UTV Motion Pictures, Vinod Chopra Films and Rajkumar Hirani Films’ PK (UA) is a high concept film. It is about a man’s expose on how Godmen misuse religion to fool gullible people.
PK (Aamir Khan) loses a remote control when a stranger runs away with it. He is devastated as it is the remote control which will help him reach back home. He goes in search of it but draws a blank everywhere because he knows nothing about the man who has stolen it from him. As everybody he meets in this connection tells him, only God can help him, PK tries to get God to help him. In the process, he realises that there are different Gods for different religions and the messengers of God (Godmen) try to connect ordinary mortals to God but more often than not, they fail. He also soon understands the frauds being committed in the name of God, by the Godmen. This realisation dawns upon him when he sees his remote control being passed off by Godman Tapasvi (Saurabh Shukla) as proof of God’s existence, to fool people and to prove that he (Tapasvi) is close to God.
Jagat Janani alias Jaggu (Anushka Sharma), who has befriended PK and has promised to get his remote back so that he is able to return home, is a television reporter and show anchor. She takes PK to her house. Soon, Jaggu takes PK to Tapasvi’s discourse and prompts him to question his preaching while recording all this on camera for telecast on her channel. She has convinced her boss, Bajwa (Boman Irani), that PK’s story and philosophy are newsworthy and would increase TRPs if aired on the channel. PK sparks off a virtual revolution in people’s thinking, leading to soaring TRPs for the channel, much to the joy of Jaggu and Bajwa. As a result of Tapasvi standing exposed, his followers become so critical of him that their numbers dwindle drastically. The finale, planned by Jaggu, is a live face-off between PK and Tapasvi, for the television channel.
Both, Jaggu and her boss, have an axe to grind with Tapasvi. Jaggu had been in love with a Pakistani Muslim boy, Sarfaraz (Sushant Singh Rajput), but Tapasvi had warned that he would ditch her. Her father (Parikshat Sahni), a diehard disciple of Tapasvi, had, in fact, disowned Jaggu after her affair and ultimate breakup. As for Jaggu’s boss, Bajwa, he had dared to talk about religion, on his channel, which didn’t go down well with Tapasvi, whose men had, therefore, taught him a lesson which was difficult for him to forget in his lifetime.
Does the face-off between PK and Tapasvi take place on camera? Is PK able to expose Tapasvi or does Tapasvi succeed in proving his credentials? Does Jaggu fulfil her promise by helping PK get his remote control back? Do Jaggu and Sarfaraz patch up and why had they broken up in the first place? Is PK able to return to his home?
Abhijat Joshi and Rajkumar Hirani have written a high-concept drama. Their story is very different from the films one sees everyday and although one will be tempted to say that the story has shades of Oh My God! And Koi… Mil Gaya, the fact is that there is very different stuff also on offer. In other words, the story may have shades of the two aforementioned films but there are many unique points also in the film. The duo’s screenplay is extremely entertaining, especially in the first half, keeping the audience in splits right till the interval. The first part is actually full of scenes which are inherently humorous but many of those scenes also have fantastic underlying messages. Since the drama exposes the Godmen and how they fool gullible people in the name of religion, everybody will be able to enjoy and appreciate it to the fullest. The film takes a serious and preachy turn post-interval and it also becomes a bit slow-paced. However, since the preachy portions are those which the common man can completely identify with, he won’t really resent them. The pace picks up in the pre-climax. The face-off between PK and Tapasvi is extraordinary and how it involves Jaggu and her boss also, is supremely intelligent. The scene in which Jaggu speaks to the embassy and what follows thereafter is so outstanding, so wonderfully written and and so very emotional that it will choke the viewers. All that follows after that scene is both, very interesting and very engaging, besides being emotional too. Many scenes in the pre-interval portion and several in the post-interval part are clapworthy. Special mention must be made of some scenes. The scene in which Jaggu slips her purse into the money box of the temple, from which PK has stolen money, just so that she can save him from the temple priests is outstanding and truly heartwarming. The scene in which PK helps a Sardar in need of money, by giving him cash, is simply remarkable not only because it reveals the powers which PK possesses but also because of what Jaggu sees when she follows the Sardar. Abhijat Joshi and Rajkumar Hirani’s dialogues are veritable gems and deserve full marks. Many of the dialogues are so thought-provoking while being truly funny that they will evoke loud rounds of applause.
