My Name Is Khan is beyond question Karan Johar’s most cultivated work to date. It has inclusiveness and a great social message for each and every community out there. Previously, Johar was bashed by critics for making high budget commercial movies but with this movie, he has proved his capabilities as a good filmmaker. Now and again it was hard to trust that it was really coordinated by Johar and composed by Shibani Bathija, who at last demonstrates her ability as an essayist. The film is altogether sensible and the obvious consideration Johar paid to the littlest of subtleties is exemplary. The film gets nostalgic at spots, however, it never goes over-the-top and remains genuinely limited and totally legitimate, which has a passionate effect on the watcher.
The film is generally a romantic tale more than all else, yet there-important message behind it is magnificently passed on through such terms as honesty and blame, thoughtfulness and barbarism, truth and falsehood, equity and bad form, love and loathe. Every one of these antonyms wisely swap puts through the narrative of blameless regular citizens blamed for no shortcoming for their very own post the 9/11 assaults. The aftereffect of this lamentable occurrence made the lives of such a large number of them hopeless. This was an extremely intense survey.
That is the place our saint, Rizwan Khan, is tossed. He experiences Asperger’s Syndrome, he’s unique, he’s guileless, he takes each word truly, yet he is canny and gifted, and his impression of life is as his dearest mother shown him. However, the world incorporates just two gatherings of individuals – great individuals who do great and awful individuals who do terrible. This is so excessively broad yet so exceptionally obvious. The memory of his mom tails him generally, and it’s anything but difficult to perceive any reason why. The depiction of Rizwan’s youth is stunning. His association with the affection for his life, Mandira, a youthful and dynamic single parent who fills in as a beautician and who at last consents to wed him.
Shankar-Ehsaan-Loy makes another otherworldly soundtrack and offers life to the film with so many tracks as “Sajda”, “Noor-E-Khuda” and “Tera Naina Re”. The way that tunes are playing just over montage arrangements letting the entertainers no possibility to lip-adjust in a genuine Hindi film style.
The film unmistakably works better in the principal half. It is substantially more basic, light and pleasant. The latter half presents the post-9/11 America with the majority of its aggravating pictures of separation, thoughtless assaults and murder. Johar’s portrayal of this stage is splendidly done. From one side we have Rizwan who goes to tell the universe of his total honesty and his not being a fear-based oppressor, and from the other, we see his better half Mandira who looks for justice for her son’s murder which she accuses Khan himself.
All things considered, there comes the acting. Shahrukh Khan’s appearance in this film in this sort of a job has been the subject of numerous talks, and which is all well and good. This is plainly probably the best execution. He is wonderful. It’s astounding to see him changing from the greatest star on the planet into a straightforward medically introverted man and playing it with such conviction. Kajol has been equally brilliant in portraying the character of Mandira. After a long time, the 90s super hit Jodi SRK and Kajol made a comeback as an onscreen pair. Like always they looked fabulous together in this movie as well.