Olympus Bound

Selene DiSilva is a woman of mystery - a loner, a vigilante sworn to protect women, she stalks the streets of Manhattan - her only companion, her dog, Hipployte. On an icy morning, she comes across a body that has washed ashore - a young woman, horribly mutiliated and wreathed in laurel. But this is no ordinary crime - and Selene is no ordinary woman. She is Artemis, an Olympian, a Greek goddess, an Immortal - once all-powerful, the Goddess of the Hunt must now summon all of her dwindling powers to track down the killer...

Greek mythology meets murder mystery meets historical fiction - all my favorite genres come together in The Immortals - the first book of the Olympus Bound trilogy written by Jordanna Max Brodsky. I love the basic concept - immortal Greek Gods walking amongst mortals, and while their depleted lives are a far cry from their divine existence as mighty Olympians, they have survived through the millenia, taking on new identities as required. Readers not familiar with Greek mythology will benefit from a quick Google search on who's who on Mt Olympus - starting with Artemis, her twin Apollo and all their step-siblings - most of them do make an appearance in the book!

The ritualistic killing of the murder victim is as described as in the long-forgotten Eleusinian mysteries, and Selene must find and put an end to the mysterious cult which is using human sacrifice to restore the ancient powers of the God being worshipped. Reluctantly, she enlists the help of her estranged family, and Classics professor, Theo - a mortal, who finds himself in the unlikely position of being Artemis' sidekick! Needless to say, after the requisite twists and turns, a couple more murders, bullets and arrows flying - the culprits are brought to justice!! Alls well that ends well!!

This type of fantasy novel inherently requires a suspension of disbelief - we're talking Greek Gods here, after all!! Even with that in mind, some parts of the book are simply too outrageous!! The whole romantic angle with Theo and Selene - that just didn't sit right. I mean, I get why Theo is smitten - but Artemis?? Her attraction to Theo is unfathomable, her ambivalence about hanging onto her 'chastity' (ahem!) - would an immortal goddess really be swayed by mortal desires of the flesh - comes across as an awkard attempt to add tension to the story - so not needed!! And while I enjoyed the little excursions into history through Selene's memories - Artemis killing Alexander Hamilton - now that truly made me LOL!!

The premise of the book is great, but the execution is a bit sketchy. Some parts almost come off as a Young Adult fiction - in fact, if it hadn't been for the gruesome murders, I would have happily handed this one to my daughter! I happened to borrow the second book of the trilogy at the same time as the first, so the question of whether I'll continue with the series is moot - which brings us to Winter of the Gods...

Winter of the Gods brings back Selene and Theo - the unlikely crime-fighting duo to solve yet another New York murder. The dead body sprawled across Wall Street's iconic bull statue is surrounded by a multitude of sacrificial animals - and all signs point to another cult in the making. Once again, Selene must depend on Theo and her family to unearth this conspiracy which threatens the very existence of the Gods.

The inherent problem here is the repetition - at the end of the day, we have a fading Greek goddess detective, another string of murders, and a divine justice ending - there are just too many similarities with the first book. This time around it is the Gods themselves that are being sacrificed, and Theo has a much larger role to play - apparently being 'Friend of the Gods' comes with benefits such as being able to use divine weapons.

We meet more of Selene's family - including Eros, the God of Love, who is now a gay French dude, Phillipe, who runs - of all things - a matchmaking site!! And there are tons more references to Greek myths - all of which should make this book tons more interesting - but it doesn't really flow as it should. Theo's new friend, Minh, just happens to be a archaeo-astronomist (is that even a thing?), who is easily able to decipher the meaning of the sacrificial animals - really, talk about coincidences!! And while on Minh, the whole thing with teaching her boyfriend a lesson - almost too much to bear (pun fully intended!!)! Let's not even mention the Selene-Theo "will they - won't they" track - it is just too much like a bad teen movie!!

Needless to say, I did not enjoy this sequel. I can imagine that the third book will take us to Mt. Olympus, and a face-to-face with Zeus - and yes, I do intend to read the third one when it comes out!!

Airlift (2016)

Image courtesy: Wikipedia

"So do all who live to see such times, but that is not for them to decide. All we have to decide is what to do with the time that is given to us." - J.R.R. Tolkien, Lord of the Rings.

