
Aamir
Khan as an alien on a mission to find his missing remote wanders the streets of
Delhi in search of God, the keeper of all things unknown. His search takes him
through various religious customs and practices, and the movie reiterates the
message from Paresh Rawal and Akshay Kumar to the tee. However, despite the
blow of a used idea, PK holds itself together like Fevikol ka jod.
If there’s
an award for intangibles, there’s nothing more deserving than Aamir Khan’s
ability to treat every project with the sincerity of first love. To compare the
sheer dedication with which Aamir has lived the character of PK with the effort
the other Khans put in their projects would be sacrilegious. Right from his
silent imitation of dance steps in “Tharki Chhokro” to his airing of
frustration at a workshop of god’s idols, it does not pain me to know that
Boman Irani and Sanjay Dutt did not get their expected share of screen time.
Raju
Hirani comes across as a man whose face could be superimposed on the classic
Mickey Mouse watch from Disney; looking at which would make you smile,
irrespective of your age, but the fact that it’s always Mickey’s hands that
rotate around as needles could be either appreciated as a signature style or be
flouted for its lack of creativity. The resemblance of the movie with Hirani’s
previous works is so uncanny that you can actually play Zoobi Doobi to the
video of Love is a Bhesht of Time and none would be able to tell the
difference. The presence of a questioning protagonist who is both quirky and
lovable, a lady who serves the role of an ignorable love interest, music that
tries hard to bring back memories of a time when lyrics actually mattered but
fails to impress, and humor that you can enjoy with your family make this movie
as enjoyable as it seems familiar.
However,
unlike Hirani’s previous projects, PK dips to the Mariana Trench in the climax.
While the first half effortlessly makes you believe in a concept from
“science-fiction”, the climax makes it just as hard for you to digest the
possibility of “Sarfaraz ko phone lagaao” and everything that follows. It seems
like the writers answered the first few questions beautifully on an exam, but
scurried through the last for paucity of time.
Overall,
the film does justice to the time of the year at which it’s been released,
leaving a sweet after-taste after the hotch-potch that was served in 2014’s
main course. While both Aamir and Hirani take the cake, the movie leaves you
nice and contended, wishing only for a Tapasvi-ji print mink blanket to wrap
around yourself in the cold.
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