Film Review: Adipurush (2023)

STORY

Raghava rejects Shurpanakha‘s proposal which infuriates her and attempts to kill Raghava’s wife, Janaki. In retaliation, Lakshmana bleeds her nose with an arrow. Shurpanakha informs her brother Ravana. Ravana kidnaps Janaki which starts an epic war.

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INTRODUCTION

Adipurush is a mythological action film based on the Sanskrit epic from ancient India called ‘Ramayana‘. Before I jump towards this cinematic disaster piece, let me give you a few insights about where this story is coming from.

Hinduism is arguably the world’s oldest religion. After four holy books of Vedas, two Sanskrit epics that together forms the Hindu mythological belief and constructs a university of faith are Mahabharata and Ramayana. And Adipurush is based on Ramayana.

A legendary poet Valmiki wrote this epic poem thousands of years ago. The poem covers Rama‘s life, his 14-year exile to the forest with his wife Sita and his brother Lakshmana. And then Sita’s kidnapping by Ravana that resulted in a war. And last of all, Rama’s return from exile.

Who was Rama? Rama was the prince of Ayodhya in the kingdom of Kosala. Kosala was one of the 16 realms that existed in the ancient India between 6th and 4th centuries in BCE that were collectively called “Mahajanapadas” which means great footold of people. Rama’s father was Dasharatha, the king of Kosala. He had three wives; Kausalya gave birth to Rama, Kaikeyi to Bharata, and Sumitra to twin sons Lakhsamana and Shatrughna. Bharata is the one who ruled Ayodhya when Rama was exiled.

So when Ravana kidnaps Sita to his Lanka, Rama and Lakshmana are informed about this shocking incident by Jatayu, the vulture, who tried to rescue Sita. Rama and Lakshmana seeks help from Sugriva and Bajrang Bali to raise an army against Ravana and liberate his wife from the captivity.

So readers, I have given you a lot of insight. I have shared you some bullet points of the story. So why is Adipurush a box-office disaster? Why the Indian viewers of Hindu faith have taken this film as a blasphemy? What went wrong? Almost everything.

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REVIEW

See, I have read the bullet events that occurred in Ramayana and Mahabharata. And I think that Hindu mythology really gives us some interesting stories. Back in the 1990s, I happened to watch a few scenes from Ramanand Sagar‘s Ramayana that, if I am not wrong, used to be telecasted on Doordarshan. Whatever was happening in the show looked to be weird to me in those times. In my mid-teen, I was not a film critic but a typical Shah Rukh Khan fan. So, my opinion in the childhood matters the least or close to none.

But in 2023, with elite level of CGI and many technologies to ponder our unsettling surprises, I can easily envision that if Valmiki’s epic poem is given justice by its true loyalist, both Ramayana and Mahabharata will be shot with the aesthetics of a combined universes of James Cameron‘s Avatar and Peter Jackson‘s The Lord of The Rings.

But in 2023, the general audience especially of the Hindu faith are tortured to watch three hours of Adipurush which is in all sorts, outrageous and quite insulting to Hinduism. Most surprisingly, a film on Hinduism has severely messed up when Narendra Modi is the prime minister of India.

AGONIZING THE VIEWERS

Adipurush begins with a disclaimer that mentally instils the ‘Hindu’ audience to expect a volcano erupt from the presentation. It clearly states that ‘certain elements, characters, and events may have been interpreted or modified to suit the screen adaptation’. Later on, it also informs that they may have include dramatizations and fictional additions. I have always believed that if the film is based on a true story, just depict in its true nature with the highest level accuracy as possible. Because if you don’t, the film carries no purpose at all. And Adipurush is based on Hindu mythology that has become a religion to more than a billion people on the planet. So altering the story or trying to install the whole story in different aesthetics will do no good.

CASTING AND TERRIBLE PORTRAYALS

One of the massive issues with the film is an extremely enormous production budget which is ₹500–700 crore. With that budget, the film ridicules the audience with one of the worst visual effects ever paranoid. Also, with that budget, the casting and their costumes and make-ups don’t fit at all. One of the highest-paid actors in India, Prabhas, played the titular role of Rama. But more than Rama, he looked like Karna of Mahabharata. Plus, Rama sporting a moustache looked pretty odd because I think this has never happened before. Not even in animated films.