Kuwait, 1990. Saddam Hussain's invasion of Kuwait left 170,000 Indians homeless, stranded in a war zone. Running low on supplies, with no travel documents these souls were in a desperate situation - until a few Indian businessmen in Kuwait, with the help of the Indian Government and Air India organized the largest evacuation operation known in history. Over a period of 63 days and 488 flights, more than a 100,000 Indian nationals were airlifted from Amman to Mumbai. 'Airlift' is the story of this evacuation and the people who made it possible!

Akshay Kumar is Ranjit Katyal, a businessman who lives in Kuwait with his wife, Amrita, and daughter, Simi. A ruthless tycoon with connections in both the Iraqi and Kuwaiti governments, Ranjit thinks of himself as Kuwaiti - until the invasion, when he is stripped of everything but his identity as an Indian. In a city overrun by the conquering Iraqi soldiers, Ranjit is stopped on his way to the embassy, and his driver is brutally shot. Shocked to the core, Ranjit is forced to re-evaluate his priorities - and rather than escaping with this family, he decides to stay, to rally his fellow countrymen and to help in any way he can...

Akshay Kumar is at the top of his game here - a remarkably restrained performance - if you're looking for the Khiladi, this is not the movie for it! He is the suave businessman, the anguished husband, the empathetic employer, and finally, the reluctant messiah for all the refugees. Nimrat Kaur is just as perfect as Akshay - her initial disdain for the unwashed masses, her perplexity at her husband's change of heart, and then the dawning realization and support for Ranjit's quest - very impressive! As for Kumud Mishra, I wouldn't be surprised to find that he actually is a career bureaucrat - he is Joint Secretary Kohli!! And again the wonderful character arc - a disinterested paper-pusher to a sympathetic bystander to an officer with conviction, running pillar-to-post to help the stranded Indians - Mishra holds his own in a big way!

The film stays on an even, understated keel - there is no rah-rah patriotism, no flag-waving, no over-the-top histrionics! Very realistic scenes - like when Kohli has to convince Air India pilots to fly into a war zone. No hyperbole, no vein-popping dialogues - just a simple appeal to do the right thing. Or when Ranjit's cavalcade to Jordan is stopped by Iraqi soldiers - yes, there is a fight - but this is no superstar demolishing dozens with a sweep of his arm. Just a desperate man at the end of his tether, who will do anything to keep his family safe. The only grandiose gesture is the Indian flag being raised at the Amman airport - and even that is tastefully done!

Drawbacks? Well, I would say this film is about 25 years too late! It brings to light a glorious page in contemporary Indian history, but these events happened so long ago, it is difficult to find an emotional connect. The pace doesn't help - there is no surprise ending, of course - a tighter, tenser built-up, a little bit of masala would have helped here! I also would have liked to see more of the pilots - they were a big part of this rescue operation, and the film does not give them their due! The film ends with original newspaper articles and photos of all the people involved - it would have been interesting to see a couple of then-and-now refugee stories!

None of this takes away from the film, though. Airlift has its heart in the right place - I found myself tearing up in quite a few places (yes, I'll admit it - movies make me cry!)!! Watch it, this is a film that will make you proud to be Indian!!

The Music Room - A Memoir

Image courtesy: Goodreads

I stumbled upon this book quite by accident in a very unlikely place - on the shelves of the Peoria Public Library, hiding in the non-fiction section! The gorgeous cover and the blurb - from Ravi Shankar, no less - "A must for every musician and music lover" - I checked it out with no hesitation! And I'm so glad I did - "The Music Room - A Memoir" by Namita Devidayal, is an absolute treat - and not just for musicians and music-lovers, but for everyone with a fascination for Indian culture and traditions!!

Namita is 10 years old, when she first reluctantly starts music lessons with Dhondutai Kulkarni, the last eminent singer of the Jaipur gharana and a disciple of two eminent vocalists - the legendary Alladiya Khan and 'Surashri' Kesarbai Kerkar. From a cramped one bedroom flat in the seedy Kennedy Bridge neighborhood, to a spacious bungalow on Shivaji Park and then a nondescript Borivali apartment complex - Namita's unique bond with Dhondutai evolves over a span of 25 years. Dhondutai sees in Namita the potential to become a second Kesarbai, as Namita struggles to find the fine balance between a career and family and her passion for music.

