The first and foremost conviction that appears uppermost in mind after watching the movie is that the film does not pivot round the character, wrongly indicted as " nastik" or atheist. The character that deals in idols of divinites dramatically adds lies connected with the salable images/ idols and thus dupe customers. What he does is to cash with the frailty of god-fearing people, who are, by and large, fond of magic, fantasy, miracle, wonder, and undesigned happenings. If one examines different advertisements ( citations not needed) on different things, aptness of the said logic will come clear. Adding lies to the truth ( the metal idol is the, while the self-contrived story connected with it is a fabrication). Kanji, the Gujrati trader candidly confesses that he does not have any concern with the sublimity of the divine, but his sole concern is to multiply his fortune. A character as such with a strong vice of scheming stories for his business cannot be called an atheist.
But the protagonist becomes a proverbial atheist, when he manages to sue the god-men who are socially esteemed as the " Go-between" following the denial of the insurance company regarding the compensation for the damage caused by an earthquake, termed as " Act of God". The society of lawyers decline to accept such bizarre case. Therefore, availing himself of the special provision of the Constitution, the unfortunate Kanji comes up for his own defense . The sum and substance of the film are concentrated on the trial scenes in the court of law. The noted god-fathers are summoned and the drama gains momentum.
Since the story of the film is a satire, induction of the " Modern Krishna" who has taken refuge in the house of Kanji, is befitting.
Nowhere does the film vilify, demean or dwarf the sublimity of divinity. But its main target is the act of apotheosis. The self-proclaimed avatars are put into the witness box and cross-examined. These saffron-clad, white-clad, red-clad godfathers are hedonists to the backbone, and mislead the weak-hearted masses by ordaining different practices, which we call ritual rites. It has become an implied conviction that what gods know, they know. Only they are aware of the whims of God/ gods. The film attempts to unmask these masked society that harnesses our blind faith for their own interests. They make gross abuse of our scientific knowledge and institute channels to augment their realms.
The protagonist Kanji emerges from the millions of Indians, speaking for the humanity by crying against inhumanity. He becomes popular, if not celebrity. He comes on the Tv and speaks in common man's tongue, but his gift of the gab is enough to invite black clouds in the horizons of the human-bhagawans. Hence, it becomes an evident that a very common man with scant formal education, if comes out with his logic, gained from experiences, can outdo eloquent lawyers. What he speaks is what every ordinary man wants to speak. Kanji is , metaphorically, a mouthpiece of all who have been, from time unknown, questing for the laws of the omniscient dictator, and some men have been befooling them chancing their quest.
It is next to impossible to have a slight thinking of replacing Paresh Rawal by any one else. The film is not without its shortcomings and drawbacks. If OMG has been made to air out an important message, the venture is successful. The film, even in the final scene, reads emphatically to get rid of fear and have faith in the divine.