Beautiful Kriti Sanon plays Sita but by her attire, I assume she is reimagined as Sita in a modern setup. But Adipurush’s Sita also suffers from cheesy dialogues that corrupts the portrayal further. Imagine one of Sita’s responses to Ravana in Ashok Vatika is ”Ye kesa prem hay, Ravana? Mujhe koi aisi cheez do jo kuch din chale.” (What love is this, Ravana? Give me something that lasts for days).

Two more castings raised the eyebrows. One was Saif Ali Khan as Ravana and Devdatta Nage as Bajrang Bali. I dont have knowledge from what family did Ravana belong to but Adipurush’s Ravana, with his spiky hairstyle and Muslim beard, definitely comes from the house of Targaryen who instead of riding a dragon rides a gargoyle-like bat. Ravana’s original ride was called Pushpaka Vimana which was a flying chariot. So I am unsure what caused to change the ride whereas Pushpak Vimana was shown for a few seconds when Hauman flies to Sita. And then the bizarre alignment of Ravana’s heads in such an outrageous CGI. The ten heads of Ravana, if I am not wrong, always appears in one horizontal parallel. This is the first time, I see a 5×5 dramatizing of Ravana’s heads.

The portrayal of Hanuman is a joke. Neither the right actor was picked nor the physique was muscular enough to hand him over the mace. Plus, the dialogues he uttered were garbage. I felt that Devdatta was trying to be a silly Hanuman. But in any case, the makers surely had a lot of muscular choices for Hanuman. Overall, the casting on that massive budget needs an inquiry. Vatsal Sheth? Sonal Chauhan?

ZERO AESTHETICS

Adipurush doesn’t have a soul for magnificence in visual artistry or storytelling. I feel director Om Raut was being extremely lazy in giving a better look at this ancient world. A viewer cannot watch and say if the aesthetics are inspired. Almost every creativity in Adipurush will remind you of something and make you convince that the makers copied. Ravana Targaryen’s Westeros has striking resemblance with Marvel‘s Asgard. The legend is that Ravana’s Lanka was made of gold. Adipurush’s Lanka is made of coal. Almost everything is coal black. Bollywood has a tendency to dark the tone in the film when the world of the antagonist has to be portrayed as hell. But there is a level. Adipurush’s Lanka is more than elite level.

Not only that but Ravana Targaryen has an army of Orcs borrowed straight from Tolkien or perhaps Peter Jackson. There are a few sequences of Ravana Targaryen riding on his bat that will remind you the flights of the Witchking of Angmar.

Ravana’s son is one of the worst characterizations in the film. Those who have watched Vatsal Sheth giving a B-grade performance of Ravana’s son but doesn’t understand his value. Let me inform you what Indrajit meant in Ramayana. My research says that this guy nearly destroyed the race of vanara when he killed 670 million Vanaras in a single day. Vanara is the race of ape-people from where Hanuman belongs. They were created by Brahma to help Rama defeat Ravana.

Another legend is that Indrajit defeated both Rama and Lakshmana not once but twice in Ramayana. Plus, no warrior possessed all the three Trimurti astras other than Indrajit. Om Raut destroyed this character by making him the Lankan speedster Indrajit Allen aka The Flash. If I am not wrong, there is no mention of Indrajit being a speedster.

The vanara king Sugriva is a shameless replica of Caesar from the Planet of the Apes trilogy. Not only that, the dramatizing of the vanaras will precisely remind you of the Bandar Log from The Jungle Book. The jaw-dropping throat slitting scene is brutal false as that never occurred in Ramayana.

There is a sequence where Rama, Lakshmana, and a few vanaras are surrounded by the army of Orcs just like before the start of the Battle of Black Gate in The Lord of the Rings. And then comes a shot of the heroes warming up for the fight exactly like the first assembling of The Avengers.

In the beginning, two universes collide when Adipurush’s Rama fights against Harry Potter‘s Dementors. Whatever those creatures were, had no part in Ramayana.

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WTF IS YOUR MESSAGE???

The laziness of filmmakers is so plentiful that the most controversial dialogue of the film ‘Jali Tere Baap Ki‘ which itself is so subpar to listen is taken from a spiritual motivational speaker, Amogh Lila Prabhu. He uttered Hanuman’s entire dialogue in one of his addresses with using the word ‘Ravana’ instead of baap.

