Jawan Movie Review :
In “Jawan,” Shah Rukh Khan assumes the role of a mythical being, a divine figure with an entrance that mirrors his godly status. The film opens in a benevolent village where the residents beseech for salvation. Shah Rukh Khan’s arrival is nothing short of grandeur as he descends from the sky amidst screams of agony and flashes of lightning. Director Atlee cleverly employs the symbol of the goddess Kali, emphasizing the parallel between Khan and the deity. Khan even strikes a pose mirroring the goddess, brandishing weapons and stepping on a fallen adversary. Like divine protectors, SRK takes on multiple avatars throughout the film, wielding protective influence not just as an adult but even as a fetus. This unique resilience baffles Vijay Sethupathi’s character, Kaali Gaekwad, an evil entrepreneur who can’t seem to kill SRK. At one point, Kaali even checks SRK’s body for bullet wounds, revealing his amusement at the situation.
However, it’s only the god-like hero who is immune to fatal harm. In Atlee’s world, everyone else is fair game, and deaths serve as shocking devices to elicit emotional reactions from the audience. The film showcases well-meaning villagers massacred, farmers committing suicide in harrowing detail, impoverished children dying in a hospital, a noble collector succumbing to poisoning, and soldiers falling in action. Additionally, a woman, particularly a mother, is sentenced to death. All of these instances serve as the film’s way of compelling the audience to care about the characters and their plight. However, despite the film’s attempts to tug at our emotions, there’s a missing connection. The audience longs to know these characters better and to feel that the film genuinely cares about them, rather than using them as pawns, much like its villain, Kaali.
Atlee’s films have often depicted women in perilous situations, and “Jawan” continues this trend. While the film allows women to display strength and resistance, their characters still feel one-dimensional, with traditional roles like motherhood being valorized. Despite their fighting abilities, the women are portrayed as dependents, suggesting that only a father can offer genuine protection to children.
“Jawan” is a film brimming with numerous social issues, including weapons manufacturing, neglected government hospitals, farmer suicides, and heartless factory owners. While it attempts to address these critical topics, the film fails to invest emotionally in its characters or the issues themselves. Unlike the best films by directors like Shankar, who often explore vigilante justice and social justice issues, “Jawan” lacks the emotional depth required to create a genuine connection with the audience. The social issues in the film come across as tools used to create an appealing product, resulting in characters that feel cold and one-dimensional.
Despite its shortcomings, “Jawan” has its moments of creativity and brilliance. The concept of a group of imprisoned women coming together to raise a child is intriguing, as is the idea of hostages sympathizing with the “bad guys.” The film’s presentation is visually impressive, featuring striking shots and inventive scenes. Moreover, “Jawan” conveys a political message about patriotism being rooted in challenging government corruption, a message amplified by SRK’s character breaking the fourth wall and encouraging viewers to question their elected representatives.
In conclusion, “Jawan” is a glossy and expensive film with a plethora of ideas and political undertones, but it lacks the emotional depth and genuine investment in its characters and social issues. It’s like a shiny gun with alluring features but fails to fire when it matters most.