Quirky Chhokro: PK Review

PK is a movie that talks about maintaining a good looking physique and a streak of quick adaptability if you find yourself naked among a group of people. And Raj Kumar Hirani does just that, and so intelligently, with the knowledge that OMG! Oh My God had exposed the crux of his work stark naked a good two years ago.

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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