Can you imagine the sages, deities, or the most respectful figures of some mythology or faith, to whom millions or billions of people dedicate their lives or respect to its zenith, speak such cringe, low-level, or pedestrian dialogues? And in all honesty, it is not funny for people of any faith. Imagine a Christian or Jewish film being highly disrespectful and inaccurate. As a Muslim, I will not tolerate if a film is based from the times of Muhammad and instead of depicting the true soul of the story, make the joke out of it.

Om Raut wrote and directed Adipurush, Manoj Muntashir wrote the dialogues. They shamelessly defended against all the criticism. Ramayana is such an incredible story and its live-action adaptation deserved a very careful planning to transform it into a live-action. There must be inquiry about the film’s production cost because with almost zero creativity and cheap editing resulting into one of the worst VFX results from an assumed ₹500-crore budget film questions the authenticity of truth. This film is no way more than ₹50 crore at all. Perhaps, a half of this budget is Prabhas’ pay for the film.

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CLOSING REMARKS

Adipurush lacks the emotional value that would show the cultural and religious significance of the Hinduism. It just doesn’t remind you of the core or some essence in which Ramayana is valued to the hearts of the viewers but a three-hour Western portfolio and re-imagination of the ancient India unsuccessfully and unfaithfully resetting that war between good and evil.

Without watching any Ramayana or related show, I can blindly tell you that Adipurush is the last thing to remember for a Hindu content and unfortunately an unforgettable project for the wrongest possible reasons. If Om Raut and Manoj Muntashir are alive, that is only because they are Hindus. There is no excuse of this insult.

Those who want to try Adipurush, at your own risk. I wasted my three hours on the film and three days working on this content as a blogger and vlogger because this is my work. But you, let me save your 173 minutes and recommend you watching a 7-minute bhajan from Swades called ‘Pal Pal Hai Bhaari‘. That has music, poetry, essence of Ram, and Sita’s devotion.

Adipurush is a cinematic disaster which is lost in translation of the scripture that is sacred to the billions.

RATING 1/10

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Book Review: The Begums of Bhopal (2000)

The third Begum of Bhopal, Shahjehan Begum.

INTRODUCTION

In early 2000, Shahryar Khan was appointed the chairman of the Pakistan Cricket Board (PCB) and it was to my usual bitter disappointment that once again, the committee decided to elect an individual who had no experience in the field of cricket. In those times, I came to know that he was a diplomat. He couldn’t tolerate the situation of Pakistan cricket after that infamous Oval test and Younis Khan’s refusal of captaincy. A decade later, Shahryar Khan was appointed the chairman again.

Back in 2017, when Shahryar Khan left the position as the chairman of the Pakistan Cricket Board, I was googling him and found out that he was born in Bhopal. I further discovered that besides sports and a political career, he is an author. And one of the titles of his book that stroke the cord was the name, The Begums of Bhopal.

Being an ardent book reader and history aficionado, I gradually paced up digging about why a Bhopal-born octogenarian in Pakistan wrote about the wives of Bhopal. My eyes widen when I found out that Shahryar Khan belongs to some royal family who ruled Bhopal state for 241 years. But the most riveting part was that out of 241 years, his four female ancestors ruled for 107 consecutive years.

After understanding such a ravishing part of history, my honest feeling was that after learning so much about history, I was an ignorant fool not to have an inch of enlightenment about this. And it is a sad part, most of us have lost the hunger or enthusiasm to learn about one of the oldest civilizations. There is so much treasure of knowledge and the history of Bhopal is just a branch of it.

Curiosity bore so many questions about the book. The two most critical questions were that how come the Pathans ruled a state for more than two centuries where the Hindus dwelt in the majority? How come not one but four ‘Muslim’ ladies ruled a state in nineteenth-century India for more than one hundred years?

A brief introduction, nine chapters, an epilogue, and some drawings, appendixes, and some assessments of this book enrich you with the most precious detailing about the state’s history. Thanks to British India Office Records that preserves many scores of letters, documents, drawings, photographs, and history books that maintain the accurate information about the history of yore. Plus, dozens of books also assisted in shaping a proper history guide.

