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).