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PK Movie Review

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In-depth Analysis

Our overall critic’s rating is not an average of the sub scores below.

PK: Official teaser

PK: Battery Recharge Dance

'PK' funnies: The fat barber

PK: Sachin praises Aamir's performance

PK Hai Kya: Dialogue promo

PK: Raju reminisces about Munna Bhai

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PK: Rajkumar Hirani busy with editing

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Angel Grace 1 198 days ago

I like this movie because of its religious

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Best movie pk good movie

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Amer khan acting is best

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‘pk’: film review.

Bollywood takes on the archetype of the holy fool

By Lisa Tsering

Lisa Tsering

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PK Still - H 2014

An inquisitive space alien ( Aamir Khan ) lands on Earth dressed only in his birthday suit, and shakes up society in Rajkumar Hirani ’s pleasantly subversive PK . The film deftly pokes fun at the foibles of earthlings — especially their warring religions — with warmth and compassion, and shines a light on the contradictions of India’s strict but unwritten social rules.

This eagerly awaited Khan vehicle is guaranteed brisk business in the week before Christmas, and even if PK doesn’t have quite the deep emotional impact of Hirani’s other message films, distributor Disney India’s decision to release the film on a record 4,844 screens worldwide assures robust returns.

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Read more ‘PK’ to Get Broad Worldwide Release

The film has been kept tightly under wraps in India, with viewers wondering if the titular character — bug-eyed and goofy, with prosthetically enhanced ears — was autistic, otherworldly or even God himself.

That mystery is dispelled in the first scene, when a glowing spaceship deposits him in the middle of the Rajasthani desert as part of his alien race’s research project.

Earthlings, of course, have no idea what to make of him, and quickly dub him PK (“pee kay” means “after drinking,” or “tipsy”).

When PK’s one chance to return home is sabotaged, he is forced to undertake an odyssey that will direct him through the minefield of human relationships — and especially through the inexplicable rituals of religion. In one moving montage, PK joins crowds of nearly every major faith in India, from Jainism to Christianity, Sikhism, Hinduism and Islam (only Buddhists get a pass, it seems).

Read more Disney-UTV Unveils Bollywood Slate for 2014

Writer-director Hirani and co-writer Abhijat Joshi stud their scenes with rich comic details: PK learns early on that when he needs something to wear, he can purloin the cast-off clothes of illicit lovers in parked cars, and a running gag finds him in their successively incongruous and inappropriate outfits. How he learns language, an earthy Bhojpuri dialect from an unlikely source, is another opportunity for some risqué humor. And the familiar face of Mahatma Gandhi is the source of another pointed gag.

Read more ‘3 Idiots’ Film Review

A wealth of top actors beautifully fill out PK ’s key roles, including Anushka Sharma as a plucky TV journalist bent on helping PK get home and Sushant Singh Rajput as a young Muslim man she falls in love with against her family’s wishes; Saurabh Shukla as a wealthy Hindu mega-swami; and most memorably,  Munnabhai star Sanjay Dutt as a ruffian wedding band musician. Khan’s touching and at times hilarious performance captures the otherworldly oddness of PK.

Rajkumar Hirani holds a unique place in the pantheon of mainstream Indian filmmakers, with a nearly unerring gift for capturing the zeitgeist in films such as Munnabhai M.B.B.S. and Lage Raho Munnabhai , which tackled corruption; and 3 Idiots , about India’s mad rush of college competition. But like those films did, PK defies description and dares to go far deeper.

Production: Vinod Chopra Films, Rajkumar Hirani Films and Disney-UTV Motion Pictures Cast: Aamir Khan, Anushka Sharma, Boman Irani, Saurabh Shukla, Sushant Singh Rajput and Sanjay Dutt Director: Rajkumar Hirani Screenwriters: Rajkumar Hirani and Abhijat Joshi Producers: Vidhu Vinod Chopra and Rajkumar Hirani Executive producer: Sanjiv Kishinchandani Director of photography: Murleedharan Production designer: Rajnish Hedao, Sumit Basu and Snigdha Basu Sound designer: Resul Pookutty Costume designers: Manoshi Nath and Rushi Sharma Editor: Rajkumar Hirani Composers: Shantanu Moitra and Ajay – Atul

No MPAA rating, 150 minutes

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Appealing to God, a Disoriented Space Alien Hopes There’s Help Out There

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By Rachel Saltz

• Dec. 19, 2014

No religions were harmed in the making of this film. That’s the gist of a title card that runs before the credits in the Hindi movie “PK,” directed by Rajkumar Hirani, which states that the film doesn’t intend to hurt the feelings of any community, sect or religion.

And this sweet, ambling comedy about an innocent abroad — an alien who touches down in the Rajasthan desert — doesn’t offend, even as it pokes gentle fun at religious differences and hypocrisy.

When PK (Aamir Khan) lands in Rajasthan, naked and gym-buff, his first encounter with an earthling is a rude one. A man steals his flashing green pendant (it matches his flashing green eyes), a remote control that allows him to call his ship for pickup.

After some twists and turns — including a quick, PK-less detour to Belgium for a Pakistani Romeo and Indian Juliet love story — our hero acquires language (Hindi) and finds himself in Delhi in search of his pendant. God alone, he’s told, can help him.

Guileless, he appeals to God in all his houses: temples, mosques, churches. Sneaking into a maternity ward, he examines an infant from top to bare bottom, looking for a label: is he Christian, Muslim, Hindu?

Mr. Hirani’s other films include “Lage Raho Munna Bhai” (2006), a comedy about a gangster who becomes a Gandhi-inspired good guy. That movie and its slogan, “Gandhigiri,” were so successful that they ushered in a small real-life wave of Gandhian protests.

It’s hard to imagine that “PK,” with its slogan “wrong number” (when God’s interlocutors get their wires crossed), will have a similar impact. Mr. Hirani remains an excellent storyteller, weaving his disparate story strands into a convincing, satisfying whole — a rare Bollywood feat.

But “PK” lacks the redemptive arc of “Lage Raho” — at least its hero does. PK, played with earnest sexlessness by Mr. Khan, who possesses one of Hindi cinema’s most ogled bodies , is another man-boy innocent meant to remind us of our own corruption. He does, but so benignly, that it’s hard to feel the sting.

‘PK’: About Gods And Other Absurdities

‘PK’ is a funny film. As I was watching it, I could hear audiences in theatre roar with laughter on several occasions. In fact, there was hardly a moment of, as PK would describe it, “lull” in the film. It seemed as if all the people — including me — were having a gala time watching one hilarious scene after another. Then, the movie ends. People, still in an upbeat mood, leave their seats and continue to talk about how funny the film was as they walk out of theatre. I leave my seat too and walk behind them pondering about the whole irony behind it all. It is hard not to wonder that the same people who were laughing and enjoying themselves while watching the sheer absurdness of idol worshiping, faith-based idiosyncrasies and religious customs would go home and practice exactly the same things that they were laughing at.

