Salman Khan fans are gonna worship their Bhaijaan no matter what. However, in this film, for a change, Salman Khan plays a character who doesn’t wrestle around nor is fighting villains single-handedly. He is a commoner who is born and brought up in a right-wing, religious family in Bajrangi Bhaijaan.
Kabir Khan plays the sentiments and the geopolitical climate in a clever way. We see the tension between India-Pakistan threw around casually, the Hindutva philosophy finding a mention every now and then and the little girl’s innocence all bridled up in spite of no dialogues. One can easily spot that it`s not Kareena Kapoor Khan who is the heroine of the film. That tag belongs to Harshaali Malhotra.
The mute child goes astray from the Samjhauta Express and is left behind in India. Once the border gates are closed, there is no way she can get back. Somehow, she lands up near Pawan (Khan) who is an ardent BajrangBali devotee and swears he never lies. Once the Brahmin guy realizes, with the help of Rasika (Kareena) that she is a Pakistani Muslim, he takes it upon himself to send the child back to her home.
The film moves at a very slow pace in the second half which is typical of every Kabir Khan film. Here we are introduced to Chand Nawab, played effortlessly by Nawazuddin Siddiqui, a reporter who helps the duo crossover to Pakistan. The series of events which lead the lost child to her home is unrealistic and evasive, at times. Since the movie is told from her perspective, serious issues are not given any adult-like importance. Adnan Sami makes a cameo as a qawwali singer and bam! In a few scenes, you are in Pakistan.
The most unrealistic yet deeply emotive scene is the climax where somehow the mute girl gets her voice back and screams “Mama” on the border. Evoking powerful emotions has been the forte of Bollywood and we see that here.