Gracefully written, this memoir left me spell-bound. Namita Devidayal gives the reader a tantalizing glimpse into the enigmatic world of Hindustani classical music - "a world bound in mystifying tradition and irrational obsession", to quote from the book. A brief genealogy of classical music - starting all the way from Bharat Muni, to music of the temples, then moving to the royal courts followed by the Islamic or Persian influence during the Mughal dynasties and royal patronages during the pre-independence era - to the distinct Hindustani and Carnatic styles of classical music we have today - beautifully explained in a lucid manner!

Even more interesting is the information about the music itself - the way the seven basic notes are interpreted so differently in the Western and Indian classical styles, the composition of the ragas, and the cornerstone of Indian classical music - the gharanas and the gurukul pramapara of teaching music! Interspersed with this history of music, are the memories of Dhondutai - her own musical journey, and anecdotes about her gurus. Musical illiterate that I am, I had never heard of these musical giants - and Wikipedia has left me humbled. Truly, what a wealth of information this book has given me!!

Beyond the lofty world of classical music, the author also touches upon social mores prevalent in Indian society - the conundrum of a Muslim Alladiya Khan claiming to descended from a Hindu family, the stigma of being a female singer in the early 20th century, Kesarbai's struggle to establish herself, Dhondutai eschewing the traditional role of a Brahmin woman to embrace her music, the Hindu-Muslim divide - all the way to the bureaucracy and corruption of the government when Dhondutai applies for a flat in the Performing Artist quota! Adding to the local flavor, Namita Devidayal has effortlessly captured the essence of Bombay - and then beautifully juxtaposed it with the serenity of the temples - the Dattatreya temple at Narsimhawadi and the Mahalaxmi temple at Kolhapur!!

At little over 300 pages, this is not a huge book - but it packs an enormous punch! Highly, highly recommended - and not just for connoisseurs of classical music!! Without a doubt, a must-read!! Happy reading!!

Natsamrat (2016)

After Katyar Kaljat Ghusli, it is now the turn of another immortal stage production to make its way to the silver screen - V. V. Shirwadkar's Natsamrat ("King of Actors"). Katyar, of course, was a lavish production with a superb ensemble cast, and translated beautifully into a film! Natsamrat, on the other hand, would almost qualify as a one-man show - the story completely revolves around the eponymous lead - so how does this poignant drama fare?

The story is age-old. Ganpatrao Belvalkar (Nana Patekar) is an eminent thespian, his life's work his Shakespearean roles that he lives and breathes! Feted with the highest theatre award - the title of 'Natsamrat'- he decides to retire, and despite the misgivings of his wife, Kaveri, bequeaths all his worldly possessions to his children. Parental pride and trust soon crumbles in the face of filial ingratitude and betrayal - and the once respected, idolized Ganpatrao is reduced to a homeless vagrant, his life ironically unfolding into a Shakespearean tragedy! Is the Natsamrat doomed to live out the rest of his days in an agonizing anonymity? Or will his children see the error of their ways??

Comparisons to the iconic stage production are inevitable - especially when a celebrated actor like Dr. Shriram Lagoo has completely ruled Natsamrat so convincingly for so long. Dr. Lagoo is Belvalkar, and he has set the bar incredibly high! Nana Patekar rises admirably to the challenge - what an actor, and how refreshing to see him in something other than an asinine Bollywood comedy  - a bravura, acclaimed performance, and yet, in my opinion, he doesn't quite hit the mark. I think that Nana Patekar's very earthiness, his son-of-the-soil aura - which makes him so perfect to play a character like Dr. Prakash Amte - works against him this time. There is nothing frail or feeble or helpless about Nana Patekar - so Ganpatrao's helplessness, his desolation, his heartbreak never comes across convincingly.

The plight of the elderly is a very real social problem, even today, and yes, even in well-heeled families like the one depicted in this film. But once again, this never really comes through - the hardship and struggle seems very superficial - making it very hard to empathize. The domestic strife in the first half - the problems with the son and daughter-in-law - there's no buildup of tension, no simmering rage, no sense of things coming to a head - one minute, there's a montage of a happy family scenes, the next, there's this massive fallout - and over what? An inappropriate dance performed by the grand-daughter?? Really?? Where were the parents when this dance was being rehearsed?! And, honestly speaking, the creepy factor is pretty high here - a grandfather choreographing such a dance? Wouldn't it have been more keeping in character for him to teach her one of his beloved Shakespearean monologues??

