Farah, oh how I love thee and your masti-filled masala mindset; thank you for making OSO! This film has been one of the most enjoyable theater experiences I’ve ever had; I’ve watched it twice already. Plot: definitely a rollercoaster ride. There are so many jokes and loving homages to Indian cinema—the Rajnikanth/Quick Gun Murugan and Filmfare skits (among others) had me crying from laughing so hard. But Farah and SRK also temper the film with heart. OSO references the difficulty of entering the film industry, the seedier side of film financing, lecherous producers, and the morally gray actions that PR-minded star secretary’s commit. Even the Filmfare spoofs are funny on one level, but also take a pointed stab at film sequels and ‘inspired’ plots which are really blatant copies. OSO reminds us that behind all the filmi glamour, stars are just human beings who still have to deal with common struggles like relationships and juggling success with happiness. Not to mention the parts of Shah Rukh himself which are included in this movie—I gasped during the scene where Spoiler Om Prakesh declares he’s going to one day own that dream bungalow, much as SRK did when he landed in Mumbai. OSO begins with an iconic Karz number, letting you immediately know what period of time you’ve just landed in. One—thank you, Farah, for allowing me to see Rishi in his prime on the big screen. Two—thank you for making it possible for me to have my favorite singer (Kishore Kumar) doing playback for my favorite actor (SRK). Throughout the 70s homage of the first half, we have foreshadowing of the reincarnation to come, but don’t think you know completely where the story is going because the movie—in switching from one film influence to another—saves some surprises for the second half (some more clues to which I recognized on my second viewing). The bittersweet ending— Spoiler with the unconventional lack of a romantic ‘happys ending’ —was surprisingly satisfying. There aren’t many Hindi films (that I’ve seen) that have touched on the macabre genre, but OSO has it in spades— Spoiler a murdered spouse buried alive beneath the floor, her soul trapped in that film set (hence Shanti not reincarnating as well) waiting for the chance to get her revenge; the grand film-within-a-film movie set; the operatic Dastaan-e-Om; Sandy’s impersonations of Shanti; Om’s first flashback, which made me jump in my seat. But I found it fitting that Shanti’s heart did not belong to Om in his first life, so neither should it in the next. The songs: OSO was my favorite soundtrack of the year already due to its cohesiveness as an album and the epic, musical theater mood it evoked. Dastaan-e-Om, in particular, blew me away and gave me my own flashbacks of myself as a teenager, when I wore out my Phantom of the Opera cassette tape. I wondered if this was Farah being influenced by her work with Andrew Lloyd Webber on Bombay Dreams. Well, seeing it onscreen didn’t disappoint; besides looking back to the similar musical-within-a-film in Karz, the costumes, the narrative lyrics, and Shah Rukh looking like he could walk right off set onto a Broadway or West End stage created a grand atmosphere. Moving on, Dhoom Tana is a blast—the badminton swings being in rhythm with the repeated block sounds; the digital effects which allow Deepika to take part in the classics (special kudos to Red Chillies VFX here); seeing Shah Rukh live it up in various avatars of the past. Ajab Si and Jag Soona give you the reality behind how these filmi fantasies are made. Seeing all the star cameos in Deewangi Deewangi is a treat (although my husband is mad that Johnny Lever wasn’t included ). And oh my, Dard-e-Disco geniusly straddles the fence between cheese and titillation—when SRK licks his thumb and runs it between his pecs, i both cringe and ovulate. Performances: Shah Rukh and Deepika deserve a lot of credit for making their characters distinctive in each half. SRK excels in this respect in his double roles. Whether Deepika got some pointers from him, or she shares this talent as well—she has a fantastic Hindi film debut as the poised, disenchanted superstar, Shanti, and the goofy, star-struck fan, Sandy. Deepika has the chops for physical comedy, standard heroine parts, and thriller roles. I was really impressed with the creepy gothic vibe she had to portray in parts, largely due to those gorgeous, expressive eyes of hers. Shreyas is such a versatile actor and has great chemistry with Shah Rukh. It's another example of how well Shah Rukh riffs with other male actors (like with Saif in KHNH); Shah Rukh, please do more comedic roles! Kirron—wow—her OTT filmi dialogues with Om had me rolling. She seemed to relish this role, which adds to the fun. And speaking of relishing a role, it felt like Arjun and Shah Rukh picked up from their fight scene in Don while going head-to-head in their shared scenes. Coming back to Shah Rukh, what a treat to see him in roles like this and Kabir Khan within the same year. Anyone who thinks he plays the same roles repeatedly (or that he plays himself all the time) is flat-out nuts. He OWNED the screen during Dastaan-e-Om, had me all verklempt during the heartbreaking moments, and both audiences i saw the film with were in stitches during the comedic parts. One hilarious scene in particular also proves that SRK definitely has more than five expressions. But quite appropriately, Farah gets the last laugh of the film. Bottom line: go watch this film! i challenge you to try not using 'Mind It!' repeatedly in your conversations afterward.