It is easy to brush off a film like ‘PK’ because after all it is just entertainment. 150 minutes of good time and then life goes on as usual. God will exist. Religion will exist. And so will all the absurdness around it. And this is where ‘PK’ as a film succeeds and fails both at the same time. While it succeeds to entertain and does so wholesomely, it fails to affect. Don’t be mistaken. I am not trying to say that it should have changed the way people start looking at this world — an art can only, at the most, strive to do so. What I am saying is that it should have made people sit and think, which, I seriously doubt this film is going to do. Partly because, ideas that ‘PK’ is trying to talk about are not hidden from the common view of the people. Most of the people already know about it. Many, themselves, practice it. The other part of the reason is that ‘PK’, as funny and enjoyable and feel-good it is, lacks the heft or even the intrigue to hold people’s interest and occupy people’s mind once the film is over. And anyway, in India, the topic of ‘God’ and ‘Religion’ is considered too sensitive and sacrosanct to be discussed, except in the confines of a living room. So, I am pretty sure, people, after watching ‘PK’, are going to talk about how so and so scenes were funny and how good was Amir Khan; but I don’t expect them to have conversations on the existence (or non-existence) of God, the absurdness  of religion and the customs surrounding it, the nonsensical extent people are willing to go to pursue their faith, the deplorability of self-appointed messengers of God, and the ridiculousness of idol-worshipping. And that’s partly the flaw of the film and partly, the flaw of audiences themselves.

‘PK’ delves, uninhibitedly and unequivocally, into the above talked about important and complex issues and does so in a way that only RajKumar Hirani can do. By now, we know that with every film, Hirani wants to put across a message among people. Each of his films, from ‘Munnabhai M.B.B.S’ to ‘PK’, have something to say about the society we live in. And while Hirani hardly leaves an impression as a director and has a straightforward and indistinguishable style of filming, he is a great writer. Hirani also has the gift of creating humor out of the most ordinary situations and people, and he utilizes this gift of his to the fullest degree, which obviously results in some over-the-top moments and will require at times suspension of disbelief from the viewers to fully enjoy it, but, overall it works. I mean, it works as a piece of entertainment. Nothing more. Nothing less. Even though, the tone of the film is satirical, at the end of it all, it hardly feels like a satire; and part of the blame for that lies in the uncontrollable urge of Indian filmmakers to somehow fit a romantic angle to the story, even if, it hardly demands so. Therefore, whatever love story Hirani is trying to fit into the narrative actually ends up diluting the overall impact of the film, especially in the climactic moments, when focus tends to shift from God and religion to love and melodrama.

Having said all of that, I must say, Hirani very strongly believes in things he is trying to convey in the film. While it is easy to mistake him to be an atheist or anti-God, the truth is: he is not. On the contrary, he is a Creationist — someone who believes that the Universe and living organisms originated “from specific acts of divine creation”.  In ‘PK’, he is not trying to demean God, but he is rather attempting to question human’s ideas of seeking and attaining God. His belief very clearly comes across in one of the lines that Jaggu says “If God really wanted humans to follow him blindly, he wouldn’t have given them the sense of reasoning”. ‘PK’ has many such great lines that could have acted as food for thought for the audiences, but usually they get lost either in the exaggeration of the plot or in the roars of laughter. The subject matter that ‘PK’ deals with ideally required the subtleness of a Guru Dutt to fully convey its message to people in ways that could have affected them. In its current form, even though, ‘PK’ is about Gods, religions and the absurdness surrounding them, it hardly ever transcends the boundaries of “having a good time at the cinema”.  Nothing wrong in that. I only wish it could have been more.

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PK review: Aamir steals the show, it's a winner

Pk has characteristics that’ll remind you of the penetrating power of gandhian philosophy. he is not a naïve guy, but he believes in others’ virtues. he gets bitten, cries and then goes back to the work he has been doing, like most of us..

Aamir Khan, Anushka Sharma, Saurabh Shukla

Rajkumar Hirani

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Directed and co-written by Rajkumar Hirani, PK is at once hilarious, romantic, and heartbreaking, while still affording itself room to critique institutionalized religion.

Full Review | Mar 5, 2024

In the present atmosphere in India, it’s nothing short of bravery to openly discuss the failings of religion, and PK manages to do this in a highly entertaining fashion. This would not have been possible without the excellent cast headlined by Aamir...

Full Review | Original Score: 3.5/5 | Aug 15, 2022

Rajkumar Hirani and Aamir Khan are an exceptionally potent team.

Full Review | Nov 3, 2017

Watch this film if you are a Khan fan and want to learn a thing or two about religious tolerance without making it a bitter pill for viewers.

Full Review | Original Score: 3.5/5 | Aug 31, 2017

This is perhaps the weakest of Hirani's films. His trademark humour is sparse; and inspite of Anushka Sharma's spirited portrayal of a reporter who helps PK, and Khan's over-earnest performance as the protagonist, the film is a tedious watch.

Full Review | Jun 6, 2017

The performances are pitch perfect, with A-lister Khan proving yet again that he's the most versatile and intelligent Indian actor of his generation. The result is probably the best mainstream Hindi film of 2014.

Full Review | Original Score: 4/5 | Aug 16, 2016

Good intentions don't automatically translate into absorbing cinema.

Full Review | Jun 21, 2016

The film tries so hard to be smart and funny, but... PK offers a metaphor that's too simplistic to be taken seriously.

Full Review | May 11, 2016

A romantic/ sci-fi/ musical comedy that touches on philosophical themes with lots of irony. [Full review in Spanish]

Full Review | Apr 21, 2016

This entertaining Bollywood musical is so relentlessly buoyant in its charge to ask the big questions it comes close to reaching an epiphany.

Full Review | Original Score: 3.5/5 | Apr 2, 2016

A bold exploration of religion wrapped in a sci-fi drama with several moments of broad comedy thrown in to lighten the mood -- after all, it is Bollywood.

Full Review | Original Score: B | Feb 25, 2016

Never preachy or high-handed, the filmmaker is an expert at presenting complicated concepts in the simplest of ways.

Full Review | Original Score: 4/5 | May 5, 2015

P.K. is a landmark film that has come out at a relevant time in the current Indian and global political climate. Go see it and reflect on the difference between faith and religion.

Full Review | Original Score: 4/5 | Apr 8, 2015

There are some very powerful scenes in the film that will make you cry, uneasy in seat, and even laugh sheepishly at times.

If you've been thirsting for movie magic, there is so much to love about PK, especially in the fun-filled setup of a first half -- one so exciting that you are most likely to forgive what doesn't quite work in the second.

Full Review | Apr 8, 2015

The focus... gets diluted by a wholly superfluous romance (and songs, tuneful as a couple are), and a face-off between the guy awash in goodness who asks all the right questions and the bad godman who has all the wrong answers.

Full Review | Original Score: 2.5/5 | Apr 8, 2015

I can think of nobody but Aamir Khan as PK, and nobody but Rajkumar Hirani as our teacher.

PK is as much a philosophy as a film.

Rajkumar Hirani's first film in five years is a warm, funny and piercingly provocative satire that should blow the blues away.

Full Review | Original Score: 5/5 | Apr 8, 2015

This is his most controversial film, but he delivers it with the same humour and emotional insight that he showed in 3 Idiots.

Review:  Bollywood musical ‘PK’ a radical film in extraterrestrial guise

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A biting, whip-smart satire on the thorny subject of organized religion, the Bollywood musical “PK” enlightens and provokes through outrageous slapstick.

Bollywood star Aamir Khan plays Tipsy, an extraterrestrial whose spacecraft drops him in the middle of the desert in Mandawa, India. A mugger promptly strips him of the remote that summons his vehicle for pickup. Everyone he turns to for help advises him to seek it from God instead. So he takes up not one but all religions — including Hinduism, Sikhism, Islam and Christianity — in hopes that some god will answer his prayers and help him find a way home.

