My Name Is Khan

Seldom has a film been as hotly anticipated as My Name Is Khan. The first on-screen pairing of Shahrukh Khan and Kajol since 2001. Karan Johar’s first directorial venture since 2006. The biggest release (number of prints) in the history of Bollywood cinema. An intense promotional campaign hitherto unseen in the industry. Needless to say, expectations are sky high. I have to admit, I didn’t think the film would live up to it’s hype – surely a let-down was inevitable?

Apparently not.

My Name is Khan is a breathtaking piece of film-making. Rarely have cinematography, dialogue, score and performance combined so seamlessly to create a movie with a unique impact. Terrorism is a motif often seen in modern Bollywood movies. But to call MNIK a ‘terrorist movie’ would be doing it a great injustice as its thematic range is far more diverse. The film manages to incorporate a sophisticated exploration of family dynamics, human nature’s inclination towards xenophobia, cultural issues, religious hatred, unspeakable tragedy and the story of a unique romance. These are all tied together by one extraordinary man’s journey from an undiagnosed apergers sufferer to international symbol for peace and tolerance.

One of the most pleasing aspects of the movie is how it gets the simple things right. The script resists the urge to reduce some of the American characters to evil caricatures, instead using each scene, however fleeting, to give depth to all foreign characters. Their dialogue is appropriately colloquial and their interaction with the Hindi-speakers never feels out of place. Additionally, there is a fair spread of characters of different race. The manner in which this is done feel subtle, rather than the forced ‘token’ characters seen all too often in other ‘crossover’. These simple nuances earns the film more credibility with the audience. Now it’s worth remembering, even a good script, needs good delivery and that’s something MNIK is certainly not short of.

Shahrukh Khan – take a bow. Entering, in my opinion, a career-best performance (and I’m aware of the magnitude of this statement), Shahrukh demonstrates his exceptional skill as an actor. Clearly, relishing the chance to flex some dramatic muscle, he ensures every aspect of his performance is spot on. From his delivery of Islamic prayers and greetings, to the consistency of his expressions, he does not put a foot wrong. Everything is well-researched and believable, as Khan embraces a character unlike any he’s played before. He truly brings the character of Rizwan Khan to life – a character that is memorable, loveable and above all universally endearing. When he cries, you cry. When he laughs, you laugh. This is something truly special and though the writers can take their share of credit, there is simply no-one who brings their character to life like Sharukh Khan.

Credit must also go to his co-star Kajol, who also enters a powerhouse performance. Likeable and energetic from the get-go, she forces the audience to smile, laugh and eventually cry. As a viewer you are completely at her mercy as you’re forced to absorb her emotion. This becomes even more powerful when she begins to express emotions the audience may not necessarily agree with…but are still empathetic. She effortlessly interacts with several diverse characters, never seeming out of her element. And then of course there’s her chemistry with Shahrukh himself.
Together, they made magic in Baazigar (1993), Karan Arjun (1995), Dilwale Dulhaniya Le Jayengaye (1995), Kuch Kuch Hota Hai (1998) and Kabhi Khushi Kabhi Gham (2001). Nine years later and the chemistry is as strong as ever. As an audience, you’ll find yourself rooting for them to get together and ‘make it’ as their tale unfolds. Together, they contribute to some of the most powerful scenes in the movie, creating the kind of spectacle only actors of their stature can. It’s also worth mentioning the support cast all do an excellent job. But there is no major supporting role in this film. It’s very much the Shahrukh and Kajol show…with a few fleeting moments of glory for the others.

The second and third act of the movie are peppered with emotional sequences designed to tug at the heartstrings. These touching moments are backed up by an incredible score that amplifies their effect ten-fold. Even more impressive is the way they catch you off-guard and engage you emotionally from an un-expected, yet very relevant perspective. Additionally, the film makes poignant use of cinematic techniques: Some beautiful wide-angle shots show off the rural and industrial beauty of America, whilst other shakier, unbalanced shots beautifully capture the plight of the aspergers’ sufferer.

Gripes with the movie? Well nothing major, aside from the fact that there is a scene that’s been lifted straight out of Rab Ne Bana Di Jodi (Email me if you spot it too). Also, the film subconsciously encourages a growth in the number of NRIs (Non-Resident Indians). Why do all these major characters have to move away from India to live a happy life? Is it impossible to live a ‘khush-haal zindagi’ (happy life) in India/Pakistan?

But these are minor issues which don’t really have any bearing on the final product. My Name is Khan is a beautiful example of Bollywood cinema at its best. Truly heart-warming, the movie makes one proud of the human spirit and the inherent nobility of mankind. This is one of the few true crossover films I would feel comfortable recommending to someone unfamiliar with Bollywood cinema. More than that, it’s one of the few crossover films that actually deserves to be called a ‘crossover film.’

All that’s left to say is: My name is Aatif Nawaz…and I am not a terrorist.-Aatif

To read more of Aatif Nawaz's film reviews, check out www.gorafied.com .