And then when the daughter moves her parents to the outhouse - ample chance here to draw a parallel between the unnecessary broken-down stuff stored in the outhouse, and the parents who have outlived their apparent usefulness, stashed away to accumulate dust, forgotten by all. But the outhouse shown in the film is a like a villa - with rocking chairs on the porch, cheery yellow paint, and even potted plants - again, where's the hardship?? And then, with the stolen money incident, where's the impotent fury, the unbelieving despair? And where's the wife shoring up her broken husband with steely determination, with the will to start all over?? These kind of scenes need gut-wrenching, raw emotion - I, for one, was not impressed.

Even when he hits rock-bottom - he has tragically lost his wife, his son and daughter have stripped him of all dignity - even then, Ganpatrao appears to be remarkably in control of his faculties - this Ganpatrao has a job at a tea-stall, he has a routine of a drink with his fellow footpath dwellers, and a kindly old lady serves him food hot off the stove. Where's the scattered, broken-down excuse for a man, hanging on to life by a mere thread?? Where is the cry for help from the depth of a shattered soul? Where's the pathos?? How am I to feel sorry for this character??

As for the characters of Ram & Kumud, I'm still trying to understand how their track made any difference to the story. If Ram was meant to be a foil to Ganpatrao, a sounding board, a shoulder to cry on - we never see it. Vikram Gokhale is magnificent, as always, but he doesn't really have enough screen time to make an impact. Nevertheless, the best scene in the movie is when these 2 stalwarts act out Karna's death - absolute goosebumps! - more of these, although irrelevant, would have been very welcome!! And not to take away anything from Nana Patekar - but am I the only one who thinks that Vikram Gokhale would have probably been better for the title role??

Not a very positive review so far, but keep in mind that all my quibbles are actually about the differences between the theatre version and the film version. So, in spite of all my carping, it cannot be denied that this is actually a pretty decent film - as long as you don't compare it to the original theatre version. It is indeed a good sign that Marathi films are once again drawing audiences to a theater, and for a fresh pair of eyes, I would recommend watching this. As for me, the shadow of Dr. Lagoo's performance loomed just too large - so yes, by all means, watch the film - but then don't forget to grab a DVD of the stage production!!

Bajirao Mastani (2015)

Does anyone remember when this film was actually announced?? Way back when - 15 years ago, touted as Sanjay Leela Bhansali's dream project, with Salman Khan and Aishwarya Rai in the lead. Over the years, the lead cast going through so many changes - with almost all the top actors in Bollywood rumored to play the titular Bajirao!! And then the controversies - descendants of the Peshwas petitioned against the release of the film, the songs drawing a lot of flak, historical accuracy being questioned!! Of course, all this simply ended up raising the film's curiosity value!!

The Peshwa history is a golden chapter in Indian history - and Bajirao Peshwa one of our greatest heroes. He is credited with the expansion of the Maratha Empire - in his 19 years as Peshwa, he not only has the distinction of winning 42 battles straight, but of remaining undefeated on the battlefield. Much loved by his soldiers, he led from the front - it is said that he spent more time on horseback than on the ground!! Moving the seat of the Peshwas to Pune, it was during his reign that the palatial Shaniwar Wada was built - a true symbol of the power the Peshwas wielded!! It is ironic that this great warrior should be remembered not for his military exploits - but for his romance and marriage with Mastani, a Chhatrasal princess from Bundelkhand!! But enough of the history lesson - back to the film!!

Bajirao Mastani starts impressively enough - the glorious Satara darbar of Chhatrapati Shahu Maharaj, the selection of the young Bajirao as the next Peshwa, the montage of his victories, the battle of Bundelkhand - I was literally on the edge of my seat!! Ok, I'll admit - I had serious misgivings about this film, but I take them back - it was immensely gratifying to watch the splendor of the Maratha Empire depicted so lavishly!! Such a beautiful film - the costumes, the sets, the details - an absolute visual treat!! Especially loved the recreation of Shaniwar Wada - as magnificently imposing as can be imagined!!

