In a dynamic similarity to the tried-and-tested, Jawan is an action thriller, marking the debut of the acclaimed Tamil Cinema director, Atlee Kumar. The story takes the audience on a rollercoaster ride through the dual personas of Shah Rukh Khan, who teams up with himself to combat society’s corruption. The stellar ensemble cast also features Nayanthara, Vijay Sethupathi and Deepika Padukone, with Priyamani, Sanya Malhotra, and others in supporting roles.
First off, from my vantage point, hailing from the vibrant landscape of Telugu Cinema, where the celebration of massy protagonists is a well-cherished tradition, Jawan felt like a familiar entry into the action-drama template. The film unabashedly leans into the time-honored conventions of the genre: hero elevation scenes, slow-motion extravaganzas, spirited song and dance numbers, and the hero (male or female) as the beacon of hope and change.
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But, it’s important to note that this familiarity arises not as a fault of the writer-director but rather as a consequence of me having consumed a multitude of Telugu and Tamil movies that share a similarity to Jawan. For Hindi-speaking audiences unacquainted with these cinematic traditions, this movie might come across as refreshingly novel. The film skillfully blends heroism, emotional depth, and patriotic fervor, making it a compelling watch.
However, despite the semblance of familiarity, Jawan stands out as a significantly more cohesive and entertaining cinematic experience when compared to some of Shah Rukh Khan’s recent movies. In this film, Khan’s on-screen charisma, gravitas, and grace are on full display, reaffirming his position as a powerhouse performer. Credit is undoubtedly due to the talented writer-director, Atlee Kumar, who not only successfully adheres to the traditional elements of big-screen, commercial, big-budget cinema but also raises the bar for such productions.
What sets Jawan apart is its capacity to offer a glimpse into the very essence of why South Indian cinema’s heroes are celebrated and admired with such fervor. Atlee Kumar’s directorial finesse serves as a gateway, graciously welcoming Hindi film audiences into a realm where heroism becomes an unmistakable and powerful force.
On the flip side, Jawan does stumble in its handling of emotion and the inclusion of subplots heavy on sentiment. These moments often come across as rather artificial, relying on well-worn tropes to elicit sympathy. The presence of a crying baby, a widowed mother, and misogynistic and rude male characters failed to evoke genuine emotion. Perhaps having encountered these tropes numerous times before left me desensitized, making it difficult to fully invest in the plight of the protagonist’s group or their underlying social message.
On to the performances, Shah Rukh Khan delivers a notable improvement over his previous outing in YRF’s Pathaan. He effortlessly embodies his character(s), exuding charm and delivering a solid performance. Atlee celebrates Khan in a massy avatar on-screen, and the result is an immensely enjoyable experience. Nayanthara (cherished as the “Lady Superstar” across Tamil Nadu) shines brilliantly in her impactful and kick-ass role, commanding the screen as the top-ranking officer in the police department.
Furthermore, the supporting cast, including Sanya Malhotra, Priyamani, Riddhi Dogra, Sanjeeta Bhattacharya, Girija Oak, Lehar Khan and others deliver decent performances, while “Makkal Selvan” Vijay Sethupathi, portraying the archetypal rich and cunning antagonist, makes the best of his role, despite its familiar dynamics with the protagonist.
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The film’s music, while not reaching the heights of Anirudh Ravichander’s previous work in Jailer, remained impactful and effectively elevated key moments throughout the narrative. However, the action sequences left much to be desired. The rapid cuts, shaky camera work, and close-ups employed in filming these scenes hindered their memorability, falling short of making a lasting impression.
In summary, Jawan is a competently crafted, enjoyable movie that showcases Shah Rukh Khan in a crowd-pleasing persona. Although it may lean on some familiar conventions, it remains an imperfect yet commendable choice for aficionados of mainstream cinema.
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