Narayan is first seen teaching children Indian geography in a crowded Mumbai classroom, then hurrying to board a bus that takes him to an outdoor theater where he is introduced to a small crowd as “the people’s poet.” Backed by a troupe of musicians, he sings a forceful song urging everyone to rise up against “religious, racist, casteist and nationalist jungles.” Midway through, Narayan is arrested.
The remainder of the movie observes his protracted trial. A travesty of justice that another filmmaker might have directed as a farce, the work has a gravity, a measured pace and a detachment reminiscent of a Frederick Wiseman documentary — “Court,” however, is fictional. Continue reading