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THE DYNASTY

AN AFGHAN IN BHOPAL

The foundation of the princely state was laid by the traveler from Tirah, Dost Mohammad Khan of Mirazi-Khel clan of the Orakzai tribe when he joined Aurangzeb’s army and soon took control of Malwa, the region where the Gonds and the Bhils were the original and indigenous inhabitants.

Dost began to provide protection and made his presence stable in the region. In a few years, he persuaded his clan in Tirah to move and join him. As a result, fifty of his clan people along with his father, five brothers, and his wife Mehraj Bibi traveled from Tirah to Berasia. Thus, the Mirazi-Khel tribe became the pioneer settlers of Bhopal and were called the Barru-kat Pathans of Bhopal. With the steady progress of the Bhopal village that turned into a city, Dost became the first Nawab of Bhopal.

RIVALRY WITH THE MARHATTAS

The direct descendants of Dost continued to dominate and led the state with their leadership and faced many rivalries with the neighboring states. In the eighteenth century, the Marhatta Empire made attempts to take the control of Bhopal. First Peshwa Bajirao, then his son Nana Saheb Balaji Rao, then Raghuji Bhonsle.

In the 19^th century, Bhopalis faced the toughest times when Scindia of Gwalior and Bhonsle of Nagpur along with their army strength of 82,000 sieged Bhopal. Dost’s great-grandson Wazir Mohammad Khan successfully led the defense of an army strength of only 11,000 that included the Rajput allies, Sikh mercenaries, and the Pindaras of Tonk. I took a special interest in the detailing of this siege because this was the most important battle in their history where the lives of Bhopalis and the fate of Dost’s family and legacy were at stake. I have written a separate 2-part blog about the Siege of Bhopal that you can read here:

1. https://atomic-temporary-52124787.wpcomstaging.com/2018/12/21/the-siege-of-bhopal-1812-first-part/
   
2. https://atomic-temporary-52124787.wpcomstaging.com/2019/01/07/the-siege-of-bhopal-1812-last-part/

THE BEGUMS: QUDSIA & SIKANDAR

The second Begum of Bhopal, Sikandar Begum, and her royal court with a few musicians.

A decade after the Siege of Bhopal began the rule of female rulers of the Bhopal dynasty starting from Wazir’s daughter-in-law and 5^th Nawab Ghous Mohammad Khan’s daughter, Qudsia Begum. The arrival of women’s rule to the state turned the fates of Bhopalis as the state began to progress and Dost’s legacy continued to influence.

Amongst her vital contributions as the state leader was buying lodges in Makkah and Madinah for Bhopali pilgrims, and employing David Cook to construct a pipeline to provide her people free drinking water. She provided funds from her personal account to construct a railway station.

When Qudsia’s daughter Sikandar Begum took control and became the second begum to rule, she left no shades of their golden legacy behind but gave more reasons to believe why the begums of Bhopal were to be trusted as their supreme leader.

Moti Masjid was built in 1860 by Sikandar Begum, daughter of Qudsia Begum

In Sikandar’s era, postal service started, a police force was formed, and constructed a treasury and a mint for the local production of coins and currency. Sikandar also constructed a hospital and a few dispensaries and invited Hakeems from all the states to settle down in Bhopal. To transform the royal household into religious intellectuals, Sikandar invited Yemeni scholars to teach them Arabic, Hadiths, and the holy book of the Quran. When it comes to her religious contributions, Sikandar introduced Majlis-e-Shoora that passed 134 laws during her reign.

Sikandar holds the distinction for working for harmony between Muslims and Hindus by constructing mosques and serais for them. She also appointed an Accountant General who would check the waste and corruption. Urdu became Bhopal’s official court language, previously it was Persian.

THE BEGUMS: SHAHJEHAN & SULTAN JAHAN

Mother and daughter, the third and fourth Begums of Bhopal, Shahjehan (right) and Sultan Jahan (left).

The third begum Shahjehan, Sikandar’s daughter, brought more reforms into the system. The postal and police services that were initiated in her mother’s reign, were modernized. The revenue system was improved. Shahjehan also constructed a jail, a dam, and a proper arsenal for the state’s artillery.

Shahjehan’s daughter and the last Begum of Bhopal, Sultan Jahan faced a lot of challenges when she sat on the throne. Only 40,000 rupees were left in the treasury to run the state. Bhopal’s political system was on a razor edge and the economy was compromising thanks to her step-father Siddiq Hassan whose incompetent leadership resulted in social and economic corruption and despite sharp criticism by the British, Shahjehan preferred to defend him.

