Criminal Justice: Examination behind closed doors | Exploring the Web with Bharathi S Pradhan


It is an overwhelming reality that in most cases of rape and sexual abuse, more than the perpetrator, it is the victim who feels an overwhelming sense of shame.

It is therefore entirely credible that Kirti Kulhari does not simply repeat the undue silent and stammering act of Indu Sarkar but undergoes a trauma unspeakably different from that of Anu Chandra in Behind closed doors.

Ultimately, while only Anu is on the dock for her husband’s murder, it’s three other marriages that also turn the spotlight inward as the case is unfolding.

Adapted and competently written by Apurva Asrani from the British series Criminal justice, Behind closed doors Rohan Sippy and Arjun Mukherjee take turns directing the episodes.

The odds are against Anu in what defense attorney Madhav Mishra (Pankaj Tripathi) sees as an open and closed case. But, to make Anu the vulnerable victim, there is a sea of ​​influential names on the opposite side. Well-connected mother-in-law Vijji Chandra (Deepti Naval). Leading legal mastermind Mandira Mathur (Mita Vashisht) so influential that she hires and fires prosecutors. Dipen Prabhu (Ashish Vidhyarti), haughty and offensive puja prosecutor, who is not above a dirty trick or two to organize a media trial which is taking place today alongside the trials inside the courtroom audience. Ishani (Shilpa Shukla), a hair dryer high society prisoner who runs the prison and can be used by Mandira and Prabhu.

Above all, the public prosecutor Bikram Chandra (Jisshu Sengupta), stabbed by his wife Anu, so famous and highly regarded that the legal community is closing ranks.

So when the underdog wins, it is all the more of a triumph, with domestic violence and the systematic chiseling of a woman’s self-esteem coming out of the bedroom and into the courtroom.

He receives a substantial boost with the irreplaceable presence of Pankaj Tripathi, the life of many web series, who arrives as Madhav Mishra with joy and more. Mishra’s marriage to Ratna in Patna gives a chuckle or two along with another layer of marital equations.

Nikhat Hussain (Anupriya Goenka) who slips into the defense team and his fierce contests with a doormat mother also throws the parents’ marriage under the microscope.

Gauri (Kalyani Mulay) and Harsh Pradhan (Ajeet Singh Palawat) make an interesting husband-wife team at the police station whose relationship changes as Anu’s case turns out not to be quite open and closed. The objectivity of senior cop Salian (Pankaj Saraswat) with an insider perspective on the vakil- and-Tuesday the equation gives more life to the case.

While it’s laudable to take a close look at the interconnections between the sexes, you stop to wonder why an educated woman like Anu who drives her own car has a husband busy for long hours outside the home. and has the bandwidth to have an affair with his therapist, had to be so sweet, weak and vulnerable. In contrast, the wife of the less privileged lawyer Ratna who follows Mishra to Mumbai to claim his rights.

There are rocky sequences in prison, like a mother separated from her child, which is moving. But there is the bigger picture that needs to be considered. Is prison the best place for a child? Especially when the mother raised the child treating the regular visits to prison like a picnic without remorse about a life of crime?

In places, it’s a practical series where couples don’t lock their bedroom doors. Gauri and Harsh make love within earshot of his mother, which is for comedic relief; Anu and Bikram have in-room conversations and privacy that can be seen and overheard by their school-going daughter, which relieves the defense in the courtroom.

There are other practical spaces. Like Mishra’s wife, Ratna, who was present in court just the day she can view the CCTV footage with her husband to explain what Anu threw in the trash after the murder.

The demand for justice for a gender sensitivity is growing, as it should. But there’s also a small voice that uneasily asks if gender sometimes tends to trump legalities. For example, from the mother-in-law, the policewoman and the defense lawyer to the lawyer’s wife and the magistrate, Anu’s abuse becomes so personal that the attorney general does not. relevant counterattacks. Questions the lawyer does not ask: Why did Anu put the knife in her husband only after finding out that she was pregnant with another man’s child and not sooner? So, did she kill him just because of the sexual abuse or because she was also afraid of being caught for adultery?

Apurva’s myriad of characters mixes bits of humor with a bit of legal jargon. But it is the gender relations that are paramount in this drama of murder and domestic violence.


Rosemary S. Bishop