Cast against type, Khan sheds his charismatic leading-man persona to play the oblivious, childlike alien who breaks all Indian cultural protocols and hierology. How this astronaut can be so clueless and gullible does require suspension of our disbelief, just as do characters randomly breaking into song and dance. But the fact that Tipsy isn’t human allows the film carte blanche to be sacrilegious in the most harmless, inoffensive way. Genius.

Cowritten by Abhijat Joshi and director Rajkumar Hirani, “PK” also subverts Bollywood tropes. It boasts the “exotic foreign locale” of Bruges, Belgium, where we first meet our heroine, Jaggu (Anushka Sharma). But because of her Western education, she’s free to kiss her boyfriend, date a Pakistani and be a go-getting career woman — all considered taboo in the classical Bollywood context. It shouldn’t feel so bewildering that such a radical, progressive film can be so entertaining.

------------

MPAA rating: None.

Running time: 2 hours, 30 minutes.

Playing: Cinemark 18 & XD, Los Angeles; Laemmle’s Town Center 5, Encino; AMC Burbank Town Center 8; AMC Norwalk 20; AMC Covina 30.

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Movie Review: PK

Director: Rajkumar Hirani Cast: Aamir Khan, Anushka Sharma, Boman Irani, Sanjay Dutt, Saurabh Shukla, Sushant Singh Rajput Every film, good or bad, gets made in two phases. One’s the concept where the filmmaker decides what he wants to make. The second is where he uses the craft and techniques of filmmaking to execute his ideas. A film like PK starts at the very top in its first phase. The creative scope of such a subject is beyond brilliant. But as you start constructing it in celluloid it starts losing bits of its fancy. There’s no rocket science to where this analogy ends. But a film like PK offers the right kind of resistance. Rajkumar Hirani’s guile as a storyteller adds to the experience. A great concept goes through an average execution to reach a climax that is good if not great. Had this not been a film by Aamir Khan, Vidhu Vinod Chopra and Raju Hirani such criticism would’ve been unfair. Fact is this film had the promise to be much more. Even with its flaws, PK is still one of the best of the year. If you’d heard fleeting rumours that PK was about Aamir Khan playing an alien, nothing’s spoilt for you. Yes he plays an extra terrestrial character but that’s just the first few seconds. Why he’s on Earth and what he does with his time on the planet is the larger picture. Anushka Sharma plays a young girl out of love and feeling out of place in a big bad world driven by religion. You have Sanjay Dutt and Saurabh Shukla playing key characters in PK’s little adventure on planet Earth. The story deals with a scrawny little alien teaming up with a spirited young girl and learning how human lives function in a complex system of communication, religion and faith. Along the way they get down to debunking superstitions and religious myths. And that’s the ace up PK’s sleeve. It offers a logical argument to those blindly following religious rituals and figures. While that could easily stir up a controversy in our country, Hirani uses the motif of an extraterrestrial asking all the logical questions. And even the answers aren’t black and white. They offer both sides of the coin. There’s the absolute need for religion to invoke faith and hope in humans. As well as portraying the evil of men that breeds from the same system. It’s not challenging your faith in the almighty it’s simply asking questions for what people do in the name of God. Akshay Kumar and Umesh Shukla’s Oh My God! explored similar territory before. But PK intertwines the subject with a love story and a bit of science fiction. The result is a feel good comedy that looks as if its India’s answer to Steven Spielberg’s ET. The narrative jostles with a very ordinary dramatic curve in its final act. But the lack of logic in the unrequited love story between Anushka Sharma’s and Sushant Singh Rajput’s characters is quickly overshadowed by PK’s finale. The quirky comedy retains its punch over the sappy drama. And just at the end, the film hits the right high notes. A large part of the credit goes to Aamir Khan’s performance. His eccentric demeanour looks authentically funny. And those ever-present bulging eye balls look like a painful acting hazard. As is expected of the perfectionist Khan, his performance is the base on which Hirani builds his film. This is Aamir Khan at his best. Anushka’s efforts are equally important and it helps that her alabaster skin enhances her beauty. But that never takes away from a solid acting performance where she matches Aamir in every scene. Also watch out for supporting acts by Boman Irani, Sanjay Dutt, Saurabh Shukla and a certain superstar’s surprise appearance right at the end. Rajukumar Hirani follows a certain discipline with his filmmaking. Between him and co-writer Abhijat Joshi, they make sure their screenplay has certain finesse. They use dreamscapes to push in colourful songs. They do it maintain an integrity for their characters and story. Such attention to writing detail is a rare practice in India. But it’s a healthy habit of making films. And it ensures top notch quality, one that PK has in abundance. Reiterating, this is a Hirani, Aamir Khan and Vidhu Vinod Chopra film we’re talking of. They’ve set high standards for themselves. But with dodgy and inconsistent dialogue and repetitive visuals which look too similar to 3 Idiots and Lage Raho Munnabhai, PK doesn’t quite match up to the mark. It’s certainly not Hirani’s best. But it is good enough to engage and entertain the majority of its audience.

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PK Movie Review: PK Movie

Pk review 4.5/5 & rating. watch pk official trailer video, listen songs, movie news updates, movie review and checkout public movie reviews soon., pk review {4.5/5} & review rating.

