New Delhi: 'Pathaan' marks Shah Rukh Khan's grand return on celluloid after 'Zero' which was released in 2018. Co-starring Deepika Padukone and John Abraham, 'Pathaan' is an action-thriller. However, mere star power with impressive performances by Shah Rukh Khan and Deepika Padukone cannot save this yet another formula film from the Yash Raj banner.
'Pathaan' opens like most other action films of this genre do - in Pakistan - as it preps to bring India to its knees after Article 370 is removed from Jammu & Kashmir. John Abraham is introduced as a key nemesis who, in fact, is an ex-RAW agent gone rogue.
Soon after, the megastar SRK's opening sequence is done in typical style, the hero is bloodied up and tied to a chair in an interrogation, where he outsmarts everyone to reveal his action prowess.
Director Siddharth Anand uses an interesting mix of closeups, mid shots, and master shots in action sequences throughout the course of the film to build momentum, which it finally catches in the second half, even when 'Pathaan' is too predictable from the start.
Unfortunately, 'Pathaan' follows the tried-tested palette, has the typical three-act structure, formula tropes of a song to get things going between the lead pair, only to slightly move away from the template of patriotic films where a certain community is always targeted.
This time, the antagonist is not someone from Pakistan but an ex-R& AW agent. This time, it's not about India v/s Pakistan or vice versa; it's about a personal agenda to get back at the establishment (or Mother India) for not saving the family of a soldier in distress.
So naturally, the definition of 'gaddar' and 'patriotism' is challenged and changed to give a new kind of politically correct inclusivity to the film.
Interestingly, the spy universe of Yash Raj Films is also revealed and brought to full circle by connecting the dots: Kabir( Hrithik Roshan) from 'War', Tiger ( Salman Khan) from 'Tiger' franchise are all mentioned in the film to suggest Yash Raj's larger plans to build a spy-verse under the banner.
'Pathaan' has some notable elements, like its background music. It serves the formula template of the typical adrenaline-pumping score, which is interestingly complemented by the song 'Ae Mere Watan Ke Logo' in a whistle rendition, which forms the backdrop of John and SRK meeting for the first time on screen.
The action, for which many fans hold key interest in a film like 'Pathaan', is top-notch. However, the problem is the way it has been shot or perhaps set to pace. Sometimes, when you expect to see a blow or a kick, or a punch land, that very scene is cut to reveal the swiftness of the action.
Without taking much liberty, it actually looks like a poor edit. After all, why would you cut short the very moment of action that a catalyst had created?
In terms of performances, Shah Rukh Khan is back King-style in this action-entertainer. Thankfully, the brooding spy hero gets a makeover with the charm and charisma only a megastar like SRK carries. Shah Rukh Khan has the suave, style, and substance of a spy hero, only he does it even better.
Meanwhile, John Abraham is comic, and even in moments of utter despair, there is a madness in his character that one is not sure if he justifies.
As for Deepika Padukone, the actor is badass in an action avatar and in fact looks natural in the genre. The added glam factor is a plus, as is the chemistry between SRK and Deepika. Deepika's character is not just ornamental in the film but thankfully has a lot of substance. Hers is the modern-day spy character that beauty and brains are made up of.
It is necessary to bring to attention the controversy over Deepika's portrayal in the film as 'provocative'. Interestingly, John Abraham is quite like Hrithik Roshan ( in War) in all his glory. We see him in nothing but a pair of swimming trunks, flaunting every muscle in his body. Yet 'Pathaan' reeks of masculinity, with every focal point on gears, cars, men flexing muscles, guns, and tanks; it has nothing new to offer in totality with the exception of Dimple Kapadia.
Dimple Kapadia is in a cameo of a leader who runs a side branch of India's spies who take down missions where no one wants to. Hers is a small role, not-so-well-sketched, and offering a counterpart to the ever-pervasive male commanding officers in such genres.
However, what does not work for 'Pathaan' is the dialogue. It is too cliche, sometimes repetitive, and typical. Though there are interesting ways of calling out Bharat Ma in the film that hasn't been used in this genre before that deserve to be mentioned.
The story arch is also quite problematic in 'Pathaan'. There are too many highs and lows in the pre-interval film and this penchant to stick to chronology is confusing. The post-interval film is a completely different ball game.
It interestingly begins with the best part of the film, Salman Khan as Tiger's cameo who comes to rescue SRK on a moving train full of assassins. Their chemistry drew memorable reactions from audiences who had been anticipating Salman's cameo in 'Pathaan'.
Though the small-talk scenes between the two stars could have been written in a better way, the action sequence saves the boat. There is a hilarious part where both Salman and Shah Rukh are shooting big guns at two helicopters and with the ease with which Salman holds his weapon, it seems it's only a toy.
Salman bids 'Pathaan' adieu before reminding him that he will require his help for a mission that Tiger undertakes, reinstating SRK's cameo in 'Tiger 3'.
Two megastars on a moving train will definitely bring back memories of Hindi movies of the 70s, especially Dharmendra and Amitabh Bachchan's camaraderie in 'Sholay'.
The post-interval film is also quite in disarray. There is too much going on and for too long: too much talk and too much show.
'Pathaan' is moving in demographics too quickly, changing locales, and trying to emulate a Hollywoodian spy action, some of which feels fake and does not land. Yet, the attempt to make grand action sequences to reckon with is way too brave and confident. What one cannot seem to digest is the easy, matter-of-factly use of grenades in the film, which are thrown like cricket balls, right, left, and center.
The climax of 'Pathaan' felt never-ending, and Ashutosh Rana screaming 'Abort' made the whole sequence comic. The film then closes with the title track and credits, which were absent in the opening sequence.
For what it's worth, 'Pathaan' is a one-time watch and a great way to begin 2023. It has its moments and is sure to bring SRK fans back to theatres and perhaps give Bollywood a good box office start this year.