In this Atlee-directed film with Nayanthara as his co-star, Shah Rukh Khan is clearly bulky.
Because it's uncommon to see a theatre packed for a 6 a.m. show, I can declare with absolute certainty that the release of a Shah Rukh Khan movie is nothing short of a festival. After kicking off the year with the smash hit Pathaan, SRK's Jawan takes things to the next level by being even more unabashedly emotional and packed with high-octane action. Khan is portrayed by author-director Atlee in a brand-new persona that is tough, gritty, and full of personality while still retaining his razor-sharp wit.
It's a double joy to watch SRK in a dual role because Jawan is an SRK show from beginning to end. He is capable of anything, and he makes you believe it too, from his heroic entrance sequence to the battles and dance routines. SRK knocks you off your feet at the age of 57 and 58 in November. It appears like Pathaan was only a teaser given the amount of action he has performed in Jawan. In his first Hindi film as a filmmaker, Atlee takes care to avoid underwhelming his audience by incorporating all the conventions of mainstream entertainment.
Without adhering to any predetermined templates or cliches, Jawan combines all the elements that make for an interesting and enjoyable viewing. Jawan is a masala action-drama film with plenty of romance, song, and commercial appeal. Please utilise brains because it brings up some crucial points; I won't even say don't. The nearly three-hour long movie portrays an engrossing story of widespread corruption at many levels in the system that brutally impacts the average person. Even though it briefly enters a social commentary mode, thankfully it never becomes preachy. This is especially true when SRK delivers a monologue near the conclusion.
Flashbacks are used to explain the why and how in Jawan's non-linear narrative after it begins in the present and jumps 30 years in the future. Because doing so could give away major story points, I won't discuss them here. But it's safe to state that Jawan isn't solely a revenge drama because each scene in the film is actually a mini-story with a detailed flashback that explains the current events. I didn't see the consistency in the tale, so that somehow also seems to be a problem. The flow is broken when Jawan forces you to move on to the next story too quickly after finishing the previous one.
The action in Jawan is consistently top-notch and expertly orchestrated, providing a really cinematic experience. When you witness so much south ka tadka, especially in slow-motion views, men soaring through the air, and a hero with a demigod status, it makes sense why there is so much anticipation about Bollywood meets the South. A full-on actioner, it tackles the hot-button issue of farmer suicides due to unpaid bank loans of all sizes. The topic immediately hits a nerve and gets you thinking, especially in light of what the nation has been through in the previous year with regard to widespread farmer demonstrations. There's this one scene when a farmer hangs himself from a tree, and it's a heartbreaking, spine-chilling scene.
The subject of healthcare system corruption and the deplorable state of public hospitals is brought up again by Jawan. In no time at all, the picture shifts from being an actioner to a lighter story. Parallel storylines are being told at the same time. In one, Vikram Rathore (SRK), the mastermind behind a flawless hijack that endangered 376 passengers, is being sought out by Narmada (Nayanthara), the leader of Force One. In the second tale, Azad Rathore (another SRK character) and Narmada are seen falling in love. In the meantime, Vikram Rathore and Kalee, the villain and a weapons dealer played by Vijay Sethupathi, have a past, and Azad eventually enters that narrative.
The foundation of Jawan is SRK's army of women, and it's encouraging to see that each one of them receives sufficient screen time to shine and contribute significantly to the plot and script. While Kalki (Lehar Khan), a farmer's daughter, seeks revenge for the death of her father, Doctor Eram (Sanya Malhotra) was falsely accused of killing 57 innocent children and is sent to prison. Both Lakshmi (Priyamani), the girl next door, and Helena (Sanjeeta Bhattacharya), the ethical hacker, have captivating character arcs. All of these females, including their leader, exhibit tenacity, conviction, and determination.
To the delight of his followers, SRK dons a different appearance for each stunt he prepares, and he pulls them off flawlessly every time. Khan is displayed unlike ever before, particularly in that metro hijack scenario where he donned a bald appearance that generated considerable talk once the teaser dropped. He attracted women with his lover-boy persona when he was a younger Azad, and now that he is an older Vikram with grey hair and a cigarette in his mouth, he exudes an unrivalled swag.
Vijay Sethupathi matches SRK's fame while adding his own charm and gravity. His attacks are strong and scary. Sethupathi retains the fear he inspires with his presence in both his youthful and elderly avatars. His confrontation scene with Vikram before the finale is masterfully written and humorously filmed. Each time Nayanthara enters the scene, she is welcomed with a slow-motion shot. Unfortunately, her connection with Khan is really flat and fails to inspire any passion.
On the other side, Deepika Padukone is delightful to watch in her special appearance as Vikram Rathore's wife Aishwarya. There is also a dance number with the two, bringing back vivid memories of the Chennai Express. Sunil Grover is a revelation in the role of officer Irani, and you wish he had more screen time and activities to engage in.
Atlee and S. Ramanagirivasan's screenplay for Jawan is compelling and intriguing, but Sumit Arora's dialogue is forgettable and only adequate given the grandeur of the film. The one sentence that truly sticks with you is when SRK says, "Bete ko haath lagane se pehle baap se baat kar," but other than that, not much else does.
However, Jawan is a good-looking watch that won't bore you. You have a lot to take in, so keep your eyes and mind fixed on the screen if you don't want to miss any of the action or fail to understand why it is occurring. A one-paisa-vasool-moment climax should be avoided.
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