Sultan Jahan’s era was the symbol of promise and in the first ten years of rule, she built hope, faith, and future for her people. Despite being very religious and conservative, Sultan Jahan brought educational reforms, liberalism, and modernization to Bhopal.

Sultan Jahan improved systems in taxation, irrigation, agriculture, armed forces, police, jails, judiciary, and public works. She initiated municipality elections that upgraded sanitation, hygiene, and supplying tax-free water. In her era, Bhopali women found their voice in Begum. They were encouraged to join the Bhopal Ladies Club. The technical institutes were opened to teach them embroidery, handicraft, and needlework. She became the first chancellor of Aligarh Muslim University that helped in raising the bar for education, especially for girls.

The author’s great-grandmother and the last Begum of Bhopal, Sultan Jahan Begum.

Four ladies from Dost Mohammad Khan’s bloodline ruled the state for over a century and laid a solid foundation of discipline, faith, courage, commitment, integrity, and self-belief. We do not find any such example of political dominance and ideal leadership where women ruled keeping the peace between people of different faiths, stayed loyal with the British, and brought numerous social, political, and economic reforms in political history.

Balthazar de Bourbon

My book review will be incomplete without mentioning the Bourbons of India, the French connection to the Bhopal Dynasty; the descendants of high-born nobleman Jean-Phillipe de Bourbon de Navarre. They were the superior loyalists to the dynasty for generations that fought and defended a few battles and supported them at every cost.

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MY FAVORITE LEADERS

Amongst all the leaders of the dynasty written in the book, my favorite leaders were Mamola Bai, Qudsia Begum, Wazir Mohammad Khan, and Sultan Jahan Begum. I found them more distinguished and their leadership more propelling because they all encountered challenges and tackled them successfully.

Before the 19^th century witnessed Bhopal being ruled by four ladies, Mamola Bai was the first significant woman in Bhopal’s political history. She was a Hindu but first, she was the wife of the first Nawab Yar Mohammad Khan, and Dost’s daughter-in-law, who ruled the state for 50 years. She faced a tough time from the opposition who was Yar’s own brother Sultan who wanted to sit on the throne. But she invoked Islamic legitimacy in favor of Yar’s son Faiz against the claims.

The British Empire’s connection to Bhopal state began with Mamola Bai when she warmly welcomed General Goddard in 1778. Abdul Qadir Jilani’s direct descendant Pir Ghous Ahmad Shah Jilani formally declared her Rabia Basri II, the author’s mother Abida Sultan held the custody of the formal attestation of this declaration.

This is the first Begum of Bhopal Qudsia Begum’s only portrait found in the book as well as on the internet.

The point where Qudsia Begum impressed me the most was when she unveils her burqa in front of all the family members, contenders to the throne, qazi and mufti, and reads her husband’s will. These were the times when Dost’s male descendants were fighting for the throne and then, this 19-year-old Qudsia, pregnant with her second child, announces her regency and begins the century-old era of women’s dominance over the state.

The dazzling aspects of Sultan Jahan Begum lie in her leadership that turned the fates of the Bhopalis, especially women. Plus, she cleaned the mess made by her step-father Siddiq Hassan who made a lot of damage in corrupting the economic and political situation of the state.

But my favorite amongst all the leaders of this Bhopal dynasty is Wazir Mohammad Khan, the true defender of the state. He is the one who protected the state falling in the hands of the Marhattas, twice. Once, Wazir along with Ambapani’s Jagirdar Kuli Khan with 1000 tribesmen defeated Sironj governor’s General Bala Rao Anglia of Gwalior, Raghuji Bhonsle of Nagpur, Pindara Amir Khan of Tonk with 40,000 force. And the second time, he courageously defended Bhopal’s siege against Marhatta’s heavy army force of 82,000. The four Begums would have never led the state if Wazir’s gallantry never existed.

Tomb of Wazir Mohammad Khan in Bhopal. The site is hardly 3kms far from the tomb of his great-grandfather, Dost Mohammad Khan.

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AUTHENTICITY

The Begums of Bhopal guarantees history check and authentic detailing because of the four vital factors. One is that Shahryar Khan had his mother Abida Sultan’s library in hand that preserves books, documents, and rare manuscripts. Two, he had access to the British library where he scoured through confidential reports about the state by the-then British civil servants.

