OMG 2 Review: Akshay Kumar and Pankaj Tripathi Spark Conversation on Important Social Issues
OMG 2 is a thought-provoking film that tackles important social issues such as religious hypocrisy, superstition, and the role of women in society. Akshay Kumar and Pankaj Tripathi give powerful performances in the film, which is sure to spark conversation and debate.
In a curious turn of events, Manoj Bajpayee and Pankaj Tripathi, who were adversaries in the 2012 epic "Gangs of Wasseypur," have both found themselves entangled in courtroom dramas this year that leverage Hinduism to address societal issues. In "Sirf Ek Bandaa Kaafi Hai" (available on ZEE5), a film that maintains a solid yet earnest tone, Bajpayee employs a mythological narrative to hold a formidable godman accountable. Similarly, Tripathi employs a comparable strategy in "OMG 2," while infusing his character with a comic tenderness that distinctly reflects the actor's signature style. Referencing Kamasutra, Khajuraho, and Panchatantra, his character imparts wisdom with a serene smile and a gentle voice, occasionally punctuated by humorous outbursts in the courtroom.
"OMG 2" serves as a follow-up to the 2012 film "OMG – Oh My God!" which effectively satirized organized religion's pretenses. While actors Paresh Rawal and Mithun Chakraborty, both former parliamentarians, have stepped aside for the sequel, Akshay Kumar continues his role, alongside the courageous presence of Govind Namdev. Unlike its predecessor, the sequel shifts its focus from religion to sex education in schools, prompting the makers to seek a UA (Universal Adult) certificate. However, the censor board's intervention led to alterations and an eventual "A" (Adult) rating. Kumar's character was also reportedly transformed from Lord Shiva to a divine "messenger," a modification necessitated by the existence of another franchise with a similar name featuring a convicted criminal.
The central character of "OMG 2," Kanti Sharan Mudgal (Pankaj Tripathi), is a devout shopkeeper at a Hindu Shiva temple in Ujjain. His introduction is steeped in a vibrant shade of orange, encompassing the temple premises adorned with banners and awnings, to the tilaks and marigolds exchanged in prayer. Kanti resides in temple-provided accommodation with his wife and two children, leading a modest and peaceful existence. However, his tranquil life takes a turbulent turn when his son, Vivek, becomes a victim of bullying and resorts to masturbation due to peer pressure. The ensuing humiliation is amplified as the bullies capture and share a video of the act online.
A doctor's warning highlights the psychological turmoil that often accompanies self-discovery during adolescence. This distress manifests in Vivek's attempted suicide, only to be intervened by an enigmatic stranger donning dreadlocks and a serene smile, unmistakably Kumar's portrayal of a Shiva emissary offering divine assistance. Encouraged by this celestial intervention, Kanti, acknowledging his parenting shortcomings, initiates legal action against his son's school, as well as against those who misled and deceived his child. Remarkably, he also implicates himself, assuming shared responsibility. Observing these proceedings with a mix of confusion and intrigue are a judge (Pavan Malhotra) and a slick defense attorney (Yami Gautam Dhar).
Kanti's courtroom arguments begin with a touch of absurdity but consistently elevate into more profound observations. By referencing ancient texts, he underscores the intrinsic role of sex and sexual well-being within Indian society. Impressively, the film skillfully navigates these discussions without becoming excessively weighty. Tripathi infuses the film with an air of joviality and optimism. Director Umesh Shukla seems comfortable with inviting laughter at phrases like 'hast-maithun' (masturbation) and 'sex worker,' calculating that this initial humor will pave the way for more profound realizations.
The film's approach involves a generous integration of Hinduism, leveraging its principles to advocate for a progressive perspective. Kumar wholeheartedly embraces his Shiva persona, accompanied by a constant presence of a white bull symbolizing the deity. Iconic symbols such as the trident and shiv lingam make regular appearances, with Kanti figuratively transforming the courtroom into a symbolic temple. Meanwhile, Yami Gautam's character is aptly named Kamini, invoking the Sanskrit word 'kāma,' which signifies sexual desire and pleasure.
While the film embraces Hinduism, it remains cautious. Kanti alludes to a past marked by openness and progressivism, yet intriguingly avoids any mention of ancient Indian texts' references to homosexuality. His impassioned plea for sex education encounters collective opposition from conservative religious groups, uniting Hindu, Muslim, and Christian clerics in protest.
"OMG 2" surpasses its predecessor, offering a candid and charming portrayal of a fantasy-laden narrative. However, it occasionally resorts to predictable critiques of colonial-era influences, ultimately explaining societal shortcomings. The film could have benefitted from improved cinematography and editing, as well as stronger CGI. Geeta Agarwal Sharma delivers a memorable performance as Kanti's easily rattled wife. Akshay Kumar provides moments of levity, including a playful rendition of the song 'Udja Kale Kawan' from the "Gadar" franchise, which coincidentally shares theater space with "OMG 2."
As the film unfolds its narrative, it becomes evident that Pankaj Tripathi's character carries a resonant voice deserving of our attention.