The last time chief SS Rajamouli figured out how to wow the crowd was in 2017 with the film Baahubali:

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After 30 years in the industry, 2023 might be the most important year of Shah Rukh Khan‘s career.
For one thing, the beloved Indian actor — who won over audiences as a romantic lead in films from “Dilwale Dulhania Le Jayenge,” to “Kuch Kuch Hota Hai,” to “Kal Ho Naa Ho” and so many more — finally has the action hero filmography he’s always craved. For another, he’s back on the big screen after five whole years with not one, not two, but three films in 2023, how important this man is to Indian cinema and India as a whole.
In 2021, narcotics agents arrested Khan’s son off the coast of Mumbai, imprisoning him for nearly a month, even though no drugs were found on his person. Many perceived this as an act of intimidation, a move meant to keep India’s top star in line when Muslims were being increasingly mistreated, including in the film industry. Although his 2023 filmography reveals a different story,
Khan has remained silent ever since, making as few comments as possible on social and political issues. “Pathaan” put him on screen with Deepika Padukone and John Abraham, a Hindu and a Christian, playing a Muslim fighting proudly for India. “Jawan” doesn’t touch religion, but as his second of likely three megahits this year, it solidifies Khan’s own might in the face of a ruthless regime. “Bete ko haath lagaane se pehle, baap se baat kar (Before you lay a hand on my son, talk to his father),” he growls in the trailer (as his wife and producer Gauri Khan’s name appears). Otherwise, prepare for the wrath of the King.
“Jawan” sees Khan teaming up with Tamil writer and director Atlee in a gloriously convoluted story of family, activism, and revenge. It is insane, violent, and an absolute roller coaster. It has love stories, high-speed chases, a hostage situation that unfolds on an underground train (and too many graphic depictions of hangings). It features South Indian superstars Vijay Sethupathi and Nayanthara, who skillfully combine the North Indian and South Indian film industries to create an exciting cinematic experience.
But above all, and more so than “Pathaan,” “Jawan” is very, very political. It makes some heavy-handed statements about civic duty, but it asks those in power to do better just as strongly as it urges viewers to channel their SRK enthusiasm into making real change. It does not point fingers at current figures, but suggests that if someone, somewhere, is mistreating their citizens, they should answer for it. It is a wake-up call and a warning that the adored Khan, as well as the nation and his audience, are watching at a time when the leaders of India sow discord under the guise of democracy.
It’s also hard to review without giving away too much because the movie needs to be seen on a big screen in front of a lot of people. This much I can say, while withholding some major reveals: Khan plays a man seeking vigilante justice, forcing the Indian government under pressure to implement changes that actually benefit its citizens (forgiving loans, updating hospital equipment, etc). Helping him in his mission are six women who turn out to be current prison inmates, serving sentences because they fought for these very issues or were government patsies.
Though there are multiple spectacular song-and-dance numbers, the introductory “Zinda Banda,” set in the women’s prison, is easily the most heart-pumping of all (and a welcome break from the now-commonplace practice of using white European women as background dancers in Indian films). Anirudh’s propulsive soundtrack entertains throughout, and the main “Jawan” theme (sometimes whistled like a Western) is catchiest of all.
Khan emphasized the film’s central focus on women’s empowerment in a series of tweets prior to “Jawan.” He even called it “a film about women made for men,” implicitly admitting to the subterfuge that is using his stardom to elevate female careers and stories, in a country and industry still wrestling with how to do that. It’s a testament to the fact that any film can stage complex action sequences or massively energetic musical numbers entirely with women — but only if the filmmakers care to try. Some of these characters are underwritten, but that’s partly because there are nine of them in key roles, often sharing scenes — Nayanthara, Sanya Malhotra, Priyamani, Sanjeeta Bhattacharya, Riddhi Dogra, Lehar Khan, Girija Oak, Aaliya Qureshi, and Padukone in a special appearance — and the main story focuses on Khan’s character, past, and brewing faceoff with Kalee (Sethupathi).