If only Sanjay Leela Bhansali had not let the mores of Bollywood take over - this film would have been a monumental biopic of Bajirao Peshwa - a truly epic historical. As it stands, barring the first 30 minutes, we have a traditional Bollywood love-story - what could have been legendary, remains a mere costume drama!! The songs - yes, all of them - although exquisitely pictured, detract greatly from the narrative!! And the 'love story' - where's the sizzle, the electric passion? - I was yawning through most of the romantic scenes!! The absolute low point was the Bajirao-Mastani lamaze - seriously?!! And the end was such a drag - so very filmy - was wishing for a FF button!!

Of the cast, Ranveer Singh impresses the most - he is riveting as Bajirao. From the Marathi accented Hindi, to the regal posture and bearing, with delightful touches like the head nod - he brings Bajirao to life - the confidence of the battle-hardened warrior, his gradual unraveling into a weary, embittered soul - a bravura performance!! Priyanka Chopra sparkles as the sassy Kashibai - and how gorgeous does she look!! The surprise is Deepika - and not in a good way - very, very disappointing!! A very wooden performance, Deepika looks lost - and that wide-eyed, no-blink stare is so disconcerting!! The supporting cast - notably Milind Soman as Ambaji Panth, Tanvi Azmi as Radhabai and Mahesh Manjrekar as Shahu Maharaj - are all wonderfully cast, and the sprinkle of familiar faces from the Marathi film and TV industry was delightful!!

A little bit about the outrage regarding the historical inaccuracies. In my opinion, most importantly, in no way does the film denigrate the Peshwas or the Maratha Empire - far from it!! Secondly, the film is based on the novel Rau by N.S. Inamdar - a work of fiction to begin with. And isn't a certain amount of cinematic license to be expected anyway?? As for the Bajirao-Mastani romance - yes, Bajirao did marry a Bundelkhand princess named Mastani. Yes, she had a Muslim mother. Yes, as Bajirao's second wife, she was not at all accepted by the Peshwa's family and the orthodox Brahmin community. Yes, Bajirao defied society and his family by installing her in the Shaniwar Wada. But the great romance, the grand passion - is this a historical fact at all?? So where is the question of inaccuracies??

Bajirao Mastani is far from perfect. But surely all those historians who are up in arms regarding the inaccuracies and the cultural elite who are so incensed about the Bollywoodization - I'm pretty sure that's a word! - of Marathi culture - surely these guardians of our legacy must realize that although flawed, this film has brought the legend of Bajirao home to a whole new generation? Unfairly reduced to a cipher, relegated to a footnote - thanks to this film, Bajirao Peshwa stands tall once more!! What more can anyone ask for!! 

Gone Girl

Image courtesy: Goodreads

Nick and Amy Dunne have it all - a perfect marriage, a house in New York, glamorous lives. Yet after they both lose their jobs unexpectedly, they discover that their relationship is not as strong as it seems. Nick decides to move to his hometown, North Carthage, Missouri to care for his parents - and Amy acquiesces reluctantly. And then, on the morning of their fifth wedding anniversary, Amy disappears without a trace - and the mounting evidence implicates Nick, his guilt more obvious with each passing day. Did Nick really murder Amy? Or is there a darker, deeper secret behind Amy's disappearance?

It is impossible to talk about this book without giving away key plot points - so fair warning, spoilers ahead! The tagline of the book reads 'There are two sides to every story' - and that is exactly how the book is structured. The two sides of the story - Nick's story, starting with the morning of Amy's disappearance, and Amy's story, by means of extracts from her journal going back seven years.  Even in his own narration, Nick comes across as a self-absorbed, selfish person - and his web of lies is alarming. Struggling with his feelings about his misogynist, abusive father, trying not be like him - Nick seems to be the most comfortable when being adored and indulged by the women in his life - his mother and his twin sister, the weirdly nick-named Go, are his biggest fan club.

