“J.S.K – Janaki V v/s State of Kerala” Review: A Wasted Legal Drama With Outdated Flair

“J.S.K – Janaki V v/s State of Kerala” Review: A Wasted Legal Drama With Outdated Flair

Introduction:

“J.S.K – Janaki V v/s State of Kerala,” directed by Pravin Narayanan, is a courtroom drama that attempts to tackle a deeply sensitive issue—the trauma of a sexual assault survivor and her quest for justice. With a powerful cast led by Suresh Gopi and Anupama Parameswaran and a legal setup that could have been the foundation for a stirring narrative, the film sadly squanders its potential. Instead of presenting a nuanced take on justice, the film veers into dated courtroom heroism, preachy monologues, and shallow writing that ultimately undercuts its cause.

Plot:

The film centers around Janaki Vidhyadharan (Anupama Parameswaran), an IT professional from Bangalore who visits her hometown in Kerala to participate in a temple festival. Her life takes a tragic turn when she becomes the victim of a brutal rape. The case reaches the court, and renowned advocate David Abel Donovan (Suresh Gopi), known for fighting for justice, surprisingly decides to defend the accused. What follows is a courtroom face-off that tries to explore the grey areas of the legal system and how evidence is often prioritized over emotional truth.

Direction and Screenplay:

Pravin Narayanan’s direction falters due to a lack of sincerity and focus. The tone of the film oscillates inconsistently between being a pseudo-realistic courtroom drama and a mass-appeal Suresh Gopi show. The screenplay is cluttered with exaggerated dialogue and lacks emotional depth. There are moments where the story teases something impactful, only to settle for generic reveals and outdated tropes. Instead of creating a layered exploration of justice, the film prefers to deliver loud political commentary and spoon-fed sentiments. The use of Article 21 as a dramatic twist, though conceptually interesting, is wasted through a filmy execution. What could have sparked debate ends up feeling like sensationalism.

Performances:

Suresh Gopi brings his iconic firebrand energy to the role of Advocate David Abel Donovan. However, the writing doesn’t support him. His long-winded monologues and exaggerated delivery feel out of sync with the modern setting the film claims to be set in. His performance, while not bad, feels recycled and fatigued.

Anupama Parameswaran surprisingly stands out in this ensemble. As Janaki, she effectively portrays a woman burdened by trauma yet determined to fight for justice. She maintains emotional vulnerability without overacting, and her controlled expressions lend authenticity to the character’s struggles. Anupama’s performance is arguably the most grounded element in an otherwise loud and inconsistent narrative.

Shruthi Ramachandran as Adv. Niveditha Abel delivers one of the more balanced performances. She gets the courtroom tone right and manages to hold her own despite the chaos around her. Her composed delivery and screen presence are refreshing and give some respite from the otherwise clunky writing.

Madhav Suresh, unfortunately, is the weakest link. Even with minimal dialogue, his stiffness is evident, and his lack of emotional expression hampers the intensity of the scenes he’s part of. His performance feels amateurish and breaks the flow of crucial moments, making one wish his screen time had been reduced further.

The supporting cast, including Divya Pillai, Askar Ali, Baiju Santhosh, Abhishek Ravindran, Medha Pallavi, and Yadu Krishnan, do their parts with varying degrees of success. Askar Ali still struggles with dialogue delivery, while Baiju and Kottayam Ramesh are serviceable. Joy Mathew as the priest is largely forgettable. Shobi Thilakan and Jayan Cherthala are underutilized. None of them are given well-written parts to shine in, which makes their presence feel more functional than impactful.

Technical Side:

The cinematography by Renadive is decent and captures the courtroom and emotional beats well, though not extraordinarily. Editing by Samjith Mohammed could have been tighter, especially in the second half, which drags significantly. The music, scored by Ghibran, is one of the few positives. His background score adds some emotional weight to the film, and the songs by Gireesh Narayanan blend well with the narrative even if the situations don’t quite land.

Final Verdict:

J.S.K.—Janaki V v/s State of Kerala is a classic example of how poor writing and lazy filmmaking can ruin a premise with real potential. Despite having a solid core idea, the film never transcends its fixation on courtroom theatrics and dated storytelling. The dialogue feels out of place, and the politics feel forced. Suresh Gopi’s performance is weighed down by bad writing, while Anupama Parameswaran is the only one who truly impresses. With no thrill, no depth, and no modern sensitivity in handling the subject, JSK ends up as a forgettable misfire that neither entertains nor enlightens.