Three and the biggest factor that distinguishes this book from any history book a historian may have written in the past two centuries is that Shahryar gained direct knowledge about his ancestors through his mother’s tape recordings that recorded her impressions of the state’s history as related to her by her grandmother Sultan Jahan Begum, the fourth and final Begum of Bhopal. On the tape, the grandmother, old civil servants, and family members spoke in detail about their time and even recalled the time of Sikandar Begum’s golden era when she ruled Bhopal in the mid-nineteenth century.

And four, the book discourages to be quintessential or overpraise the pride of his ancestors. The book refuses to deceive the readers by exaggerating the details of their greatness of being the most ideal of all Bhopalis. The book highlights the state’s leadership that went in good and bad hands. The book stamps an unbiased history of centuries-old rulership where the author details the rights and wrongs of Bhopal’s leadership in safe and unsafe hands.

The golden example of the book’s historical authenticity is writing about one of his ancestors who sold his rank and Bhopal’s fate for his comfort and pleasure, Ghous Mohammad Khan, father of the first Begum of Bhopal, Qudsia Begum. Then there was Siddiq Hassan, the third Begum Shahjehan’s second husband, whose leadership in Bhopal raised questions in Bhopal and the British.

Portraits of prince and princess, grandchildren of Sultan Jahan Begum of Bhopal, c.1910

The author also holds no tolerance in courageously detailing the clashes in the royal family, complicated mother-daughter relation between Shahjehan Begum and Sultan Jahan Begum. The author was also not shy of speaking about the speculation of a romantic affair between Qudsia Begum and Shahzad Masih. Qudsia Begum disallowing to transfer her power of authority to her son-in-law is also spread in pages. The point of highlighting all of this is that the author pens the history of his ancestors in an impression that the Bhopal state and its people went through changes in the period of the leadership of their dynasty that resulted in good and bad outcomes. People lost their lives in their battles but also trusted for the reforms they made.

The author neither shows any pride nor does he write any respective names as his relatives but he broadly commentated their stories. You will not observe any page where he calls his relatives in person but rather speaks their names. He mentions himself in the epilogue but only writes his name. The preface is the only part where the author personally speaks and writes ‘I’.

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CLOSING REMARKS

I began to read The Begums of Bhopal back in March 2018. The knowledge was so driving that I began to prepare notes and draw myself the lineage of the princely state. Although, the drawing is there in the book, but for me, it was helpful to update all the lines with the completion of chapters I read. This book made a lot of reading intervals due to my own mid-life crises. But with a strong will, I have finished reading this book by the end of 2021.

The beauty of reading this book is that you grow with the timeline from Dost Mohammad Khan’s arrival in Malwa in 1707 to Hamidullah Khan’s succession of the throne in 1926. It is like if you are watching the American television show Roots and following Kunta Kinte’s descendants. This book deserves a television series with an extremely huge production budget, and I wish if this ever happens. Because this part of history needs to be told.

To all the readers who seek knowledge about the tareekh-e-Hindustan, The Begums of Bhopal is a part of it. A lot of information about India’s ancient history has not reached the internet; that makes me think that there is still a lot about the past to reach us. Gain it, treasure it, before all these cannons go further missing.

The Begums (1819-1926): Qudsia (top left), Sikandar (top right), Shahjehan (bottom left), and Sultan Jahan (bottom right)

Movie Review: PK (2014)

Once upon a time, an unknown creature from other gola comes to a great nation with many cultures and religions on a research mission. Why did he choose India?? Probably because it is a Bollywood movie and good Aliens always come to India as compared to US.

Dropped on earth in Rajasthan full naked. Nope that is not T-800, that is an alien with no name, no language, but is going to trace the life of earthlings. He wears green remote stolen by a thief who runs away to Delhi.

His super-strength is that he can see the whole life history of a person whose hands he touch which helps him adapting the local life easy. His research mission turns to remote mission as he crosses different shades of life among humans from Rajasthan to Delhi.

With the passage of time, he is named PK. PK’s quest reaches no boundary as he confronts with different people of different faiths and beliefs and in all this trauma, the alien meets a news reporter Jaggu and details his account. No not Jackie Shroff, Jaggu is nick name from Jagat Janani. Jaggu finds PK very interesting and plans to bring him on media where he opposes local godman, Tapasvi Maharaj who actually has his remote.

