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 All the films helmed by Rajkumar Hirani have carried a strong message but those films were spruced with humour, drama and all the requisite elements that would keep the audience engaged. Expectations are huge from PK, which sees the director teaming up for the second time with Aamir Khan, with whom he had delivered a monstrous hit in the form of ‘3 Idiots’. The story of the film has been kept under wraps and the makers have not shed much light on the content of the film in the promotional events. All this, apart from adding to the intrigue value, has also given rise to many rumours with regard to the content of the film. How much truth is there to the rumours? Well, one has to watch the film to find that out.
PK (Aamir Khan) has lost a device, without the help of which he can’t reach back home. PK is unable to locate the man who stole the device from him and is told that only God could help him in tracing the device. PK realizes that there are different Gods for different religions and the Godmen act as messengers of God. He comes across one such Godmen called Tapasvi (Saurabh Shukla) and is surprised to find his device with him. PK tries to get back the device but fails. He meets Jagat Janini alias Jaggu (Anushka Sharma) who promises to help him in getting back the device. PK and Jaggu set out to expose Tapasvi and the various fraudulent activities carried out by him in the name of religion. In each of his films, Rajkumar Hirani has tackled an issue concerning the society and has handled the subject with finesse. It would be unfair to compare PK to ‘OMG! Oh My God!’ as the former was already through the scripting process when the latter released. Unfortunately, the similarities are far too many to ignore. Though the similarities could be attributed to the fact that both the films deal with similar issues, the film loses its novelty because of these similarities. Another factor that does not work in the favour of the film is the fact there are several moments which only add to the length of the film. The film should have been trimmed by around 15 minutes for a better impact. Nothing to panic about as the pluses outweigh the minuses here. Rajkumar Hirani does not disappoint as a director; it’s just that the film does not live up to the standards of his earlier films, all of which have went on to become modern day classics. The film is laced with several moments that will bring a smile to your lips as well as tears to your eyes. The film establishes the identity of PK in no time and quickly moves from one track to another. The first half is filled with fun filled moments while the second half takes a more serious turn. The last 30 minutes of the film are splendid, to say the least. The exchange of dialogues between PK and Tapasvi are clap worthy. The film ends on a stupendously high note.
Aamir Khan delivers his career best performance as PK. He does not blink his eyes once throughout the film, while delivering a brilliant performance. His command on Bhojpuri language is impeccable. Anushka Sharma’s role, arguably, is the best written female character in any Rajkumar Hirani film so far. She is terrific and one misses her presence every time she goes missing from the frame. Though the character of Tapasvi comes across as an uni-dimensional one, Saurabh Shukla plays it to perfection. Sanjay Dutt and Sushant Singh Rajput have cameo appearances but their characters are integral to the plot of the film. It was a pleasant surprise to watch veteran actor Ram Sethi in a small role. Parikshit Sahni and Arun Bali are very effective in supporing roles. Ranbir Kapoor’s appearance will surprise the audience in a huge way. PK is one of the best films to have come out this year Although it falls short of expectations, it still has enough entertainment and several heart warming moments to keep the audience happy.
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Rajkumar Hirani, along with co-writer Abhijat Joshi, successfully manages to convey a strong message to the audience, in an entertaining manner. There are a couple of loose ends in the narrative and a tighter screenplay would have helped the film scale greater heights. Having said, they must be lauded for touching upon various sensitive issues and take a stand on them. As an editor, Hirani should have clipped down a couple of portions. Murleedharan CK’s cinematography is good. Music (Shantanu Moitra, Ajay Atul and Ankit Tiwari) is far from being memorable but works well with the context of the film.