In a cinematic landscape often dominated by larger-than-life stars and formulaic plots, Jawan emerges as a refreshing departure from the norm. This Shahrukh Khan starrer showcases a pivotal scene where the charismatic lead addresses the audience, urging them to exercise their voting power responsibly. He emphasises the importance of questioning those in positions of authority about their actions and future plans for the common people.
What sets Jawan apart is its commitment to storytelling — the compelling screenplay by Atlee and S. Ramanagirivasan is engaging. The film has an evocative background score and some breath-taking action sequences. This isn't your run-of-the-mill masala movie for sure.
If you thought Khan's entry sequence in Pathaan, marking his return to the silver screen after a four-year gap, was top-notch, then prepare to be blown away by what director Atlee has achieved with Khan's new looks.
Atlee, the Tamil director who has been teasing Jawan since 2019, demonstrates his prowess in extracting the best from SRK in Jawan. The movie opens with a sequence that is nothing short of a visual spectacle. A soldier rises like a messiah, wielding a spear against a tumultuous sky. His face remains shrouded in mystery, concealed by gauze, but his eyes speak volumes. The intro has a mythic quality and an aura of darkness that instantly hooks the audience. Soon a flaming horse dashes across the screen — raising the quixotic quotient several notches higher.
Amidst the thrilling fight sequence, the cloth that veils the soldier gradually unravels, revealing Khan rising from the dust.
Cut to a regular metro train in Mumbai hurtling through the tunnels, seemingly like on any other day. However, this ordinary day takes an extraordinary turn when a group led by a bald, menacing Khan seizes control. This group, led by 'Chief' or Khan's character Rathod, has a team of fierce female fighters, each with their own untold stories.
At this juncture Jawan subtly highlights the issue of farmer suicides, setting the stage for the introduction of the film's antagonist, Kalee Gaikwad, portrayed by Vijay Sethupathi. The plot also brings in Force One officer Narmada, played by Nayanthara, whose role as the negotiator with Khan's character adds a layer of tension and intrigue.
As the narrative unfolds, Jawan seamlessly weaves a story of socio-political themes. Corruption, the grim state of government hospitals, military and defence dilemmas — all are interwoven into the storyline. Khan's compelling performance, complemented adeptly by Nayanthara, and Sethupathi's portrayal of a menacing yet quick-witted antagonist, reminiscent of iconic characters like Prakash Raj from Singham, gives the film its edge. The action sequences are complemented by Anirudh Ravichander's riveting background score.
The choreography of the action scenes by accomplished directors Spiro Razatos, Anl Arasu, Craig Macrae, Yannick Ben, Kecha Khampakdee, and Sunil Rodriguez takes breathless innovation to the next level.
There's is also touch of Hollywood inspiration that adds an extra quantum of fun. Khan's vigilante character exhibits shades of iconic figures like The Joker and Darkman, and even a touch of Dennis Hopper's character from Speed. Kaali's distribution of red and blue pills to corrupt the system is a clever twist. A Russian mob boss sporting a Bane mask adds yet another dimension. And then, there are the old Bollywood songs, perfectly attuned to the mood of the scenes.
However, Jawan is not without its flaws. The dialogues by Sumit Arora falls short in certain scenes, and the film occasionally tends to force emotions onto the audience. The movie, in its ambitious exploration of multiple socio-political themes, occasionally takes on a preachy tone. Rapid transitions between different storylines can disrupt the viewing experience, making it feel like a collection of short stories bundled together.
Overall while Pathaan rode on Shahrukh Khan's return and star power, Jawan offers viewers much more than just the glory of Khan with its sharp focus on the storyline.