It has become a trend of sorts now that the year ends with a major release by none other than Aamir Khan in the month of December. After the release of DHOOM 3, as we gear up for the Christmas holidays, Aamir Khan brings his new film PK. Said to be a comedy-drama, the makers of the film have managed to keep the story tightly under wraps, despite the film's heavy promotions. As already reported in the media, Aamir Khan plays the role of an alien, something that is relatively new in Bollywood. Add to that, director Rajkumar Hirani wielding the megaphone after three back-to-back hits, PK has managed to generate tremendous hype prior to its release. However, does the film manage to live up to the expectations, will the past success ( 3 Idiots ) of the Aamir Khan - Rajkumar Hirani combination work its charm in enticing the audiences to the theatres, will PK be a Christmas gift to cherish for the film loving audiences? Lets analyze. The film starts off with PK (Aamir Khan), an alien, landing on earth, in the desert of Rajasthan, to study about human begins and life on earth. Arriving stark naked on a earth, PK has a rough start on the planet when his tracking remote, that helps him send signals back to his spaceship, gets stolen. He now has to find the remote to contact his spaceship and till then survive on earth on his own. Unaware of human mannerisms, language or life in general on earth, PK finds it difficult to adjust. However, fate brings him in touch with Bhairav Singh (Sanjay Dutt) who becomes his dear friend and helps him with life on earth. But destiny takes PK to Delhi. From here on starts a whirlwind story of a stranger in the unknown city of Delhi asking questions that despite their innocence hold a valuable and deep meaning. Aided on by Jagat Janani (Anushka Sharma) who teams up with him on this journey, PK challenges some of the oldest rituals of religion that are ruling life of people on earth. As for the performances, Aamir Khan excels in the title role. This is probably one of the most challenging characters that he has played so far and with his stellar performance, Aamir Khan carries the film all the way. His childlike innocence, his Bhojpuri accent and his love for 'paan' only adds layers to the character of PK. Anushka Sharma, who has in her previous releases earned quite a bit of critical acclaim, does a good job as Jagat "Jaggu" Janani. She stands shoulder to shoulder with Aamir through the entire film. Sushant Singh Rajput is impressive in an extended cameo. Saurabh Shukla, though good, seems to be underutilized along with Boman Irani who too could have been given a meatier part. Sanjay Dutt, on the other hand, manages to carry off his role as a Rajasthani man with panache. Music of PK is composed by Shantanu Moitra, Ajay-Atul and Ankit Tiwari and the lyrics are penned by Swanand Kirkire, Amitabh Varma and Manoj Muntashir. Songs like 'Nanga Punga Dost', 'Tharki Chokro' and 'Love Is Waste Of Time' have already gained popularity and they take the story forward in the film. 'Chaar Kadam' featuring Sushant Singh Rajput and Anushka Sharma is a soft number that sets the mood for romance just right. Rajkumar Hirani, known for his films like 3 Idiots and the Munnabhai series tries to live up to his reputation of telling an engaging tale with a message. Though the storytelling is seamless, PK does seem to lack the punch that his earlier films had. Though the screenplay (Abhijat Joshi and Rajkumar Hirani) of the film is comprehensive and engrossing, with humorous situations and entertaining dialogues, the narrative does get slow at certain points. PK however hits the right notes and entertains. Overall, PK that releases during the Christmas holidays enjoys a three week free run at the box office. Despite the film having its share of ups and downs, it is surely a good entertainer. Being a film that deals with the topic of God and Godmen, audiences are bound to draw a few similarities between PK and the previously released Akshay Kumar-Paresh Rawal starrer OMG OH MY GOD! But while latter dealt with a lay man asking some prominent questions about God and the almighty himself coming down to earth, PK differs with an alien not directly questioning God, but instead questioning the belief system that humans have created to reach God. But with high level of anticipation and a massive release (approximately 5000 screens domestically and 800+ screens overseas), PK is sure to create new box-office records. On the whole, Aamir Khan's PK is a solid entertainer that will surely entertain the masses and classes alike. An outstanding film. Go for it.

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Review: PK is a triumph and Aamir soars high

Cynicism is always easier than sincerity, and few filmmakers can nail the latter quite as consummately as Rajkumar Hirani, an old-school teller of fables who specialises in giving his audiences lumps in their throats. His are comforting films, ones with their edges sanded off and their seams showing, films unashamedly lacking in subtlety because he chooses to paint only in broadstrokes. We can all stand around and point fingers at the indulgently laboured way he makes a point, but the fact remains that PK is a ridiculously effective film, a triumph you are likely to walk away from with a gladder, lighter heart -- and, perhaps, a moister handkerchief.

Aamir Khan plays a visiting alien, a head-nodding explorer out for a recce of our planet. He's buff and eager and comes from a planet where they don't need clothes, and seconds after landing here, one of us steals his intergalactic transmitter, the remote to signal his ship from home. Thus is the naked feller stranded and stumped, hunting for his amulet with merely a boombox for cover and company. God help you, say the folks he confounds with his bug-eyed questions, sending him for answers toward temples, mosques and churches. Madness, as you rightly imagine, ensues.

H is tale is being told to us by a girl called Jagat Janani, who, for sanity's sake -- and possible Jackie Shroff fanhood growing up -- calls herself Jaggu. Jaggu's a plucky girl who has just joined a Delhi-based television news channel. Still a rookie (and thus still armed with the kind of eager-beaver enthusiasm not yet decapitated by actual time in a newsroom) Jaggu chances upon the alien and, reasonably enough, considers his story more newsworthy than one about a manic depressive dog.

The alien, PK, looks at life as laterally as an aborigine given a copy of the New Yorker , and his uniquely coherent perspective enchants Jaggu. This is all run-of-the-mill stuff, really, an old trope that could easily be taken from, say, Ron Howard's classic Splash (right down to the nakedness), that of a disarmingly naive outsider taking us at face value. But the telling is in the details, with Hirani and co-writer Abhijat Joshi giving PK enough genuine insight to keep us hooked. They do hammer their points home in overlong fashion, however, perpetually taking several scenes to illustrate what a clever set-up and punchline could do in two shots.

This foolproofing, it appears, is very much a part of Hirani's process. The background score is used in the style of a seventies melodrama, all orchestras set to swell; characters hear things which then echo around in their heads; and there is a fond reliance on age-old cinematic cliches like characters going to a performance only to imagine themselves singing and dancing on stage. It's all cinematic saccharine, but then, given that Hirani takes the opportunity to aim some potshots at organised religion and its gatekeepers, is the familiar a worthy method to sneak in a message? A spoonful of sugar to make the medicine go down?

Either way, religion -- not God -- is the enemy here, and while PK doesn't load up the cannons quite as potently as Umesh Shukla's OMG Oh My God did a couple of years ago, it musters up the drama in much more stirring fashion. And its protagonist is quite extraordinary.

A amir Khan is exceptional in PK , creating an irresistibly goofy character and playing him with absolute conviction. He laughs at his goblin-ears and walks around with his eyes on high-beam throughout the film, but his transformation isn't restricted to the physical -- though I must single out and applaud the skittish way he runs, his arms straight by his side with his palms stuck out, reminiscent of Steve Carrell in Little Miss Sunshine when his character was running toward automatic doors, willing them to open fast. That, there, is the impressive thing about Khan in this film, taking a few one-shot gags and stretching them feature-length so strongly and gamely that he wins us over with sheer heart.

It is this heart that really counts in a Hirani movie. There is a passage where we see Khan's PK going desperately from god to god, mosque to church to temple, seeking the way to his precious remote, festooned with more talismans than Saurav Ganguly's arm.

In lesser hands this would smell like an empty exercise in audience manipulation, a cheap and easy means to unearned applause. But it's striking how Hirani and Khan layer it on with visible earnestness, giving us something unexpectedly remarkable in the sight of that megastar immersing himself hungrily in our diverse, demanding rituals.

The rest of the cast is in fine nick. Anushka Sharma is suitably spirited and full of beans, Boman Irani makes for a fine boss who has felt the ire of a trident before, Sanjay Dutt is wonderfully droll, Sushant Singh Rajput is very likeable indeed and Saurabh Shukla, playing the antagonistic godman, is great at being a pompous god-invoking gasbag. But this is an out-and-out Aamir film, and he soars.

• PK , a mixed bag of spunk and sentimentality

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Fun Bollywood sci-fi comedy raises questions around faith.

A Lot or a Little?

What you will—and won't—find in this movie.

Positive messages about honest friendships and emp

PK is an alien who is stranded on Earth. He is hon

The movie features an Indian cast and crew. This i

A character is slapped. There is a minor car accid

In one scene, condoms and sex are talked about. A

Language includes "s--t," "damn," "scoundrel," "bl

In multiple scenes, people are seen drinking.

Parents need to know that PK is a 2014 Bollywood sci-fi comedy drama about an alien (Aamir Khan), whose spaceship remote control is stolen when he arrives on Earth leaving him stranded. Despite its lightheartedness, the film has some violence and serious themes around religion and prejudice. A character slaps…

Positive Messages

Positive messages about honest friendships and empathy. To achieve yours goal, you must persevere and not give up. Don't let religion or society lead you to prejudice against others.

