When a film starring Shah Rukh Khan is released, it is nothing less than a celebration. I can say this with absolute certainty since it is not every day that a theatre is packed for a showing at six in the morning. After getting the year off to a roaring start with the box office smash Pathaan, SRK’s latest film, Jawan, takes things to the next level by being even more openly emotional and packed with high-octane action. Khan is presented in an all-new guise by writer and director Atlee, who portrays him as gruff, rugged, and gritty while retaining his immaculate humour.
SRK steals the show from beginning to end in Jawan, and viewers get twice the enjoyment out of seeing him play two different characters. From his valiant entrance scene to the fighting to the dancing numbers, there is nothing that he cannot accomplish, and he manages to convince you that he is capable of doing it all. To think that SRK is 57 years old and will turn 58 in November is mind-boggling when you watch him perform. It would appear that Pathaan was nothing more than a teaser, given the amount of action that he has done in Jawan. As Atlee makes his debut as a director in Hindi, he takes care not to let the audience down by combining various aspects of mainstream cinema in order to create a film that will appeal to a large number of people.
Jawan does not follow any predetermined models or clichés and instead combines a variety of elements that, when taken together, produce a viewing experience that is both interesting and enjoyable. If you’re looking for a commercial, masala potboiler film that’s packed with action, drama, song, and romance, look no farther than Jawan. I won’t even say that you shouldn’t use your minds, but I strongly encourage you do because it brings up some very crucial points. The film, which is close to three hours long, provides an engrossing story about rampant corruption at all levels in the system, which affects the everyday person in the harshest possible manner. Thankfully, it never crosses over into the territory of being preachy, but it does spend some time in the realm of societal criticism, particularly with a monologue from SRK near the close of the film.
The story of Jawan is told in a non-linear fashion, beginning in the current day and moving forward in time by thirty years before employing flashbacks to explain the why and how. I won’t discuss the most important parts of the plot because doing so might reveal important details. But it is safe to say that Jawan is not solely a drama about vengeance; rather, each sequence is a little story on its own and includes an involved flashback that explains why the characters are acting as they do now. I felt as though the tale lacked coherence as a result of this, which is another issue that seems to be problematic. Jawan doesn’t allow you to focus on one story for an excessively lengthy period of time before moving on to the next, which disrupts the flow of the narrative.
The top-notch and precisely coordinated action that provides an authentic cinematic experience is something that is present throughout the entirety of Jawan. When you witness so much south ka tadka, notably slow-motion cinematography, gravity-defying action with guys flying, and the hero with his demigod status, all the excitement about Bollywood meeting South makes sense. A full-on actioner, it tackles the sensitive issue of farmers killing themselves because they are unable to repay even the smallest of bank loans. Because of what our nation went through over the previous year, during which time we had widespread farmer unrest, the topic immediately hits close to home and compels you to give it some serious thought. There is this one scene that shows a farmer hanging himself from a tree, and the sight of it sends chills down your spine and leaves you feeling brokenhearted.
At another point, Jawan discusses the rampant corruption in the nation’s healthcare system as well as the deplorable facilities of public hospitals. In a very short amount of time, the mood of the movie shifts from being an intense action piece to a comedic one. There are currently two separate narratives going on at the same time. In one of them, Narmada (played by Nayanthara), the chief of Force Once, is searching for Vikram Rathore (played by SRK), who carried out a flawless hijacking while putting the lives of 376 people in danger. In the second story, Narmada and Azad Rathore, who are both played by SRK, develop feelings for one another. In the meantime, the villain, Kalee, a weapons dealer played by Vijay Sethupathi, has a history with Vikram Rathore, and Azad gradually becomes a part of their plot.
It is wonderful to see that each of SRK’s army of females gets enough screen time to shine and forms a vital part of the story and screenplay of Jawan. The girls are the backbone of the picture, and it is heartwarming to see that they each get enough screen time to shine. While Kalki (Lehar Khan), who plays the role of a farmer’s daughter, seeks vengeance for the death of her father, Doctor Eram (Sanya Malhotra) is incarcerated as a result of being falsely implicated in the murder of 57 innocent children. Lakshmi (Priyamani), who plays the role of the girl-next-door, and Helena (Sanjeeta Bhattacharya), who is an ethical hacker, both have compelling character journeys. These females, led by their commander, all exhibit tenacity, determination, and conviction in addition to other admirable traits.
SRK changes his appearance for each of his planned stunts, and much to the joy of his devoted followers, he pulls off every one of them perfectly. Particularly the metro hijacking scenario in which Khan donned a bald appearance, which generated sufficient talk when the teaser was released, reveals Khan in a way that he has never been seen before. As a young Azad, he charmed with his image of a lover-boy, and now as Vikram, with grey hair and a cigarette in his lips, he carries himself with an unparalleled swagger.
Vijay Sethupathi gives his own charisma and gravity to the role, which allows him to compete with SRK’s celebrity. His sections are threatening and packed with strength. Both in his younger and older incarnations, Sethupathi maintains the ability to strike terror into his opponents simply by being in the room. His confrontation sequence with Vikram, which takes place just before the finale, is superbly scripted and shot with a touch of humour. When Nayanthara appears on television, a slo-mo shot is played as a welcome gesture because of the breath of fresh air she offers. Her connection with Khan, on the other hand, isn’t really exciting and lacks any kind of sparks altogether. On the other side, Deepika Padukone as Aishwarya Rathore, Vikram Rathore’s wife, in a special appearance, is just delightful to watch. There is even a dance performance in which the two appear, which brings back memories of the original Chennai Express. It would have been nice to see more of Sunil Grover as Officer Irani because he is such a revelation in this role. You wish there was more for him to do.
The screenplay for Jawan, which was written by Atlee and S. Ramanagirivasan, is interesting and exciting, but the lines that were written by Sumit Arora are forgettable and ordinary, especially considering the scope of the film. Nothing else about the movie truly sticks with you for very long, with the exception of one line in which SRK says, “Bete ko haath lagane se pehle baap se baat kar.”
Nevertheless, Jawan is an honest watch that won’t let you have a single minute of boredom while you’re watching it. Maintain your attention on what’s going on the screen at all times, as there is a lot to process and you don’t want to miss any of the action or be confused about why it’s happening in the first place. Be on the lookout for a conclusion that features a truly unforgettable moment.