Amy's journal - starting with her meet-cute with Nick and their subsequent falling in love seven months later to an entry few days before her disappearance claiming she is afraid that Nick may kill her - is a portrayal of a marriage gone terribly wrong. Although not entirely blameless - a little too needy, trying too hard to be the perfect wife - Amy still seems to be the only person really working at this marriage. And following Nick's mom's death, Nick seems to morph into an unfeeling, uncaring monster, his behavior bordering precariously on domestic violence. Having used his wife's money to set himself and his twin sister up in business, Nick resents his wife for helping him - and his unnaturally calm composure after Amy's disappearance is highly suspicious.

And then, wham! Part 2 begins with the shocking realization that everything the reader has learnt about Nick and Amy may not be entirely true! Amy is alive and well and has hatched a diabolical scheme to frame her husband for her own murder - a year of planning including writing seven year's worth of fake diary entries!! What??!!! All those fuzzy 'Dear Diaries' are a setup!! And Nick's secret? No surprises there - he's been having an affair with a woman 10 years younger than him, and he was planning to ask Amy for a divorce on the day she disappeared!! How's that for motive?? To complete the picture of Amy as a sociopath, we are introduced to a couple of people from her past who she has 'punished' for not living upto her expectations!!

Then, the author seems to forget that she has built up Amy as a super-intelligent, savvy woman - and puts her in situations that are absolutely ridiculous! Seriously, when you are in hiding while pretending to be dead, you do not befriend the people staying at your lonely bed-and-breakfast, you do not flash your fat money-belt when you're with them and then you don't let these 'friends' into your room, so that they can rob you without even a struggle! Dumb, dumb, dumb! And then after Nick figures out he's being framed, his master plan to find Amy? He goes on national TV, and accepts his guilt, accepts that he is a scumbag, and would Amy please, please forgive him and come back, so that he could make it up to her? And you know what - it works! Amy sees the interview, melts into a puddle, and decides to return - not before she casually destroys someone else's life! So then, is she a brilliant sociopath or is she a complete idiot - very confusing!!

Nick and Amy are probably the worst ever book characters I have ever met - and while the book was compelling enough to keep reading, I simply could not find it in me to root for either of them. Their problems are the problems of the self-centered, entitled, affluent and bored people - lost your job, well suck it up, and stop whining about the big, bad Internet, Nick! Too fancy for the solid middle-class with their casseroles and wall-to-wall carpets - well, guess what, Amy, not everyone has a trust fund and a brownstone in New York with a view of the river!! And please, how can you not know how much a gallon of milk costs - oblivious much?? I just cannot decide which of them disgusted me more!!

As for the ending, it was way too ambiguous and vague for me - a non-ending is what it is. So after all the cheating, lying, scheming, framing, killing and whatnot - we're expected to believe that Amy and Nick are settling into cozy parenthood - "on the eve of becoming the world's best, brightest nuclear family"!! Suddenly, the sleaze bag Nick is holier-than-thou, sticking it out with his "psycho bitch wife" for the sake of his baby? What kind of father does he imagine he's going to be? Ooh, he gave up his girlfriend, and he's taking care of his pregnant wife - let's give him a halo, and 'Husband of the Year' while we're at it!! Did not like the ending. At all.

The book is a psychological thriller - and it is a nail-biting read - but it will leave you with a bad taste in your mouth. I like Flynn's style of writing - could have done with a little less of the smutty talk, though. Her language is very descriptive, very visual - and the plot for the most part, is tautly written. Of course, a fast-paced crime novel like this one literally screams 'Film adaptation' - will be very interesting to see how this nasty story plays out on the big screen!! I'm still not completely sure if I would recommend this - read it if the genre appeals to you - it's definitely not Happy Reading!!

PK (2014)

Another December, another blockbuster release starring Aamir Khan - only after the Dhoom 3 debacle of last year, I wasn't really sure what to expect from PK. Other than Aamir, the big draw of PK was the director - Rajkumar Hirani - who in the last few years has turned into Bollywood's self-appointed social conscience - coining phrases like 'jadoo ki jhappi', 'All izz well' and my favorite, 'Gandhigiri'! Hirani's films are entertainers with a message - and the last outing of this director-actor duo, 3 Idiots, broke all kinds of records - will PK live up to the hype?

A spaceship lands in the dusty desert of Rajasthan, and a wide-eyed alien steps onto the Earth, his only adornment a flashy remote around his neck - which is stolen by the very first human he encounters. Without the remote, he cannot summon his spaceship, and he is stranded on a planet alien to him, with no means of communication or support. And so begins his quest - to retrieve his remote, and to return home. His search brings him to Delhi, and when told by a number of people that only God can help you now - he very literally begins to search for the seemingly elusive 'God' that would return his remote.