Positive Role Models

PK is an alien who is stranded on Earth. He is honest and determined, and whose kind nature sees him inadvertently challenge problematic religious ideologies. Jaggu is a journalist. She proves to be a good friend to PK and supports him in his quest to return home.

Diverse Representations

The movie features an Indian cast and crew. This includes an Indian actor playing a Pakistani Muslim. The film actively critiques discrimination on the basis of religion and societal beliefs. The film pans across Rajasthan, Delhi, and Belgium. Gender balance in the two lead roles.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

A character is slapped. There is a minor car accident; no serious injury. Someone is smacked with a shoe. In multiple scenes, a character is chased by mobs. Self-flagellation is shown during religious practice; some blood. A train blast results in multiple casualties. A character runs after another with a sword in their hands. There is conversation about suicide and self-harm.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

In one scene, condoms and sex are talked about. A character roams around naked but their genitals are covered by a boom box. Some romance and one kissing scene. It's suggested people are having sex in cars on numerous occasions -- the cars are seen moving but nothing explicit is shown. A character pulls down their trousers revealing their underwear. Characters visit sex workers. Lots of sexual jokes.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Language includes "s--t," "damn," "scoundrel," "bloody," "snake," "crazy," "stupid," "hell," "fool," "shut up," "scumbag," "rascal," "idiot," and "God" as an exclamation.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that PK is a 2014 Bollywood sci-fi comedy drama about an alien ( Aamir Khan ), whose spaceship remote control is stolen when he arrives on Earth leaving him stranded. Despite its lightheartedness, the film has some violence and serious themes around religion and prejudice. A character slaps another and someone is hit on the head with a shoe. There is a small accident where a person collides with a vehicle but there is no injury. Angry mobs chase an individual on multiple occasions, and in one scene, self-flagellation (with some blood) is depicted during a religious ceremony. A train blast takes place following which bloodied bodies are seen. Someone is attacked with a sword. Characters talk about suicide and self-harm. Sex is discussed, and there are lots of sexual jokes and innuendoes, and characters visit a brothel. In numerous scenes, it is implied characters are having sex in cars -- the vehicles are seen moving from side to side. PK, the alien, walks around naked, although any sensitive parts are covered. There is some drinking and language includes "s--t," "bloody," "shut up," "scumbag," and "idiot." The film is in Hindi with English subtitles. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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What's the Story?

In PK, while visiting Earth, an alien has the remote control to his spaceship stolen leaving him stranded. Desperate to get home, the alien, PK ( Aamir Khan ), may be in luck when journalist Jaggu (Anushka Sharma) decides to help him.

Is It Any Good?

This heartwarming Indian sci-fi comedy is entertaining from the off and delivers some great messages in the process. Directed and co-written by Rajkumar Hirani , PK is at once hilarious, romantic, and heartbreaking, while still affording itself room to critique institutionalized religion. Khan delivers a splendid performance as an alien who challenges societal norms, while Sharma's character is charming, sarcastic, and determined. Interspersing its sci-fi themes and societal commentary with fun and cheesy romantic tunes that are patent to Bollywood, PK is a must-watch rollercoaster ride that leaves its audience with something sincere and serious to think about and actively question.

Talk to Your Kids About ...

Families can talk about what PK had to say about faith and religion. Do you think the film was in favor of religion? Why, or why not?

Which characters displayed traits of compassion , empathy , and teamwork in the film? Why are they such important character strengths to have?

Did the movie remind you of any others you've seen? If so, which ones and how were they similar?

Movie Details

• In theaters : December 19, 2014
• On DVD or streaming : March 26, 2017
• Cast : Aamir Khan , Sushant Singh Rajput , Anushka Sharma
• Director : Rajkumar Hirani
• Inclusion Information : Indian/South Asian actors
• Studio : UTV Motion Pictures
• Genre : Science Fiction
• Topics : Music and Sing-Along , Space and Aliens
• Character Strengths : Compassion , Empathy , Teamwork
• Run time : 153 minutes
• MPAA rating : NR
• Last updated : February 26, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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PK review: Aamir Khan plays ‘PK’ to his strengths

Pk review: aamir khan plays pk not only to his strengths, but adds something new: we’ve seen his earnestness several times before, but not artlessness..

PK movie review

Star Cast: Aamir Khan , Anushka Sharma, Saurabh Shukla, Boman Irani, Sanjay Dutt , Sushant Singh Rajput

Director : Rajkumar Hirani

Is that a bird or a plane?

Old question, new answer. No, it is ‘ PK ‘. And who is PK? A guy in madly printed shirts, buttoned tight around the neck, eyes glinting green, mouth ringed paan-red. And what is PK? A voice of wisdom and reason, in a Bhojpuri accent. (Read: Aamir Khan – The versatile, Dhoom-ster and PK)

Laden with so many distinctive tics, the lead character in Rajkumar Hirani’s latest could have been a mess. But Aamir Khan plays PK not only to his strengths, but adds something new: we’ve seen his earnestness several times before, but not artlessness. That lack of guile leads us to believe in PK, and makes the film, up till the seamless first half, a terrific watch. (Read: Five reasons you must watch PK )

Till then, we get freshness and fun. PK ’s journey from a distant Rajasthan village– where he meets colourful characters (Sanjay Dutt, in a ‘lahariya safa’), and a lady of ill-repute from whom he picks up a couple of crucial learnings– to Rajdhani Delhi, is gone through smoothly. His bumping into TV reporter Jaggu aka Jagat Janani (Anushka Sharma, trying for elfin charm) leads him to unburden his soul. And his problem: something that belongs to him is lost, and until that is found, he cannot go home.

Post interval, it slumps. The focus, which till then is on a character who intrigues us while interesting things are happening to him, gets diluted by a wholly superfluous romance (and songs, tuneful as a couple are), and a face-off between the guy awash in goodness who asks all the right questions and the bad godman who has all the wrong answers.

The robustness of the dialogue (it has a word which made me gasp and laugh out loud, but I’m not telling which) and the sting in the situations way to exposition. From this point on, ‘ PK ‘ becomes a message-y let-us-expose-those-who-give-religion-a-bad-name, just like the magnificent ‘Munnabhai’ took the pants off bad medical practice, its sequel docked legal sharks, and ‘3 Idiots’ taught a lesson to misguided educators.

The portly Saurabh Shukla, playing a white-robed crafty godman, is made up of all the ‘dhongi babas’ we’ve seen in the movies, and this movie’s taking the confrontation to the media (as a TV debate, because all media boils down to television, right?) makes it something we see all the time. On our TVs, right there in our drawing rooms.

Rajkumar Hirani’s gift of telling the stories which are disappearing from mainstream cinema makes him the last man standing in Bollywood. ‘PK’ goes after religious fraudsters that divide and rule, with lines that speak of old-fashioned but crucial connections between ‘dharm’, ‘imaan’ and ‘mazhab’. What you need to re-purpose these themes is nuance, which, after a point, goes missing. This is where the Hirani magic recedes, and the film becomes commonplace.

What keeps `PK’ afloat is Aamir. He holds on to the uniqueness of the lead character and helps us ignore the contrivances, right from when he appears with a tatty tape recorder as sole raiment, ears sticking out, and an expression which requires him to widen his eyes, and keep them wide open.

Take a peek.

