By:
Satyajit
Bhatkal,
IndiaFM
Monday,
July
23,
2007
Whatever
happened
to
the
adaalat
and
the
fire-breathing
vakil?
Filmmaker
and
lawyer
Satyajit
Bhatkal
walks
through
the
corridors
of
the
old
Hindi
courtroom
dramas
Think
of
a
battlefield
where
there
can
only
be
conflict
-
Sangharsh!
Where
only
one
side
may
win,
one
side
must
lose
-
Koi
Jeetaa
Koi
Haaraa!
Where
defeat
can
result
in
death
and
victory
in
life
-
zindagi
ya
maut!
Where
the
contestant
may
be
rich
or
poor
-
Ameer-Gareeb!
Where
the
war
may
be
over
riches
or
honour,
over
a
marriage
or
a
child
over
the
right
to
survive
or
condemnation
to
death.
No
prizes
for
guessing
we're
talking
about
an
adaalat,
a
courtroom!
Can
there
be
a
richer
setting
for
films?
For
decades
Hindi
films
have
reveled
in
the
possibilities
offered
by
courtrooms
and
the
law
and
clearly
they
believed
that
courtrooms
would
bring
the
crowds
in.
Just
look
at
these
film
titles.
Adalat
first
used
in
1948,
then
again
in
1958
and
finally
in
the
Bachchan
starrer
in
1976.
Then
its
variants
Aap
ki
Adalat,
Janata
ki
Adalat,
Meri
Adalat
and
Aakhri
Adalat.
Then
you
have
three
Kanoons,
including
of
course
BR
Chopra's
Rajendra
Kumar,
Ashok
Kumar
starrer
made
in
1960.
The
variants
come
in
every
form
-
from
the
1983
Rajnikanth-Bachchan
starrer
Andhaa
Kanoon
to
Aaj
Ka
Andhaa
Kanoon,
Dharam
Aur
Kanoon,
Doosra
Kanoon,
Farz
Aur
Kanoon,
Gunah
Aur
Kanoon,
Kahan
Hai
Kanoon,
Kanoon
Apna
Apna,
Kanoon
Aur
Mujrim,
Kanoon
Ka
Karz,
Kanoon
Ki
Hathkadee,
Kanoon
Ki
Zanjeer,
Kanoon
Kya
Karega,
Kanoon
Meri
Muththi
Mein,
Kayda
Kanoon,
Kudrat
Ka
Kanoon,
Naya
Kanoon
...
the
list
runs
on.
Apart
from
this,
a
courtroom
scene
was
mandatory
in
every
other
Hindi
film
until
the
late
eighties.
While
some
courtroom-based
scenes
have
been
memorable
-
Damini
being
a
prominent
example
-
for
the
most
part,
our
films
have
done
little
justice
to
its
dramatic
possibilities.Cavalier
disregard
has
been
shown
to
authenticity
in
every
possible
way.
The
worst
abuse
has
been
in
art
direction
-
practically
every
courtroom
has
been
shot
with
the
statue
of
the
goddess
of
justice
blindfolded
and
holding
scales
-
typically
perched
on
the
judge's
desk!
I
have
practiced
law
for
ten
long
years
in
courtrooms
all
over
the
great
state
of
Maharashtra
and
also
in
several
parts
of
India
and
have
yet
to
encounter
the
said
goddess!
The
other
abuses
-
the
compulsory
photographs
of
Gandhiji
and
the
Satyameva
Jayate
emblazoned
behind
the
judge
are
part
of
the
fantastic
presentation
of
courtrooms.
This
art
direction
is
wholly
consistent
with
the
fantastic
conduct
of
leading
characters
in
the
courtroom.
This
is
the
prime
location
for
the
hero
to
hurl
dialogues
and
for
the
heroine
to
shed
copious
tears.
Which
self-respecting
hero
(kaunse
mai
kaa
laal!)
of
the
seventies
and
eighties
has
not
hectored
the
judge!
Which
heroine
who
swears
on
her
glycerine
has
not
on
being
screeched
at
by
an
examining
lawyer
(kyaa
scene
hai!)
and
broken
down
in
court
("Nahi
judgesaab!
Nahi!")
This
treatment
was
consistent
with
the
maar-dhaad-emotion-comedy
mix
that
characterized
many
successful
films
of
the
seventies
and
eighties.
The
films
were
loud,
fantastic
and
escapist
-
so
was
their
courtroom.
Obviously,
there
were
several
honourable
exceptions,
including
some
of
the
films
listed
above.
My
personal
favourite
by
far
is
Saeed
Mirza's
classic
Mohan
Joshi
Haazir
Ho,
a
brilliant
political
satire
on
the
functioning
of
the
judicial
system.
Yet,
few
of
our
films
have
genuinely
exploited
the
potential
a
courtroom
offers...if
one
were
to
simply
observe
what
goes
on.
For
all
the
delays
of
the
judicial
system
which
we
rightfully
complain
of,
the
fact
remains
that
tens
of
thousands
of
cases
do
get
heard
and
decided
each
year.
Various
legal
journals
which
reproduce
judgments
are
full
of
thousands
of
decided
cases.
Hundreds
of
lawyers
around
the
country
day
after
day
debate
and
argue
the
great
issues
of
the
day
with
elegance,
precision
and
wit.
Just
enter
any
courtroom
and
with
a
little
patience,
you
will
observe
the
unfolding
of
human
drama
in
all
its
glory.
These
stories
drawn
and
inspired
from
human
life
can
make
for
great
cinema.
Hollywood
has
an
entire
genre
of
courtroom
drama
-
the
classic
Twelve
Angry
Men
and
the
Paul
Newman
starrer
The
Verdict
being
my
personal
favourites.
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