Aamir Khan easily comes up with the best performance of his career so far. If his character is supremely endearing, his performance is truly mesmerising. He acts with such effortless ease that he makes the actually very difficult role look like child’s play! Aamir looks the character he plays. A special mention must be made of two things: his youthful look, which is rather creditable, and his uninhibited performance in scenes showing him stark naked. Anushka Sharma is first-rate in a running role. She proves to be the perfect foil to Aamir Khan and never falls short of expectations while performing opposite him. She looks very fetching. Sanjay Dutt adds tremendous star value and acts ably in a brief role. Sushant Singh Rajput is as natural as natural can be in a brief role. Saurabh Shukla is wonderful as Tapasvi. Boman Irani makes his presence felt with his star power and easy acting. Parikshat Sahni lends able support. As his wife, Amardeep Jha has her moments. Rukhsar Kabir is just too lovely in the single scene (as the telephone operator in the embassy) in which she appears. Brijendra Kala makes his mark. Manavi Gagroo (as Mitu), Rajinder Sharma (as the thief who steals PK’s remote control) and Ram Sethi (as the elderly man in Belgium) provide excellent support. Sai Gundewar (as the ticket seller in Belgium), baby Plabita Borthakur (as Jaggu’s sister), baby Tia Sharma (as young Jaggu), Sachin Parikh (as Tapasvi’s manager), Shaji Choudhary (as Tapasvi’s bodyguard), Vijay Crishna (as entrepreneur), Rohitashv Gaur (as constable Pandey), Gulshan Pandey (as constable), Ashok Vyas (as carrot seller), B.K. Sood (as old doctor in Rajasthan), Reema Debnath (as Phuljadiya), Anil Mange (who enacts the role of Lord Shiva in a stage-play), Arun Bali (as the old Sardar who fools PK), Kamlesh Gill (as the old Sardar’s wife) and Arohi Mhatre, Deepti Rege and Pragati Joshi (all three as Tapasvi’s musicians) lend adequate support. Ranbir Kapoor will draw shrieks of surprise and excitement in a tiny role.
Rajkumar Hirani’s direction is incomparable. The man shows yet again that he is the master craftsman whom nobody can touch. His narration is almost flawless and all credit to him and to his co-writer too, to tackle such a tricky topic with such élan. Very intelligently, he has repeatedly ridiculed the malpractices in the name of religion while not once poking fun at religion or any God. The best part of his narration is that it caters to all strata of society and all kinds of audience. Music (Shantanu Moitra, Ajay-Atul and Ankit Tiwari) is definitely not upto the mark. There is simply no hit song. Having said that, it must be added that the songs look appealing in the film. Lyrics (Swanand Kirkire, Amitabh Varma and Manoj Muntashir) are very fine. Choreography (Ganesh Acharya, Bosco-Caesar, Stanley D’Costa and Brinda) is fair. Sanjay Wandrekar and Atul Raninga’s background music is pretty effective. Murleedharan C.K.’s cinematography is splendid. Sham Kaushal’s action and stunts are good. Production designing by Acropolis (Rajnish Hedao, Sumit Basu and Snigdha Basu) is lovely. Rajkumar Hirani’s editing is first-rate.
On the whole, PK is an outstanding entertainer with a strong message relevant to all human beings. It will easily prove to be one of the biggest Bollywood blockbusters, probably, the biggest also. It has all chances to emerge as the first film to cross the Rs. 300-crore mark.