Bollywood superstar Shah Rukh Khan has made his much-anticipated comeback in “Jawan,” an action-adventure film centered around a well-intentioned terrorist and his team of gun-wielding girls who take hostages. Produced by Shah Rukh Khan and his wife Gauri Khan’s Red Chillies Entertainment, the movie adheres to familiar plot formulas and mood swings. As a Shah Rukh Khan vehicle, it fulfills certain formulaic expectations, but at times, “Jawan” may push too hard to convince viewers of the mysterious antihero, Azad.
Azad, portrayed by Khan, is the warden of a women’s prison who, following an elaborate flashback action sequence, takes a train full of commuters hostage. Initially disguised as a woman in a burqa wearing a comical bald cap, he later dramatically unveils his true identity. In character, Khan, as Azad, conveys his unconventional demands to the negotiator Narmada (Nayanthara): he demands that the Agriculture Minister relieve struggling farmers of their burdensome loans, or more lives will be lost.
“Jawan” propels the audience through a series of twists at a fast pace, which helps mitigate the familiarity and predictability of its storyline and action sequences. Some plot developments are foreseeable, including Azad’s romantic involvement with Narmada and his efforts to combat corrupt government officials through theatrical demonstrations. Azad presents himself as a champion of the common people, although his actions often come across as erratic, such as performing a soft-shuffle dance among terrified commuters. He vehemently asserts that his true adversary is a government that has failed to serve the republic.
The film includes a complex and endearingly absurd subplot that connects Narmada and Azad’s story with the opening scene set 30 years earlier in an unnamed village, possibly near the Indian border. While this plot twist may not surprise seasoned Shah Rukh Khan moviegoers, it adds a personal dimension to Azad’s mission in the latter part of the film.
This time, the antagonist is a malevolent weapons dealer named Kalee (Vijay Sethupathi), and a surprise cameo from a prominent Bollywood star adds zest to the narrative. Keep an eye out for a lively dance duet led by Khan and Deepika Padukone, who effortlessly display their chemistry, knowing they already have the audience’s affection. Some of the fight scenes are visually striking, despite suffering from over-editing and under-direction. The film may be loud and formulaic, but it manages to maintain engagement.
“Jawan” falls short of delivering more than what Khan’s previous works have offered because it attempts to include every masala-style subplot imaginable. However, the film benefits from a more skilled handling of its numerous twists and turns, thanks to director Atlee and his creative team.
Most importantly, Khan appears more at ease than he has in recent years, effortlessly embodying his signature gestures and expressions. He shines in the musical sequences and delivers his trademark looks with panache. Shah Rukh Khan reaffirms that he is still a star, and “Jawan” effectively capitalizes on his talents.
Even during a somewhat cheesy yet impassioned speech later in the film, Khan persuasively reminds us that he is just like the apathetic public, occasionally making flawed choices when voting for government officials. With a general election approaching in India, “Jawan” may not take bold risks, but it still stands as a commendable effort.
