Jolly good show!

Nonika Singh

Sorry to digress a bit but if trailers of Jolly LLB promised a rib-tickling affair and the film proved to be a serious one, the reverse is true of its sequel. Indeed from the maker of the prequel you once again expect a serious indictment of the system. But Subhash Kapoor has consciously decided to go over the top this time. And the song, Go Pagal, thoroughly unwanted though, is indeed a tip off on how things will shape up. Actually the basic prototype is the same. 

An underdog lawyer, a munshi’s son this time, who has no hesitation to make students cheat, swindle clients, his sudden change of heart and he being pitted against a seasoned lawyer in the court are on the same lines. No prizes for guessing the district judge is once again Saurabh Shukla. Indeed, replacing him would have been a folly. Only if Shukla was absolutely measured not a notch more or less in the prequel, here he plays to the gallery and with aplomb at that.

His dialogues not only have filmy touch but also refer to films and he pays a massive tribute to Alia Bhatt. But before you dismiss him for daring to carry out this jig inside the premises of the court, hold your horses. For, there is a reason why is he behaving like this. 

Of course, in a Hindi film even if helmed by journalist-tuned-director Subhash Kapoor, you can only expect reasonable judicial correctness. The legal fraternity, some members of which hauled the film to an actual court, can continue to pick holes which the will find plenty. Only they need to remember it’s a film in which 

liberties have to be taken. Besides, when you rope in a superstar Akshay Kumar commercial constraints are bound to take over. To be fair, Akshay is no superman here rather a fumbling lawyer with little scruples who not only finds a conscience but also learns the ropes. Never mind that it’s difficult to digest the fact that he doesn’t understand the basic legal niceties like standing up in the court before arguing his case. Indeed many such moments intended to generate humour are kind of forced, so are 

the cheesy liners—‘don’t act like Sunny Deol’. Still just as Sunny worked in his famous courtroom drama, some one-liners work. Some go off tangent and in a few like the out of court scene where Akshay is trying to pick up not so lightweight Huma and then gives up, it’s impossible not to smile. Huma, who 

demands Gucci dresses, drinks and applauds for her hubby, who serves her hot chappatis, despite a brief role makes her presence felt and breaks a stereotype or two in the process. Akshay, too, is effective, more-so in his discourse on how everything is not fair in love and war. 

Overall the film doesn’t have anything new to offer except that Kapoor once again manages to bare an important issue (fake encounters) without making it sound like a sermon. And that is the biggest triumph of the film that will give you many moments to chuckle as well. Even though many parts may seem like more of the same, the final discourse both by Shukla who stresses on the significance of judiciary and Akshay’s, redeem the film and raise the bar by several notches. More importantly here’s a film that humanizes both courts and the people associated with it with their foibles and quirks. And on that count it deserves a watch and not summons.

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