(You can reach Shubhra Gupta on Twitter @shubhragupta

And also send your comments to her on shubhra.gupta@expressindiacom)

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Kalki 2898 AD has broken box office records, making Rs 180 crore on its opening day in India and surpassing the collections of previous hits like KGF Chapter 2 and Jawan. The film, released in multiple languages, collected the most from its Telugu version. With a star-studded cast and high anticipation, it is predicted to have a strong weekend and potentially reach Rs 500 crore.

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Movie Review: PK – A Social Experiment

By Aishwarya Subramanian 

What are some of the first things we notice or judge when we look at others? Their faces. Their expressions. Their clothes. Their overall appearance. Rajkumar Hirani attempts to challenge our perception and judgment of people and much more in his latest flick PK.

Who is he? What is he? Based on the initial motion picture of unclothed Aamir Khan and the vague but unique film trailer, we can label PK as someone who is complex, strange, and has seemingly weird fashion. But who is the real PK ? An innocent individual with a simple worldview of life and people. However, when he is put into situations with others in a society like ours, he begins to understand how complex people and their norms really are.

For a psychologist, this movie is literally paradise on earth (pun intended). The film is full of scenes where PK uses observational learning and trial-and-error methods to understand society’s basic norms, customs, and practices. Some of these include comprehending the expression that accompanies verbal language (“achcha” in different tones depending on context), wearing clothes as opposed to roaming around nude, and giving money in exchange for food and other supplies. He constantly uses the social psychological principles of conformity and informational influence (looking around at others to determine proper and improper behavior) to navigate life without being mocked or ridiculed. The comedic ways in which PK’s struggles are captured add unexpected bundles of life and laughter to seemingly normal situations. It is almost as if we are laughing at our own accepted cultural norms and expectations by understanding how others perceive and make sense of the world.

Along with conformity, Rajkumar Hirani also touches on implicit unconscious biases that people generally have when judging people or situations. He did this subtly by revealing as little as possible about the film with the trailer and letting everyone’s imaginations go wild about the plot. More specifically in the film itself, he addresses unconscious biases by tackling religion, somewhat of a taboo subject in popular culture. Even though addressing religion in any form of media can be quite difficult, the diversity of religious representation in this film is commendable and shows a true effort by the filmmakers to appeal to a wide audience without portraying any religion in a negative light.

There are some beautiful scenes that display the human mind that is conditioned to label others based on physical appearance, a behavior that we learn very early on through socialization and upbringing. For instance, in one scene, PK points out how people would assume someone wearing a turban is Sikh; once he takes off the turban, people may suddenly perceive him as Hindu. Similarly, wearing white in one culture symbolizes death, whereas in other cultures brides wear white for weddings. Throughout the film, PK constantly questions the social structures of religion, god, and ritualistic practices as he attempts to understand and use them to solve his problems. The satire and intellectual stimulation in this film strays from being preachy and really provokes the audience to think about the basic societal norms that we often take for granted and blindly follow without examining the full context of a situation.

There is no doubt that this is an out-and-out Aamir Khan film. He effortlessly steals the show simply because of PK’s creatively crafted peculiar nature, which in-and-of-itself stands apart from the other characters. That being said, Anushka Sharma does a fine job as Jagat Janani, aka Jaggu, an independent TV reporter who has her own implicit biases but is determined to discover PK’ s story. Noteworthy mention must be given to Saurabh Shukla for effectively playing Tapasvi Maharaj in a way that the audience does not totally hate him (despite the fact that Tapasvi Maharaj is a Muslim-hating fraudulent baba). Sanjay Dutt, Boman Irani, and Sushant Singh Rajput were also roped in as additional characters. Because of the essential presence and importance given to PK’s character development, Sushant and Boman seemed rather underutilized. Nevertheless, they fulfilled their given roles well. Special shoutouts to Shantanu Moitra, Ajay-Atul, and Ankit Tiwari for the melodious music, which added an extra ounce of innocence to the characters’ existing exuberance and energy. The picturesque scenery of Bruges, Belgium, in the song Chaar Kadam was exceptionally beautiful. Due credit must be given to Rajkumar Hirani and choreographer Bosco for concocting the kooky and spunky steps in PK’s battery recharge dance.

Final Verdict:   PK entertains the senses, touches our emotions, and stimulates the intellect through comedy, love, and steadfast determination. Barring a few scenes involving some mature adult content, PK is a clean movie with no unnecessary item numbers or violence, as per Hirani’s prior track record. A must watch for anyone interested in cleansing end-of-the-year entertainment, comedy, and meaningful cinema!

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Review of PK: An Aamir Khan film, all the way

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Aamir Khan does a good job in PK as a crusader for religious tolerance, but it doesn’t have the same charm as 3 Idiots.

 More often than not, religion is a personal matter and a film that touches upon different faiths and questions them is a tricky terrain to navigate.

But the makers of PK , director Raju Hirani and actor Aamir Khan, tackle this sensitive subject deftly with an incredible lightness. They all seem to realise that they are dealing with explosive subjects such as godmen/saints and try their best to break the fall by blending romance and a good dose of quirkiness. But if you are expecting it to be as endearing and laugh-out loud romp as their previous film 3 Idiots , that questioned Indian education system, then you are likely to be disappointed. PK is entertaining in parts but be warned that it also gives you crash course on the various religions practised in India.

Khan is a misfit on planet earth. From a galaxy far, far away, he emerges from a spaceship (flying saucer, what else) buck naked with a glittering medallion round his neck and ears that pop out. The first half of the film is filled with misadventures of an alien trying hard to fit in. Naturally, his chances of survival are slim as earthlings in India confuse him thoroughly with their way of life and beliefs.

In between all this madness, PK morphs into a star-crossed romance between two students in Belgium. Jaggu (Anushka Sharma) is learning TV production when she runs into the incredibly charming Sarfaraz, an architecture student from Pakistan. A modern, succinct Veer-Zaara twist, if you will, between lovers from across borders plays out. But their warm interlude filled with poetry and fun times in the sun is interrupted when Jaggu’s parents threaten to disown her for daring to fall in love with a Muslim from India’s rival Pakistan. Her father immediately enlists the support of a self-proclaimed Hindu godman (Saurabh Shukla) who cautions Jaggu to mistrust her lover’s intentions since he’s from a different faith. That seed of an idea about distrusting mankind is taken forward by Khan.

A good portion of the film is dominated by PK and his quest for divine intervention. Khan is lovable as the inquisitive alien and Sharma gives her career’s most restrained performance as a journalist. She doesn’t veer towards being gratingly chirpy, despite being a go-getter reporter with a nose for news. However, somewhere in between, the film seems to have lost its plot as the viewers are repeatedly bludgeoned about the perils of trusting self-proclaimed saints.

Fortunately, the pace quickens during the climax and things are wrapped up in a neat little package at the end.

PK makes for an entertaining one-time watch. Their hearts are in the right place, but this drama would have benefitted hugely from tighter editing and enhanced screen time for cameo stars Sushant Singh Rajput and Boman Irani. Sanjay Dutt, in an extended cameo as a large-hearted villager, pitches in perfectly.

Watch this film if you are a Khan fan and want to learn a thing or two about religious tolerance without making it a bitter pill for viewers.

Don’t miss it

Cast: Aamir Khan, Anushka Sharma and Sushant Singh Rajput

Star: 3.5 out of 5

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PK: A Controversial Satire That Questioned Superstition

'PK', the 2014 Bollywood sensation directed by Rajkumar Hirani, transcends the boundaries of conventional cinema. Starring Aamir Khan, Anushka Sharma, and Sushant Singh Rajput, how did the critically acclaimed film delve into the intricate realms of religion and superstition?

