‘Neru’ Review: Rape Survivor Has No Reason To Feel Shame. Mohanlal Film Nails The Message

Mohanlal's 'Neru' is a poignant courtroom drama. The narrative transcends the archetypal tragedy to articulate a profound message: the aftermath of rape does not signify an irrevocable loss of self.

Neru Movie Review: A young girl is lying motionless on her bed, face down. Her mother is sitting next to her, looking distraught but in control. We soon know the girl cannot see, and has been sexually assaulted by an intruder she doesn’t know, and can’t identify. We then see her face — crying but not wailing, broken but not shattered, down but not out.

Actor Mohanlal and director Jeethu Joseph’s Malayalam courtroom drama, Neru, sets the tone right from the very first scene — that rape is not the end of the world, and that the survivor has no reason to feel any shame, guilt or humiliation. The narrative transcends the archetypal tragedy to articulate a profound message that the aftermath of rape does not signify an irrevocable loss of self. 

At its core, 'Neru' is an exploration of the rape survivor's journey. The victim girl, a skilled sculptor who lost her vision at the age of 12 due to a medical condition, has all the sympathies, but there is no evidence — other than the face of the aggressor she sculpts overnight less than 24 hours after being violated by him. Overpowered and helpless, Sara, played by Anaswara Rajan, had only one way to know who the person was, by feeling his face using her fingers and palms. And she does that even at the time of great adversity, and later turns her gravest pain into art — the act that becomes a central theme of the film, underscoring Sara's resilience and indomitable spirit. 

This strength of character is what the film celebrates, and doesn’t lose the tone at any point during its 152 minutes run time.

Redefining Survivorship In Cinema

‘Neru’ is not a whodunnit. The perpetrator is revealed within the first 10 minutes. Michael (Sankar Induchoodan) is a spoilt brat, engaged to a minister’s daughter, and has been accused of a similar charge before. His industrialist family engages a top notch defence lawyer, Rajasekhararan (Siddique), to fight his case. The trial begins, and Michael gets bail during the very first hearing, thanks to the public prosecutor who does nothing to secure a longer custody. 

That necessitates the entry of Advocate Vijaymohan (Mohanlal), an out-of-practice lawyer with a past intertwined with Rajasekhararan and his lawyer daughter Poornima (Priyamani). The courtroom drama begins from here, and ends only with Michael’s conviction, but not before a nail-biting sequence of Sara proving herself, not succumbing to any pressure after all the character assassination and humiliation she is subjected to. 

Neru excels in its script, which is the hero of the film, establishing the profound truth that physical impairment does not diminish one's humanity or acumen. The film has this one core idea — a blind girl’s grit to convince everyone that it’s only her eyes that don’t function; she is no less human and her other senses can make up for what she lacks.

Director Jeethu Joseph, known for his meticulous attention to detail as seen in 'Drishyam' in the past, maintains this precision in Neru. The film appears to drag at some places but balances the prolonged courtroom sequences with moments that have the multiplex audience clapping. There are no long monologues by the seasoned actors, and no preachings. And the film lets Mohanlal's Vijaymohan remain a human, with no larger-than-life portrayal. 

The superstar plays his part like he is known to — thoroughly convincing as a not-so-confident lawyer who takes up a big case and gradually gets back his rhythm. Siddique plays a competent adversary, and Priyamani is effective as a smart and confident advocate stepping into her father’s shoes when she has to. Anaswara Rajan, amid these seasoned actors, holds her own with a portrayal of Sara that is both vulnerable and valiant.

Perhaps the most impactful aspect of Neru is its treatment of the rape survivor. Sara is not depicted as a stereotypical victim consumed by despair, but as a resilient individual undeterred by societal stigma or legal setbacks. The film conveys a powerful message: rape is not an end but a painful chapter that does not define the entirety of the survivor's existence. This portrayal challenges the audience to reconsider their perceptions and leaves them with a sense of hope, a belief in the enduring strength of the human spirit displayed by Sara who at the end of the film chooses to no longer keep her face covered, and walks out of the court with her head held high. 

The trial court ruling in the film is not the end of the case. Neru makes it amply clear that there are higher courts, and they may not give a favourable verdict. But the audience goes back home convinced that Sara won’t stop living even if she loses the legal battles thereon. And that’s where Neru wins.