‘Pink’, ‘Neru’ and ‘JSK’: Three courtroom dramas, three ways of portraying justice

Rape and crimes that violate a woman’s dignity are among the gravest human rights violations. Yet the path to justice often gets tangled once these cases reach the courtroom. Procedures, loopholes and long held biases can blur the truth, sometimes even letting the guilty walk free.
Cinema has reflected this uncomfortable reality time and again. In recent years, three films have explored it in strikingly different ways: ‘Pink’, ‘Neru’ and ‘Janaki V v/s State of Kerala’.

Three stories, three battles
In ‘Pink’, starring Amitabh Bachchan and Taapsee Pannu, we follow three independent young women: Minal, Falak and Andrea, whose lives spiral after a night out. Harassed by a group of powerful men, Minal defends herself and injures one of them. The men then use their connections to flip the narrative and drag the women into a courtroom fight.

‘Neru’ tells the story of Sara, a visually impaired woman played by Anaswara Rajan, who takes her case of sexual harassment to court. Her fight is championed by Vijayamohan, a once renowned lawyer played by Mohanlal, who returns to the profession after years away.

In ‘Janaki V v/s State of Kerala’, Anupama Parameswaran plays Janaki, a young woman brutally raped by an unknown attacker. With her father gone, she is left to fight alone. Suresh Gopi’s David Abel steps in as her lawyer, and the film charts her uphill battle in a system that seems all too willing to look away.

Different approaches to the same core
All three films place women at the centre, showing how they push back against a system that often questions them more than it questions their attackers. But each one takes a different approach.
‘Janaki V v/s State of Kerala’ aims to expose institutional flaws and official apathy. But the narrative often shifts focus to Suresh Gopi’s star persona, giving him heroic moments and action beats that overshadow Janaki’s own struggle.

‘Pink’ stays sharply focused on consent. Its unforgettable courtroom moment, “My lord, she said no. No means no”, sparked conversations across the country and made its point without detours.

‘Neru’ leans into survivorhood and vulnerability. Vijayamohan’s arguments are heavy with legalese, mirroring real courtrooms, while Sara’s moments, like sculpting a stranger to prove her point, blend melodrama with raw emotion. When Vijayamohan calmly asks, “In what way exactly should a rape victim behave?” it lands with a quiet force.

Tone and realism
Tone is another striking difference. ‘Pink’ feels stripped down and authentic, like you’re watching a real trial unfold. ‘Neru’ heightens emotions, with courtroom scenes that feel cinematic and stirring. ‘Janaki V v/s State of Kerala’ goes for mass appeal, with star driven flourishes and heightened dialogue.

The male lawyer’s role
The male lawyer’s presence shapes each story in its own way. In ‘Pink’, Amitabh Bachchan’s Deepak Sehgal never overshadows the women. He observes, listens and builds his case, letting Minal and her friends stay in focus.
In ‘Neru’ and ‘Janaki V v/s State of Kerala’, the lawyers take up more space. Mohanlal’s Vijayamohan, though prominent, is empathetic and not written as a hero. Suresh Gopi’s David Abel, on the other hand, dominates with grandstanding moments that often push Janaki’s voice into the background.

Survivor’s agency
Another key difference is in how the films frame the survivor’s agency. In ‘Pink’, the women take control, speak up and challenge the system head on. Deepak Sehgal stands by them, but their testimony drives the story.

In ‘Neru’, Sara is brave enough to step into court despite her vulnerability, but her fight is increasingly filtered through Vijayamohan’s perspective. 

In 'Janaki V v/s State of Kerala', Janaki is introduced as a determined survivor, driving the narrative with her resilience. But as the film moves into its second half, her journey feels increasingly sidelined. You find yourself wondering where Janaki’s struggle has gone. A character who was never part of the story until then is suddenly introduced as the accused, and the blame is shifted to the system. While that angle may hold some truth, it feels far too convenient and takes the spotlight away from Janaki’s own fight.

Together, these films show how courtroom dramas can shed light on gender, power and justice. ‘Pink’ stands out for its sharp focus and refusal to dilute its message. ‘Neru’ is more layered and emotional, while ‘Janaki V v/s State of Kerala’ blends its message with commercial storytelling. Each has its strengths, but the ones that linger are those that keep the survivor’s voice at the heart of the fight, because in stories about justice, the most powerful moments come from those who demand it for themselves.