An extraordinary journey: My Name Is Khan
My Name Is Khan is not a world of make-believe but one with religious insecurity, identity crisis and isolation. It is a story of Rizvan Khan, who undertook a journey to meet US President to give a message to the latter that he is not a terrorist.
THE CITY in the frame is New York in November 2007. A man, with behavioural disorder, steps in. Spotted uttering some unintelligible chants, he is taken to an investigation cell by some security personnel. There he reveals that he is on his way to meet the President of United States to give him a personal message: “My name is Khan and I am not a terrorist.”
This is how Karan Johar’s latest directorial venture My Name Is Khan begins. The film has, in fact, one of the strongest opening sequences seen in Hindi movies in recent times. This capturing sequence sets the mood for a gripping drama entangled with endearing human story which one can expect from the next two and half hours of a Karan Johar film to follow.
My Name Is Khan is the story of Rizvan Khan, who is suffering from Asperger’s syndrome, who immigrates to United States after the death of his mother to live with his brother. While selling beauty product for his brother’s company, he meets divorcee hairdresser Mandira, who lives with her son Sam. Love blooms and consequently they get married. Although he was thrown out by his brother, everything was fine for Rizvan until 9/11. But after the incident, Rizvan’s last name started creating problems both for Mandira and Sam, all culminating in Sam’s killing by some European boys. Mandira realised that the greatest mistake she made in her life was to marry a Khan. She asked him to step out of her house. When halting Rizvan enquired when he should return, Madira asked him to return after he meets the President of US and convince him that his name is Khan and he is not a terrorist.
The journey begins.
Karan Johar never wanted to squander the winning formula that he adapted in all his commercially successful films. He has the most bankable star in the industry by his side, he roped in the so-called last Queen of Bollywood to create their undoubted sizzling chemistry once again, he created gimmick with his trademark guest and special appearances, including Vinay Pathak, and he collaborated with the largest production group of the world for distribution of the film for a thumping price of hundred crore. But apart from that, My Name Is Khan is a different journey altogether.
My Name Is Khan is the only Karan Johar film till date where the heartbroken lovers don’t cry in rain, letting their tears to be wash away by rainwater in secret. Where Shahrukh Khan is not seen running in his charismatic manner. Where there is no dance sequences in a European hill station, between the pyramids or inside one lavishly decorated aristocratic palace with the lead actors surrounded by European dance girls. Here, it is not a world of make-believe but one with religious insecurity, identity crisis and isolation. In all his earlier films, Johar pitched his protagonist in a quest for love, albeit against some opposing forces; indecision and doubt in Kuch Kuch Hota Hai, his father in Kabhi Khushi Kabhi Gum, and the social system in Kabhi Alvida Naa Kehna. But in My Name Is Khan, love is almost taken for granted, the struggle is for survival.
Karan Johar is never known for handling socially relevant issues, he is the master of human emotions. But he has certainly grown up as a filmmaker during the journey from his directorial debut Kuch Kuch Hota Hai to his last venture My Name Is Khan. No way the brief depiction of Hindu-Muslim riot is comparable to the one in Mani Ratnam’s Bombay, nor does the portrayal of tumultuous post 9/11 US is comparable to Kabir Khan’s New York. But My Name Is Khan has something more to watch out for. It is the journey that Rizvan undertakes, during which both the brighter and darker side of America is unveiled, the America behind myth is taken to fore and humanity is restored despite all odds. It is the message that he is trying to take to the President of US, which, in the course of the journey turns out to be the message of the film, that he is a Khan and all Khans are not terrorist.
Story and screenplay has always been the mainstay of a Karan Johar film. But, this time, Johar passed the onus to Shibani Bhatija. She doesn’t disappoint. The story has all the potential to be a good film. The screenplay, though somewhat misplaced and loosely constructed with forced sub-plots, is a welcome deviation from typical Karan Johar style. But she falls back to background narration for a greater part of the film, which robbed the film not only from its continuity but also some interest. The dialogues are intelligent, especially, some of those given to the autistic Rizvan. “Maine galti ki. Mujhe Al-Quida ke baare mein pahle hi padh leni chahiye thi (I made a mistake. I should read about Al-Quida).” Rizvan utters when he is unable to respond to the FBI inquiry regarding the Islamic outfit.
Like all other Karan Johar films, Shahrukh Khan delivers a brilliant performance. It is him who carries the film over his soldier until intermission. His portrayal of an autistic is sure to evoke sympathy from the audience, although sometimes the larger than life image of the star comes between the character and audiences. The scriptwriter did some scissor work on Kajol’s role, but she is her usual brilliant self in the limited scope. Their pair doesn’t sizzle as much as in Dilwale Dulhaniya Le Jayenge or Kuch Kuch Hota Hai. But remember, unlike My Name Is Khan, they had nothing else to do in those two films except romancing each other.
Shankar-Ehsaan-Loy breaks away with their monotonous run in Karan Johar films and provided with some unconventional music which are not characteristic to Dharma Production. Tere Naina is a gem of composition. But the film as a whole don’t do justice to the talented trio who has under their belt films like Dil Chahta Hai, Kal Ho Naa Ho and Taare Zameen Par. A R Rahman is missed a lot.