Better than average drama that shows firefighters as real people

Backdraft, directed by Ron Howard in 1991, was a thirteen-year ode to firefighters. This was before Howard went on to direct such popular fare as Apollo 13 and A Beautiful Mind.  This was before Kurt Russell came up with the idea for Captain Ron, and most importantly, it was before September 11, 2001.

To say that our impression of firefighters changed that day sounds, well, awkward.  Firefighters have always been held in high regard.  While everyone else is running for their lives, they run into burning buildings. They put their lives on the line to save others.  It is a courage that most of us would like to think we have, but few of us are ever put into a position to test.

We stood in awe on September 11 as the buildings fell and 340 firefighters were taken from us too soon. Although the loss of lives that day included thousands of innocents, we warmed to our heroes and it brought their efforts and incredible bravado back to our attention.  Immediately after the tragic events, it was not uncommon to see people wave or salute firefighters in the most remote regions of our country.  On CNN we began to hear stories of the personal lives of these men.  Their support.  Their sacrifices.

Therefore, it is not surprising that our newly rekindled interest resulted in emotional powerhouses for the big screen. In 2002, Anthony LaPaglia and Sigourney Weaver played a firefighter and a writer to prepare eulogies for those fallen in the attacks in The Guys.  Now, in 2004, red-hot Joaquin Pheonix and John Travolta have teamed up to bring us the highly effective Ladder 49.

Ladder 49 starts with a fire in a large Baltimore factory where multiple firemen have charged to look for survivors and extinguish the posing threat.

Lead by seasoned veteran Jack Morrison (Pheonix), the firemen are able to rescue a helpless employee before the floor gives way trapping Morrison within the building inferno.  As Jack lays there helpless awaiting the rescue from his peers, we are sent back in time via the Hollywood standard flashback to understand what brought Jack to his present peril.  We see Jack as he enters the fire hall for the first time and meets Captain Mike Kennedy (John Travolta) who takes the new probie under his wing and over the years develops a bond that includes being there when Jack gets married, has kids and steps into the shoes of a search and rescue firefighter who perishes when a roof gives way during a routine house fire.  We learn how the firemen bond, how they drink together rather heavily and regularly and how when they lose one of their own, the emotional impact on them and their families.

Don’t get me wrong, all the above drama plays out while buildings burn, people are rescued from skyscrapers and people are saved from what would be sheer death if not for the charging brave souls of the local Fire Department.  There is enough action to keep the younger audiences looking for the quick rush occupied while enough firemen running around in tight t-shirts to keep the women equally transfixed.

However, the story is what sets this movie apart from others that have come before it about firefighters. We get a good glimpse into the lives of the men and portrait of a young man learning the ropes and growing within the culture and environment that can be sometimes loose and playful only to become serious and deadly at the sound of a bell.  Director Jay Russell (My Dog Skip) packs an emotional punch that doesn’t try and suck it out of the audience with an unexpected end.  Instead, the opening scene shows Jack trapped, and before the tragic events unfold before our eyes, we can pretty much read the signs.

For all the focus played to the rising star Pheonix, it is the supporting cast that really stands out within the confines of the 105 minute running time.  Travolta seems comfortable in playing a supporting role and is effective and powerful in his portrayal as the Captain of an efficiently run firehouse.  Also standing above the average fare is Jacinda Barrett who plays Jacks wife.  Yet another beautiful Australian actress, Barrett has the largest load in the film as the anchor that questions why her husband and father of her children would risk his lives for others ignoring his own well being.  She exhibits both anxiety and support in her comprehension of his passion, and the strength of her character is what gives the movie its heart.

To compare Ladder 49 to Backdraft would be unfair.  Backdraft did little to bolster our impression of the firefighting community while Ladder 49 shows them for what they deserve to be recognized as – heroes who at the sound of an alarm will put themselves in harms way to help others.