If the first half abounds in light moments, the post-interval portions get into a serious mode. The story takes a turn when one of their friends [Madhavan] expires in an air crash. The film holds your attention right till the elimination of the Defence Minister [Mohan Agashe], but the remainder, which leads to the climax, is a downer. The climax should’ve been the highpoint of the film, taking the film to a crescendo, but it doesn’t. In fact, the climax ruins the impact considerably.

The free-flowing enchantment induced by this film about the simmering discontent of a nation and a generation hurling into damnation is so real and yet so surreal, you wonder if there can ever be a film so filled with indignant ideas and yet so calm and spacious in its storytelling.

You may, or may not be entirely convinced by Mehra’s phenomenally filmed, but rather far-fetched grand finale. But to me, it somehow worked, just as the competently and subtly structured screenplay (Renzil De’Silva, Mehra) that begins to breathe a life of its own. Thanks to a brilliant piece of photography (Binod Pradan) that never draws attention to itself, and a sizzling score (A R Rahman) that does. And above all, no doubt in my mind, Aamir, who exudes a rare candour, irresistible charm and characteristic charisma to take an inspirational subject to an altogether another level.

A thought-provoking, soul-stirring wake up call to the youth of India. An engrossing entertainer from a genre that’s still young in Indian cinema. A film that fiercely eyeballs you, grabs you by the solar and rattles the nonchalance out of you. A glorious tapestry with layers upon layers of the moments and decisions that make the lives of beautifully defined characters. Engrossing entertainment meets taut social comment with perfect timing in Rang De Basanti.