PK, played by Aamir Khan, carries a transistor with him that plays the right song at the right time, be it the Ghalib’s ghazal on asking about a place where the almighty isn’t present and he can drink in peace or a Mukesh number during a perfectly-timed bomb blast. The film’s screenplay is akin to this transistor, which plays out situations precisely the way they are required to take the contrived story ahead.
PK is a classic example of convenient writing. To begin with, a woman hands over a basket of cat to Anushka’s character Jaggu exactly when it is required (What was Jaggu doing in a church when she was supposed to be in a marriage registrar office of Belgium?), men and women are incarcerated in the same lock-up after being offered a 500 rupee note, a widow shows up exactly before a bride dressed in white, a burqa clad woman exactly after the bride.
Furthermore, PK’s ‘remote control’ thief dies exactly the moment he is required the most, a godman (Ably played by Saurabh Shukla) challenges PK on a news channel exactly when the writers find it convenient. Well, the dhobi list continues till the end credits roll. To cut a long story short (Just like its title), director Rajkumar Hirani’s PK is an upgraded version of Umesh Shukla’s Akshay Kumar-Paresh Raval starrer OMG (Oh My God).
The film has all the key ingredients of a Rajkumar Hirani film, right from Boman Irani, the jingle-like songs, to terrific performances by Aamir Khan, Sanjay Dutt, Anushka Sharma (She looks like an alien too), Sushant Singh Rajput (one really wished he had more screen time), Boman Irani and Saurabh Shukla. Following up the legacy of slogans like Jaadu Ki Jhappi, Gandhigiri, Aal izz well, PK, too, has a slogan to chant. But sorry Hirani sir, ‘wrong number’ just doesn’t cut the ice.
So, is watching PK a bhaste time? Well, not exactly. After all, it’s a Rajkumar Hirani film and is surely worth a watch – for old time’s sake. Ee PK to luull hoyi gawa!