Cinematography in all Karan Johar films has always been fascinating. My Name Is Khan is not an exception too. Cinematographer Ravi K Chandran has captured the scenic locales from all over the US with utmost precision. America is depicted in a way never before in a Karan Johar film.
It is not that My Name Is Khan is a film without fault. Sometimes the director gets some facts and situation wrong. But they are quite insignificant and infrequent. The film should be seen for what it is. It is an honest attempt to picturise human emotions in the backdrop of the real world in its true sense.
My Name Is Khan is the story of Rizvan Khan, who is suffering from Asperger’s syndrome, who immigrates to United States after the death of his mother to live with his brother. While selling beauty product for his brother’s company, he meets divorcee hairdresser Mandira, who lives with her son Sam. Love blooms and consequently they get married. Although he was thrown out by his brother, everything was fine for Rizvan until 9/11. But after the incident, Rizvan’s last name started creating problems both for Mandira and Sam, all culminating in Sam’s killing by some European boys. Mandira realised that the greatest mistake she made in her life was to marry a Khan. She asked him to step out of her house. When halting Rizvan enquired when he should return, Madira asked him to return after he meets the President of US and convince him that his name is Khan and he is not a terrorist.
The journey begins.
Karan Johar never wanted to squander the winning formula that he adapted in all his commercially successful films. He has the most bankable star in the industry by his side, he roped in the so-called last Queen of Bollywood to create their undoubted sizzling chemistry once again, he created gimmick with his trademark guest and special appearances, including Vinay Pathak, and he collaborated with the largest production group of the world for distribution of the film for a thumping price of hundred crore. But apart from that, My Name Is Khan is a different journey altogether.
My Name Is Khan is the only Karan Johar film till date where the heartbroken lovers don’t cry in rain, letting their tears to be wash away by rainwater in secret. Where Shahrukh Khan is not seen running in his charismatic manner. Where there is no dance sequences in a European hill station, between the pyramids or inside one lavishly decorated aristocratic palace with the lead actors surrounded by European dance girls. Here, it is not a world of make-believe but one with religious insecurity, identity crisis and isolation. In all his earlier films, Johar pitched his protagonist in a quest for love, albeit against some opposing forces; indecision and doubt in Kuch Kuch Hota Hai, his father in Kabhi Khushi Kabhi Gum, and the social system in Kabhi Alvida Naa Kehna. But in My Name Is Khan, love is almost taken for granted, the struggle is for survival.
Karan Johar is never known for handling socially relevant issues, he is the master of human emotions. But he has certainly grown up as a filmmaker during the journey from his directorial debut Kuch Kuch Hota Hai to his last venture My Name Is Khan. No way the brief depiction of Hindu-Muslim riot is comparable to the one in Mani Ratnam’s Bombay, nor does the portrayal of tumultuous post 9/11 US is comparable to Kabir Khan’s New York. But My Name Is Khan has something more to watch out for. It is the journey that Rizvan undertakes, during which both the brighter and darker side of America is unveiled, the America behind myth is taken to fore and humanity is restored despite all odds. It is the message that he is trying to take to the President of US, which, in the course of the journey turns out to be the message of the film, that he is a Khan and all Khans are not terrorist.
Story and screenplay has always been the mainstay of a Karan Johar film. But, this time, Johar passed the onus to Shibani Bhatija. She doesn’t disappoint. The story has all the potential to be a good film. The screenplay, though somewhat misplaced and loosely constructed with forced sub-plots, is a welcome deviation from typical Karan Johar style. But she falls back to background narration for a greater part of the film, which robbed the film not only from its continuity but also some interest. The dialogues are intelligent, especially, some of those given to the autistic Rizvan. “Maine galti ki. Mujhe Al-Quida ke baare mein pahle hi padh leni chahiye thi (I made a mistake. I should read about Al-Quida).” Rizvan utters when he is unable to respond to the FBI inquiry regarding the Islamic outfit.
Like all other Karan Johar films, Shahrukh Khan delivers a brilliant performance. It is him who carries the film over his soldier until intermission. His portrayal of an autistic is sure to evoke sympathy from the audience, although sometimes the larger than life image of the star comes between the character and audiences. The scriptwriter did some scissor work on Kajol’s role, but she is her usual brilliant self in the limited scope. Their pair doesn’t sizzle as much as in Dilwale Dulhaniya Le Jayenge or Kuch Kuch Hota Hai. But remember, unlike My Name Is Khan, they had nothing else to do in those two films except romancing each other.
Shankar-Ehsaan-Loy breaks away with their monotonous run in Karan Johar films and provided with some unconventional music which are not characteristic to Dharma Production. Tere Naina is a gem of composition. But the film as a whole don’t do justice to the talented trio who has under their belt films like Dil Chahta Hai, Kal Ho Naa Ho and Taare Zameen Par. A R Rahman is missed a lot.
Cinematography in all Karan Johar films has always been fascinating. My Name Is Khan is not an exception too. Cinematographer Ravi K Chandran has captured the scenic locales from all over the US with utmost precision. America is depicted in a way never before in a Karan Johar film.
It is not that My Name Is Khan is a film without fault. Sometimes the director gets some facts and situation wrong. But they are quite insignificant and infrequent. The film should be seen for what it is. It is an honest attempt to picturise human emotions in the backdrop of the real world in its true sense.
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