Khatter discussed how he was offered the role of Shoaib, a complex character facing prejudice. He received the script from Neeraj and was informed about the project by Karan Johar. He immediately recognized the subject’s importance and relevance. He found the script to be beautifully written and keenly observed. Khatter connected with the characters’ journey and friendship, considering it his most challenging role yet. Addressing the difficulty of portraying an underprivileged character, Khatter acknowledged his privilege. He highlighted how the film explores different forms of privilege and societal standards. He mentioned the film’s exploration of gender inequality within the same household. Khatter, along with the cast, studied the historical context and spent time in villages to understand the characters’ lives better. He credited Neeraj Ghaywan’s guidance for his performance, describing him as methodical and demanding. He found the on-location shooting to be beneficial, enhancing the film’s realism, though he found the highway locations particularly challenging. Khatter considers ‘Homebound’ to be the best work of his career, a film he believes is bigger than its creators, speaking to empathy in a world that seems increasingly disconnected. He explained that the character of Shoaib helped him understand how people deal with ‘othering’ and how Homebound helped him understand identity on a deeper level. He expressed his desire to expand his acting range and impact as a star, aiming to use his position to empower his beliefs.

However, along with the judge, played by Saurabh Shukla, there were other elements that added a layer of seriousness. The film showed Seema Biswas embracing her deceased husband’s statue, a definition of awareness about the weak versus the strong, a debate between farmers and industrialists, the judge’s lightheartedness in court, and some of Muktibodh’s famous lines, like ‘One must take all the risks of expression…’ or ‘What is your politics, partner?’ This made me eager to watch the political film wrapped in the sweetness of Subhash Kapoor’s comedy. I wanted to know the director’s politics and what the writer wanted to say.

In Hindi literature, Muktibodh is known for his depiction of life’s ups and downs. He is considered the most realistic and progressive poet of Hindi. He declared in the sixties, ‘The moon’s face is crooked.’ This was like holding a mirror to the moon, a slap in the face for those who created countless romantic tales in the shadow of the moon. Generations were fascinated by their vocabulary. But Muktibodh was the only poet who brought the moon down to rough ground. He wrote, ‘The crooked-faced moon’s trickery, the mysterious shadows of the moon… Oh, moonlight is also very mischievous…’

Muktiibodh wrote that ‘Now one must take all the risks of expression, break the monasteries and forts…’ Muktibodh’s writings were indeed a proclamation of light against darkness. And when we watch Jolly LLB 3, we realize that the fungi haven’t yet settled on that proclamation. At a time when definitions, standards, pride, land, and sky are changing their colors, and virtual new dawns are crowing – in this film court, Judge Saurabh Shukla talks about both ‘paper’ and ‘spirit’. He says, ‘Some things are about ‘spirit’, but in this country, most orders are given based on ‘paper’. This means that the understanding of ‘paper’ develops from ‘spirit’, and that’s what is shown in this film. True justice is possible only when there is ‘spirit’ with ‘paper’.

If this ‘spirit’ had been shown earlier, the farmer Raja Ram Solanki’s land in Parsaul village would not have been grabbed in the ‘Bikaner to Boston’ development project, nor would the farmer have lost his life. The farmer, who initially claims, ‘My land, my will,’ then gets trapped in debt, loses his land, and begs the Tehsildar, saying, ‘My son died for the country.’ But when darkness surrounds him, he pushes himself into that darkness, takes a dive into death. In this sequence of defeat and turmoil, some pictures and sounds also shake the heart.

The farmer flips through some pages. Lines are written on the screen. A collage of some documents and cutouts is created. In this collage, the image of poet Gajanan Madhav Muktibodh emerges on a cutout. The familiar style of holding a bidi and taking a puff. This picture has been a treasure of Hindi literature for years. It is said that his works had gained fame in his lifetime, but no collection was published during his lifetime. But as time passed, his popularity in the writing-reading world increased at the same pace. Evaluations and research were done. Now, in 2025, the same Muktibodh is seen on the screen of mainstream Hindi cinema, so the meaning against ‘monasteries’ and ‘forts’ can be understood. The entire credit goes to the director-writer Subhash Kapoor.

Now the lines that are heard in the background during the suicide of the helpless farmer, like a poem.

My roof kept leaking still
I prayed for rain
From my grandfather to my great-grandfather
From my father to my grandfather
And the inheritance I received from my father
I wanted to give the same to my son
Wanted to give a little land
And a handful of seeds so that
Everyone’s hunger could be quenched
That’s why I believed
In all their words
In the sentiments expressed in the speech
I kept watching, mesmerized
Their heads rising towards the sky
And they pulled the ground from under my feet
I was proud to be an Annadata (grain giver)
This was my crime that
I was a farmer.

‘Our land, our will’
Although during this time, it is nowhere written on the screen whose poem this is. But Muktibodh is present in the collage of the sequence. And he appears throughout the screen. The writer of the film or Muktibodh literature scholars can say whether these lines are of Muktibodh or not. But there is no doubt that during this time, the scene of the film became heart-wrenching for any person. The film begins with a disclaimer that its story is inspired by the incident of Bhatta Parsaul village of Uttar Pradesh in 2011. It has been changed to the backdrop of Rajasthan in the film. However, the name of the village has been kept as Parsaul.