Meanwhile in Belgium, an Indian student, Jagatjanini, or Jaggu (Anushka) falls in love with a Pakistani, Sarfarash (Sushant). Their relationship founders on the rocks on religion and parental disapproval, and Jaggu returns to Delhi, nursing a broken heart. On assignment as a television reporter, Jaggu encounters PK on the Delhi Metro, handing out 'Missing - call if seen' leaflets - she is intrigued when she sees that these leaflets have pictures of various Gods on them. Sensing a story, she tracks down PK, and soon becomes a part of his incredible journey. Where do they find the remote? Will PK be able to go home? Will Jaggu be reunited with Sarfarash? Watch the movie to find out...

Just like Dhoom 3, PK is Aamir's film through and through - and just like Dhoom 3, his performance left me cold. The wide-staring eyes, the odd body language, jerky hand gestures - it's all too much, there is no subtlety - every scene screams, "Look at me, I'm an alien, I'm different, I can get away with anything!"!! Even the Bhojpuri dialect - I understand the logic - but really, it feels like Lagaan is being channeled here - especially when PK talks about different planets as gola - if I closed my eyes, it could be Bhuvan exhorting his team-mates to catch the gola! Truly Missing - the charming, natural Aamir Khan that wooed an entire nation!!

As for Anushka, I have to admit that she's never been one of my favorites - and while she does stay in character as Jaggu, she is little more than a glorified side-kick - even Munnabhai's Circuit had a meatier role. Sushant Singh exudes sincerity and boyishness - who wouldn't fall for him? I think I totally missed the point of Sanjay Dutt's character - sentimental casting, maybe? The other cast, too, is a motley of usual suspects from other Hirani films - Saurabh Shukla's self-serving Godman seems to be an extension of his role from Lage Raho, and he brings no additional menace or cunning, which I think was sorely needed.  But Jaggu's parents - Farhan's dad and Raju's mom - together??!! I appreciate Hirani's loyalty - but the mix-and-match cast is very distracting.

The best parts of the film show PK learning to live by the standards of society - whether it is stealing clothes from 'dancing cars', to trying to understand the intricacies of currency - it is quite funny to see PK collecting pictures of Gandhiji, and then use them to buy food! Stealing from the temple donation boxes, and pasting pictures of Gods on his face so that people won't hit him, and using a cycle lock to chain his chappals at the temple - all very delightful, the jabs are all light-hearted. Of course, with such a weighty theme - the search for God - the metaphysical is not too far away!

Inevitably, there is comparison with Paresh Rawal's OMG. With all its eye-opening questions, OMG remains a deeply religious film - PK comes across as merely irreverent. The questions are all over the place - for example, what is the point in highlighting that white is worn both by Hindu widows and Christian minorities? That seems to be more of a social tradition, rather than anything religious. And while OMG denounced various religious traditions - PK seems to be questioning the very existence of God. I don't think that was the intentional message, and PK's search was meant to symbolize the true spiritual search of God. What comes across is a petty pointing of fingers, which is quite distasteful.

Hirani also seems to have a very cynical view of our society and people in general. Starting with the initial scenes - naive as it may seem, I would like to believe that a person who comes upon a naked and clearly lost human being in the desert, would stop and provide succor, rather than rob the helpless person of his only possession. Or the whole setup with the tickets to the show - it's a meet-cute for Anushka and Sushant, but it also shows an elderly gentleman cheating these two, and what makes is worse is the way Anushka berates the said elderly gentleman. No, I am a firm believer in the best of people, and these characterizations make me uneasy - we're casually accepting irresponsible, bad behavior as the norm?

And the protests? Really, people, what is so threatening about this film? In one of the best and truest lines of the film, roughly paraphrasing PK - Are our Gods so weak that they need our puny protection? The demonstrations actually work in the film's favor - the controversy increases curiosity and interest, leading to bigger collections. Take away the hype and the big names, this is a very mediocre film. Watch ET instead - that little alien still has the power to bring tears to my eyes with his 'ET go home'!!