Oh My God! “OMG 2 OMG follows in the footsteps of the 2012 movie, which featured Mithun Chakraborty, Paresh Rawal, and Akshay Kumar in a humorous examination of organized religion’s practices. Only Kumar and the brave Govind Nmdv remain; Rawal and Chakraborty, both former lawmakers, have moved on to other projects. In the new movie, the emphasis is shifted from religion to sexual education in schools, explaining why the creators wanted EU certification. After making a number of wise changes, the Censor Board gave it a “A” (Adult) rating. According to rumors, Kumar’s role was changed from being a reincarnation of Lord Shiva to being a ‘envoy’ of God (there was already a distinct franchise by that name, featuring a distinctive, criminal protagonist).
Director/Written by: Amit Rai
Coincidentally, the 2012 epic Gangs of Wasseypur had archrivals Manoj Bajpayee and Pankaj Tripathi arguing for Hinduism to change society in a courtroom drama. Bajpayee tells a mythological narrative to face a wicked deity in the series Just One Guy (on ZEE5), a good but introspective movie. In OMG 2, Tripathi’s approach is very similar. He does, however, add his trademark tenderness and sense of humor. With a contented smile and calming voice, his character narrates Kamasutra, Khajuraho, and Panchatantra. He occasionally exaggerates his ‘Desi wisdom,’ which causes people to laugh.
Kantilal Mudgal (Pankaj Tripathi), the main character in OMG 2, operates a devoted Hindu store in a Ujjain Shiva temple. He is surrounded by orange flowers when we first meet him; everything from the tilak and vermilion used during prayers to the decorations in the temple courtyard is modest and peaceful. Kantilal, his wife, and his two kids live next to a temple in a house. Up until his son Vivek is expelled from school, he leads a happy, tranquil life. Kantilal discovers that the boy developed a tendency for masturbation when some hooligans tried to reassure him; afterwards, the same kids recorded him and posted the video online.
Kantilal is cautioned by a doctor (Brijendra Kala) that kids who experiment with masturbation have trouble distinguishing between good and wrong. This is demonstrated in real time when Vivek commits suicide but is stopped by an enigmatic stranger with a sympathetic grin. Without a doubt, this “Kumar” is a representative of Shiva, sent from above to offer heavenly aid. Under his direction, Kantilal—who freely confesses that he is not the best father—files a lawsuit against the school where his son attends as well as all the charlatans and miracle workers who mislead his son. He accuses himself in court because he believes he is equally culpable. Pawan Malhotra, a judge, and Yami Gautam Dhar, a clever defense lawyer, watch in amazement.
Kantilal makes simple, naive arguments in court that frequently lead to important points. He emphasizes the importance of sex and sexual health in Indian civilization by citing old scriptures. The movie deserves praise for enlarging the discussion while remaining light-hearted. Ted Lasso comes to mind when observing Tripathi’s performance because of his combination of humor and undertones of seriousness. The movie keeps a really humorous viewpoint. In order to make people laugh, Rai has no qualms about using terms like “self-pleasure” and “sex worker”; after a brief period of amusement, the movie admits the possibility of a profound understanding.
The movie makes use of Hinduism’s inherent kindness and draws on Hindu philosophy. Shiva’s persona seems to be a favorite of Kumar’s because a white bull always seems to be following him. We are shown a picture of a trishul, a Shiva lingam, or a deity frame every ten minutes. Kantilal turns the courtroom into a metaphorical temple; Malhotra’s judge initially objects but ultimately gives in. The Sanskrit term “kma,” which means sexual desire and pleasure, is repeated numerous times in the title of Yami Gautam’s character, Kamin.
However, the movie continues to be circumspect. “While the world was taking small steps, our eternal Hinduism was advancing,” says Kantilal, referring to a time when people were more progressive and accepting. He declares this with pride. However, he emphasizes that there is no direct or indirect mention of homosexuality in ancient Indian scriptures. His speech, which argued that “sexual education is crucial,” infuriated conservative groups across all religions; we saw images of Christian, Muslim, and Hindu clerics banding together in opposition on television. Ram Setu is surpassed by OMG 2 as a movie because of how appealing and straightforward it is. To assist explain the flaws in Indian civilization, McCauley-Cones’ perspective is hinted to in the conclusion.