The one-liner summary of the film is – ‘Our land, our will.’ Here, industrialist Haribhai Khetan (Gajraj Rao) does all sorts of tricks to vacate the village for the Bikaner to Boston project. The local administration, local MLA, and economists are also in his grip. And when the farmer Raja Ram Solanki took the ‘risks’ of his will and rights against their power, the ‘monasteries’ and ‘forts’ started shaking. Akshay Kumar and Arshad Warsi, who play two lawyers who are jolly, uneducated, unemployed, and quarrel with each other, also have a change of heart after knowing the pain of the farmer’s widow and they also unite to take ‘risks’ against injustice. On the other hand, the judge, who is troubled by both the Jollies and wants to make his desolate life a garden, takes the ‘risk’ of listening to the ‘spirit’ from the ‘paper’.

In ‘Jolly LLB 3,’ Akshay Kumar and Arshad Warsi reprise their roles as ‘Jolly,’ but this time, the case is different. The story tackles serious issues like farmer suicides and land grabbing by corporations. Director Subhash Kapoor masterfully blends comedy and emotion, ensuring both laughter and moments of teary-eyed reflection. The central question remains: which Jolly will prevail in court? Read on to find out.

The story transports us to the small village of Parsaul in Rajasthan’s Bikaner district in 2011, where businessman Haribhai Khetan (Gajraj Rao) aims to launch his ‘Bikaner to Boston’ project. The twist arrives when he needs the villagers’ land. Some farmers resist, leading to a fierce battle.

Haribhai Khetan manipulates local leaders and officials to deceive farmers and illegally acquire their land. A farmer’s suicide triggers the entry of the farmer’s widow, who decides to fight the businessman for justice. To discover which Jolly fights for her and which opposes her, one must watch ‘Jolly LLB 3’ in theaters.

This film is a reflection of our nation’s realities, often overlooked amidst urban life. While we may discuss development in air-conditioned environments, industries are buying farmers’ land at low prices. Many villages are ruined by the influence of powerful figures. ‘Jolly LLB 3’ presents this harsh truth, offering a strong message through entertainment. It’s among the films that deliver both entertainment and a significant message.

The film features dialogues that resonate deeply. Subhash Kapoor, the mastermind behind the ‘Jolly LLB’ franchise, excels again with his writing and direction. He has a knack for addressing serious social issues effectively without boring the audience. He gives every character due importance. The film isn’t just about Akshay Kumar; it also gives Arshad Warsi and other actors a chance to shine. Every scene, whether in the courtroom or emotionally charged, is outstanding.

Subhash Kapoor has proven himself a brilliant director since 2007. His films are known for adapting his original stories. He has also written and directed powerful stories like the web series ‘Maharani,’ but nothing can match the popularity of ‘Jolly LLB.’ The third installment continues this legacy, proving that few possess the skill to touch hearts through their stories.

The film’s strength lies in its powerful cast. Akshay Kumar brings his usual charm, filling the courtroom with laughter while reminding us of the seriousness of the case. Arshad Warsi is as natural as ever, with his satirical remarks and one-liners making him a joy to watch and hear. The chemistry between Akshay and Arshad creates a unique magic on screen.

Seema Biswas, though with few dialogues, conveys much through her silence. Her eyes reflect the pain, courage, and strength of the widowed farmer. The climax features a scene with her that is deeply moving. Gajraj Rao’s negative role is a big surprise.

Gazraj Rao, known for his calm roles, breathes life into the villainous character. Ram Kapoor is perfectly cast as the lawyer. Huma Qureshi and Amrita Rao, despite their limited screen time, perform their roles with complete honesty.

Saurabh Shukla steals the show alongside Akshay and Arshad. His character, Justice Tripathi, is the heart of the franchise. His wit and perfect timing make every scene memorable. Every small dialogue also makes you laugh.

We often complain about the state of Bollywood, the lack of good films, and the absence of original stories. However, when films like ‘Lapatta Ladies’ or ‘Sitare Zameen Par’ come along, we don’t give them the love they deserve. ‘Jolly LLB 3’ is an original and remarkable film. While more courtroom drama or increased screen time for female characters could have enhanced the experience, these minor shortcomings can be overlooked because this kind of cinema is crucial, or else, as an audience, we fail ourselves.

We must reflect on our tendency to give millions of views to ‘get ready with me’ video reels while overlooking videos about farmers. It is our duty to watch a film that confronts us with this harsh truth. While one brother once went to the city and the other stayed in the village for farming, today, the youth are all heading to the city, and the villages are emptying. These empty villages are then exploited in the name of ‘development.’ If a farmer like Rajaram Solanki protests, he is found dead the next day.

The film is inspired by a true event. We are responsible for this situation – we buy onions for 28 rupees a kilo in malls, but when it comes to buying from farmers, we demand them for 5-7 rupees a kilo. ‘Jai Jawan-Jai Kisan’ has been reduced to a textbook phrase. If this continues, the next generation will need classes to understand that food doesn’t come from online apps, but from the fields. The story of ‘Jolly LLB’ is inspired by a true event in Uttar Pradesh, and the team has done the important work of bringing this story to us.

Ultimately, this film conveys that the will of a common man holds value. Therefore, watching this kind of cinema should be our duty, or we will lose as viewers.

Film Name: Jolly LLB 3
Cast: Akshay Kumar, Arshad Warsi, Saurabh Shukla
Director: Subhash Kapoor
Release: Theaters
Rating: 4 stars

We cannot dismiss Santoshi’s film as overly crude or preachy. The reality for many women in numerous parts of the country is far more harsh and horrifying than what is shown in the film. The way Santoshi weaves humor into the story of barbaric oppression is praiseworthy.

Many critics have failed to recognize the subtle blend of humor and pain in the Mahima Choudhary storyline, dismissing the anti-dowry message as exaggerated. In fact, Santoshi transforms the dowry aspect into high satire. Anil Kapoor’s jokes about moustaches are not meant to be taken literally. However, the humiliation of the girl’s father is treated with utmost seriousness.