PK is a comedy-drama movie produced by Vidhu Vinod Chopra (Parinda, 1942: A Love Story) and directed by Rajkumar Hirani (Munnabhai series, 3 Idiots). This is their 4th collaboration as producer-director with all movies achieving huge success with sky-touching box-office collections. With brilliant promos and strong marketing, casting the brand itself Aamir Khan, well-publicized lip-enhancing story of Anushka and cameo of Raju’s ‘Munnabhai’; PK already was a smashing hit before its release and had promised to become India’s all-time highest grossing movie ever to date. By 1st of January, 2015, PK had already crossed Dhoom 3 with ₹264 crore in India and ₹492 crore worldwide in just 13 days. 

There is a tremendous depth of take-a-look over the nature of funny asylum. Filmmaker Raju and screenplay writer Abhijat Joshi once again put a load of questions in viewer’s mind like the duo did in the past. They used Gandhi’s philosophy and thesis in a country of a forgotten leader in ‘Lage Raho Munnabhai‘, then took an individual’s brain and heart to break the silence over richly disturbed educational and employment system in ‘3 Idiots’.

Now the writers plot a more common root of religious beliefs and ritualities. India is globally an economic and financial booster among many great nations with a population exceeding over a billion. With that fact, languages and religions play a prominent part in nation-building. But with all social and moral justifications, PK the alien discovers the richness of deception among the majority. That deception comes from their godmen who multiplies their so-called religious business by deceiving those who follow God but not holy books.

PK is an object by a thinker applied on one sector of earth and called ‘research mission’. The flow of script paces towards his various ideologies over a confused state of ‘Call’. In a confound world; PK is disturbed, confused and frustrated to whom shall he call for help when you need. That is the greatest depression of 21st century when a human is effed by state’s politics and law enforcement, and civil war among people of different faiths (sometimes of same faith but different sect). Sect?? yes sect – where school of thought among same people differs and that is what happened in movie as few seconds of Shiite’s Ashura were picturized.

Even India is just an example, godmen are everywhere and people are tremendously tweeting those nuts. PK/Tapasvi scenes are very thought-provoking, specially their last segment of on-air talk show is worth listening. Not only religions but mental understanding between people of two nations are superb. The Indo-Pak affair among larka-larki in Belgium is short on-screen but of prominence.

Minuses? Every movie has, so has PK. Background score has no ears to seduce, songs are way flat. In fact script never demanded songs but being a commercial Hindi movie it is a financially must. Two of the songs ‘Love is a waste of Sperm’ and ‘Chaar Kadam’ already develops heard-before feeling.

I might have less knowledge of internet as I fail to understand the continuity of a video call from house of Jaggu’s father to Tapasvi Maharaj’s center. But more massive error was the talk show which schedule to on air 6pm in Delhi but when calling Jaggu’s lover Sarfaraz in Pakistan, it is day over there.

Plusses are many. Screenplay has already been detailed above as the director has superbly executed the script. Director brilliantly manages to shot highly sensitive religious aspects of the movie in satirical way. Thank God bottle of Vines never reached masjid :P Make-up and costume designing was very creative, PK’s weird match of dressings were well-explained and the over-usage of vehicles sketch a sharp contrast of India’s huge concerns over non-stop population or HIV aids (just another small thought over writer’s flow of ink on paper).

I really don’t see Sanjay Dutt’s heavy-duty on cameo of that prominence. Anyone could have played that role. He surely was picked to bring Munnabhai back to some circuit. I am majorly surprised that this time Raju put Boman Irani in such a minor role as compared to other notable roles in previous Raju movies. Anushka gives life to her Jaggu character and Saurabh Shukla‘s Tapasvi role is just another highlight of his superb CV.

Aamir Khan as PK proves yet again why is he called the ‘Perfectionist’. He goes naked, dresses weird, adopts what he breath. Saying in short, he customise and smokes the role in very AK way. He is an absolute showstopper who will entertain you in the whole movie. His facial expressions have no full stop on limits, the Rajasthani dialogue delivery is remarkable.

PK is a must watch movie, not because it is an Amir Khan movie but also it appeals you to understand. The message has social and religious issues but vehement.

Ratings: 8.7/10

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