PK theatrical poster. Source: IBM

"This is as much a philosophy as a film."

These were the words of Srijana Mitra Das, a movie critic from the Times of India while giving a review of PK , the 2014 'controversial satire' Bollywood masterpiece. Directed by Rajkumar Hirani, the man behind the iconic 3 Idiots , PK is a movie of its kind. The movie ventured into the domains of religion, superstition, and human beliefs- which are often touted as risky elements in Bollywood, let alone being controversial.

Starring Aamir Khan, Anushka Sharma, and the late Sushant Singh Rajput, this film was not only a blockbuster, it was a thought-provoking journey that challenged societal norms and sparked vital discussions.

Behind the scenes of the movie: Source: VisitBruges

PK was the product of meticulous planning, creativity, and perseverance by Hirani and Abhijat Joshi - the co-writer of the film. The shooting phase spanned months and with a budget of Rs. 1.22 Billion - reflecting the film's ambition. It was strategically released during a festive season to maximise its potential. However, like every groundbreaking film, it faced its share of challenges and controversies that shaped its destiny. The movie dared to explore the delicate subject of religion and faith.

The story revolves around an alien named PK (Aamir Khan), who lands on Earth and gets stuck. What started as a quest to find his lost communication device, transformed into a journey to understand humanity's relationship with God. This quest involved him posing thought-provoking questions, which struck at the core of various religious beliefs. Jagat Janani Sahni (Anushka Sharma) played a pivotal role in helping PK navigate this journey.

PK did not single out any religion or attack anyone's beliefs. It is a satire- delivered in a fairly appropriate way- to stimulate contemplation and open dialogues about faith and spirituality. However, the satirical approach was misinterpreted by people with high beliefs, leading to outrage and violent protests.

Various protests and demonstrations happened after the release of the movie. Source: GulfNews

The controversy surrounding PK stemmed from a misunderstanding. Some individuals perceived the film as an attack on their faith which, as covered by Srijana Das, was far from the truth. The film merely questioned the rituals, dogmas, and superstitions that had permeated society. Unfortunately, this misunderstanding triggered violent uprisings, protests, and calls to boycott the film. Even a legal complaint was lodged against the director and the actors.

However, despite the outrage, PK remained an iconic film that takes the viewers on a quest to provoke critical thinking and encourage a deeper understanding of religion and superstition in India- especially on how it is practised in India.

The aftermath of the film reflected the success of the movie in raising questions which went beyond its compelling and satirical narrative.

It relied heavily on cutting-edge special effects to create a believable world inhabited by an alien protagonist. The film's aliens and usage of religion were meticulously designed, requiring a dedicated team of experts, especially in matters of belief and religion.

Their effort paid off even after facing a turbulent journey. PK delivers a visually stunning experience that adds depth to the storytelling.

PK Success Party. Source:  moviecrow.com

The film's locations also played a vital role in its authenticity. Shot in various parts of India, including Mumbai, Delhi, and Varanasi, PK showcased the rich cultural diversity of the country.

This endeavour involved extensive logistical planning, as filmmakers had to secure permissions and manage large crowds of curious onlookers.

Aamir Khan's dedication to his role as PK also deserves mention. He portrayed his comical role as the alien with such commitment that he did not blink his eyes throughout the film!

Its impact extended far beyond the silver screen. The film earned critical acclaim and won numerous awards, including the prestigious International Indian Film Academy Awards for both Best Director and Best Dialogue- along with the nomination for Best Actor and Best Actress Award.

It also emerged as one of the highest-grossing Indian films ever, amassing over 183.09 crore rupees (US$28.955 million) worldwide. PK became the first Bollywood film to earn one billion rupees (US$16.39 million) net from online bookings. Srijana Mitra Das gave the movie four stars out of five.

PK ignited a national conversation about religion, superstition, and the importance of critical thinking. It challenged the status quo and encouraged individuals to question deeply ingrained beliefs. The controversy surrounding the film served as a catalyst for much-needed introspection within society.

