her professional skills but for her ability to make exceptional gastronomical delights. Things take an interesting turn for her when she meets Rinki Kumari, a girl who has just failed her BSc final year at Bihar University but believes that she couldn’t have scored less than 65%. As Tanvi delves into her case, she realizes that there is a much greater game at play. It is only a matter of time before the aftermath of her taking over the case reaches her home and threatens to destroy whatever she holds dear. Will Tanvi be able to stand her ground against the political forces? Will she be able to bring justice to Rinki? Will her husband support her? How much loss will she have to endure before winning it all? These are some of the questions that drive the narrative of the film.
Lack of Believability and Realism in Storytelling:
The story of the film would have been fascinating had it not been so pedestrian in the writing department. When it comes to courtroom dramas, one has to keep in mind how the case is debated in court and what evidence is provided in support of statements, both in favour and against the appellant, needs to be airtight to ensure realism, objectivity, and believability. This also ensures that the debates are engrossing and thrilling. While everything said against Rinki’s case in this matter makes complete sense, how Tanvi tries to defend her and the evidence she provides in her support feels off and insufficient throughout.
This will also include the final submission on the basis of which the court decides to launch a full inquiry into what is called out to be a possible scam in the university. I had a similar problem with the storytelling of “Pink” which was otherwise applauded and critically acclaimed. However, when you see the submissions made by Amitabh Bachchan’s character in support of the three girls who are charged with murder, they feel insufficient. When it comes to “Patna Shuklla”, the same feeling persists, and I felt as if Tanvi was appealing and begging for the sense of moral judgment and consideration of the judge more than providing information and proof that had the weight and justification for him to take the matter to the next level.
The most obvious oversight was that Rinki Kumari had herself paid a bribe to clear her lack of attendance, and this alone would be a reason enough to have the case dismissed in any court. With this fact, she doesn’t even have the right to sit for the exam, let alone demand a re-evaluation of marks. However, this issue is surprisingly forgotten in the film after it is the central point of discussion in one of the most heated arguments. Why didn’t the defence lawyer for the university raise this issue ever again? I don’t know. Why didn’t the lawyer even mention it in his closing argument? I don’t know. The film also follows the tried and tested tropes of the genre with the case hanging by a balance and then in the end tilting towards Patna Shuklla after she makes a huge personal sacrifice. This also felt very flimsy. On the contrary, it would have been better had the makers done a little more research on the matter. I am sure they would have found better plot points and a lot more material to work with had they taken inspiration from real-life cases that are similar to the case in question.
Raveena Tandon And the Ensemble Cast Turn in Stellar Performances:
Raveena Tandon unquestionably shines as Tanvi Shuklla. She is easily the highlight of the film. Her character is firm, but it never gets annoying or condescending. Tanvi has her weak moments, but she fights out of these moments like a boss. As I watched her pull a film single-handedly, I couldn’t help but rue the fact of how terribly she was misused in the 1990s. That was a time when she was reduced to being nothing more than the romantic interest of men who are not necessarily better at character acting than she is. Had she been given nuanced characters like these to play in those days, she might have done a far better job than some of her fellow actors. Having said that, those were different times. Raveena also looks ethereal in the film. One look at her and you can’t help but be mesmerised by her poise, charisma, and beauty.
Manav Vij does a great job as her husband. He’s not your stereotypical husband but is someone who understands her and is willing to go to any lengths to be the point of pride that his wife expects him to be. His mannerisms and his dealing with different issues that he comes across are what makes the character so adorable and enjoyable. Chandan Roy Sanyal and Jatin Goswami as the two antagonists of the film are efficient.
Appalling and Biased Messaging Against a Specific Community and Political Party:
I was appalled by the film’s animosity towards everything Brahmin and the ruling party of the nation. While none of it is spelt out openly, it is placed throughout the screenplay with such subtlety and efficiency that even the most informed and knowledgeable viewer will consume the film without paying much heed to its political and social messaging. Terms like “Labharthi” that is used by the ruling party to denote people who are benefiting from a certain development or economic upliftment scheme of the government are used to refer to people who have been wrongly granted degrees by the Bihar University, snatching away the rights of the deserving students who are either Muslims, women, or from a lower caste.
The oppressors are always Brahmins. The protagonist and the antagonist are Brahmins, but the protagonist herself had once robbed the rights of a Muslim man to be who she is now. The issue of calling Muslims fit only for repairing punctures is called out, and through a character, it is shown that it is only because the Brahmins are robbing their rights that they have been reduced to fixing punctures. If that were not the case, they would have been part of the elite of the society. This biased accusation of certain communities and the government for no rhyme or reason goes on and on in the film. Even the bulldozers are brought out to show how the government is using it as a means of striking fear in one and all and not just dreaded criminals. The antagonist is designed keeping in mind some of the new and upcoming leaders of the ruling party. All this is becoming too repetitive.
Final Words:
“Patna Shuklla” could have been a thought-provoking courtroom drama. Sadly, in its pursuit to address pertinent social and political themes, the film stumbles over its own ambitions. While Raveena Tandon’s portrayal of Tanvi Shuklla is undoubtedly a standout, the film’s execution of key plot elements often feels contrived and lacking in authenticity. The overly simplistic resolution of conflicts and the reliance on stereotypes detract from the overall impact of the narrative. Despite its well-placed intentions, “Patna Shuklla” ultimately falls short of delivering a truly nuanced and compelling cinematic experience. It serves as a reminder that even the most well-meaning films can falter when they prioritize biased messaging over storytelling finesse.
Rating: 2.5/5 (2.5 out of 5 Stars)
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