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• An alien on Earth loses the only device he can use to communicate with his spaceship. His innocent nature and child-like questions force the country to evaluate the impact of religious views on people.
• P. K. is a comedy of ideas about a stranger in the city, who asks questions that no one has asked before. They are innocent, child-like questions, but they bring about catastrophic answers. People who are set in their ways for generations, are forced to reappraise their world when they see it from PK's innocent eyes. In the process PK makes loyal friends and powerful foes. Mends broken lives and angers the establishment. P. K.'s childlike curiosity transforms into a spiritual odyssey for him and millions of others. The film is an ambitious and uniquely original exploration of complex philosophies. It is also a simple and humane tale of love, laughter and letting-go. Finally, it is a moving saga about a friendship between strangers. — Abhijat Joshi
• PK the alien being, a gentle one who encounters the other side of God and religion on earth, in India. He comes across as a simpleton, an innocent being who represents his kind from a distant planet. He meets Jaggu, Anushka Sharma, an the plot unravels soon. Of how the contemporary society has been taken over dogmatic preachers from all major religions. Of how the universal message of God is forgotten and of how people are manipulated by the so-called religious leaders, aptly called as Managers by PK. The movie is symbolic of how convoluted our belief system is, be it Hinduism, Islam or Christianity. — Jagdish Keshav
• An alien from a distant galaxy, drops in on our planet Earth to study the inhabitants. What he encounters here, surprises him. It's about how major religions in contemporary religions have been hijacked by religious zealots, whom he, PK calls as Managers. — Jagdish Keshav
• A human like Alien from a distant civilization arrives on the earth to conduct a research for his people. Within few minutes of his arrival, his remote control to his spaceship gets stolen and he gets stranded on the earth. Now how should he go about finding his remote control in a completely alien world? The only unanimous advice he seems to receive from the people of the earth is that only God could help him. Not having any clue about the concept of God, he sets off on his mission to search for him. He comes across different religions with different Gods which only help him to fall into a confusion. What God should he follow? Which religion does he belong to? Will he ever find God? Will he get to get back to his home? — vspm83
• A humanoid alien (Aamir Khan) lands on Earth on a research mission in Rajasthan but is stranded when his beacon to his spaceship, a locket around his neck, is stolen. PK, not knowing Earth's customs, learns to fit in among humans by wearing clothes and using money that he steals from couples having sex in "dancing cars". He attempts to learn to communicate by grabbing peoples' hands and absorbing their memories through touch, but they chase him away when he tries, (wrongly) interpreting him to be a pervert. The passenger vehicle that carries Bhairon Singh (Sanjay Dutt) strikes him and renders him unconscious. Bhairon takes him to a doctor who declares PK is a person suffering from amnesia. Bhairon assumes the amnesia is as a result of the collision PK has had with his vehicle. Bhairon now knows that the victim of the accident won't be able to complain about the accident. So Bhairon decides to run away. Later, he takes pity, changes his mind and takes PK along with his troop. Over time PK becomes his friend. Later, interpreting the alien's hand-grabbing as sexual interest, Bhairon takes him to a brothel. There, the alien holds a prostitute's hand for six hours and thus learns the Bhojpuri language. The alien travels to Delhi in search of his stolen remote. Due to his strange behavior, the people in the city assume he is tipsy (tipsy translates to Pee-Kay in Hindi) and call him PK. Delhi turns out to be a very large city, and people tell him that only God can help him find his remote. PK tries to find God but is confused by India's various religions and their confusing traditions. He later discovers that a God-man, Tapasvi Maharaj (Saurabh Shukla), has his remote & is publishing it as a lost part of Shivji's Damru that he found in the Himalayas. However, Tapasvi falsely claims to have attained the object from God in the Himalayas and refuses to return it to PK. Bewildered, PK concludes that Tapasvi and other religious heads must be calling a "wrong number" to God and, as a result, spreading misunderstandings and meaningless rituals. Meanwhile in Bruges, Jaggu (Anushka Sharma) falls in love with a man named Sarfaraz (Sushant Singh Rajput). Jaggu's father (Parikshit Sahni) objects to their relationship because Sarfaraz is a Muslim from Pakistan; he consults Tapasvi (the family religious consultant & a general commercialized Godman) who predicts that Sarfaraz will betray Jaggu. Determined to prove them wrong, Jaggu proposes to Sarfaraz. She is heart-broken at the wedding chapel when she receives a letter calling off the marriage due to their differences. She returns to India where she becomes a television reporter; she is intrigued while watching PK distributing leaflets about a missing God. Jaggu is angry at running meaningless stories & challenges her boss Cherry Bajwa (Boman Irani) to have her pursue PK's story, who reluctantly agrees. After hearing PK's story, Jaggu devises a plan to expose Tapasvi and recover PK's remote. Jaggu takes PK to a public Durbar held by Tapasvi. There PK proves publicly that Tapasvi's calls to God are going to a wrong number & that the person on the other side is giving him wrong advise. Tapasvi sees that PK's arguments are instantly winning over the public. Jaggu records the entire proceeding & goes to air with PK. PK says on national television that the Managers of God are not able to solve people's problems & they should simply help one another to solve their own problems. Tapasvi tries to intimidate PK & Jaggu, but Jaggu is able to rally public support & PK argues that Managers of God are using fear of God to run a business. Jaggu encourages thousands of people to send in videos of their own experiences with religious heads, calling them "wrong numbers". Meanwhile, PK contacts Bhairon Singh who says he will come to Delhi the next day but dies in a bomb blast. Terrorists had planted the bomb to protect their faith in retaliation to PK's protests. Finally, Tapasvi is forced to come into the studio and confront PK on-air. Tapasvi claims he has a direct connection to God and refers to his prediction of Sarfaraz's betrayal as proof. However, PK, who earlier absorbed Jaggu's memories, discovers that Sarfaraz did not write the letter she received. Jaggu contacts the Pakistan Embassy in Belgium where Sarfaraz worked part-time; the embassy tells her that Sarfaraz still loves her and calls them daily to inquire whether she has called. Jaggu and Sarfaraz reconnect and Tapasvi, exposed as a fraud, is forced to return PK's device. In the course of the film, PK falls in love with Jaggu but refrains from telling her because she loves Sarfaraz. He instead records tapes of her voice and fills his suitcases with batteries so that he can listen to the tapes on his home planet. While departing, he lies to Jaggu regarding the content of the tapes; Jaggu, despite knowing the truth, keeps quiet. She later publishes a book about PK. One year later, PK returns to Earth on a new research mission with other several aliens.

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PK: Movie Summary and screenplay

Summary and screenplay pdf download, introducing the characters.

The movie starts by introducing the male protagonist. He is an alien who has visited earth. Unfortunately, his remote controller with which he could contact his planet is stolen as soon as he reaches. The movie then takes us to our female protagonist. A young girl in love with a boy of a different religion. She went against her father’s will to marry her lover, but the lover ends up not arriving on the wedding day. She comes back to her hometown but is unwelcomed by her father. Tapaswee Jee: a self-proclaimed saint, is the villain of the movie. Considering himself to be a messenger of God, he feeds on people’s faith and trust and earns money by doing so. The female protagonist’s father is a huge devotee of Tapaswee Jee, and he was the one who warned the female protagonist about her lover. 

Character Development

People are unknown to the fact that this guy is an alien as he looks too human. He asks people for his remote on reaching the earth, to which everyone responds,” God Knows”. Unknown to the concept of God, he searches hard for him but in vain. He is also given the name PK as his strange questions often perplexed people who asked him,” अरे पी के है क्या?” (Are you Drunk?). During his quest to find God, he crosses paths with the female protagonist named Jaggu. Jaggu is now a news reporter. Tired of covering irrelevant news, she is looking for a piece of big breaking news. She is intrigued by PK’s personality. She befriends him. Pk gains faith in Jaggu and tells everything about himself. He also tells her that Tapaswee Jee has his remote and claims it to be a fragment of Lord Shiva’s Damru. Pk thinks Tapaswee Jee is innocent, and the God he is reaching out to is a wrong number who, with weird solutions to people’s problems, are kidding with him. Jaggu knows the actual truth and assures Pk that she would help him get back his remote. But she also says that he must make Tapaswee Jee realize the wrong number he has been reaching out to. 

Pk and Jaggu try hard to get back Pk’s remote. They broadcast news, visit Tapaswee Jee’s satsangs often, etc. But all of this goes in vain. Jaggu finally comes up with a plan to live broadcast Pk’s and Tapaswee Jee’s interaction on Live Television. If Tapaswee Jee is found guilty in this interaction. He shall return Pk’s remote back to him. Simultaneously, with Pk’s and Jaggu’s efforts, the layman had started finding default in the ways of these self-proclaimed saints. Seeing the popularity of the saints decreasing, Tapswee Jee agrees to Jaggu’s proposal for the live broadcast.

Meanwhile, Pk had been gaining popularity. He was all over the national television. Seeing this, a good man who helped him at the beginning of the movie calls him up and fixes a meet-up. However, as soon as he steps foot in the city, he dies in a massive explosion, a part of a religious riot. Pk is shaken to his core but still decides that he must meet Tapaswee Jee

The Confrontation

The day of the live broadcast arrives. Tapaswee Jee accuses Pk of several things. Pk first quietly listens and then responds. He blames Tapaswee Jee, and several such people for dividing humans with tears filled up in his eyes. This division has come to a point where people cannot distinguish between what is wrong and what is right. He further brings up Sarfaraz: Jaggu’s Lover. He asks Jaggu to call him and ask him why he did not come to the wedding. After a lot of persuading, Jaggu agrees. She calls him up only to know he was late that day. He waited all these years for Jaggu. Pk further reminds Jaggu that despite going against Tapaswee Jee, her mind was so preoccupied with these thoughts that she did not try finding out the reality. 

Pk gets back his remote and leaves. Jaggu gets back with Sarfaraz and writes a book about her extraordinary story. Jaggu’s father, a massive devotee of Tapswee Jee, realizes his mistakes and welcomes Jaggu and her lover with an open heart. 

Post Credit

We see another spaceship land on earth, and one more human look-alike alien steps down. With a remote similar to that of Pk, he looks around, and the movie ends. 

All the elements of the movie have been very well used in delivering the intended message. The writers have done a fantastic job at scriptwriting. Here comes Studiovity, India’s first video production management tool. It is a web, mobile-based video production management software; Studiovity is an end to end product management platform that allows you to increase your project’s productivity. Write your script by just adding a document, and you don’t need paper anymore.

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