A Tale of Three Davids

David is about the grey character inherent among us; how the good and the bad are just two different sides of each of us, and how good always wins over evil (more on this ahead).

David‘s scope is vast. Thematically connecting three (almost) independent stories is not something tried often in Hindi films. It’s almost like last year’s Cloud Atlas in that sense. And yet, it is bogged down by stereotyped characters, (especially in the case of the Goa-based segment), a weak third segment (again, the Goa-based) and an unconvincing link between all the three stories.

David #3

The story revolves around three men in different locations and era by the same name and how they defeat their Goliath. The first David (Neil Nitin Mukesh), in London, ekes out forgiveness and sacrifice from an enclosure of betrayal. The second David (Vinay Virmani), in Mumbai, wants his justice, but not in the non-violent manner about which his father (Nasser), a priest, preaches (and practises). The third David (Chiyaan Vikram), in Goa, is searching for love while taking a break from drinking and speaking to his dead father.

The first segment, shot entirely in black & white, is the film’s strongest. It hooks you in right from the first scene, and never lets you go. The second segment, though slightly uninteresting to begin with, gathers steam quickly. It also has the best scene of the film which involves David’s father injuring himself in delusion. The third segment shows a very politically incorrect character in David, and his first scene will send your senses tingling, telling you that something is wrong. It does pick up eventually, but this segment is tonally different from the rest and it affects the flow of the film. It plays lighter and in the manner of a fairy-tale. This also has one of the biggest disappointments with respect to sub-plots in its satku-Santa section.

David #2

The link towards the end is completely unnecessary, though it would be interesting to know why the writers (Bejoy Nambiar and Natasha Sehgal) decided to use it. Leaving character development to fate is fine as long as there is foreboding, and it works between the stories set in London and Mumbai, but the jarring returns when the Mumbai story connects to the Goan one.

The story also paints a very stereotypical picture of all characters. If the Goan David is always drinking, the Mumbai based David is playing guitar. Nambiar addresses a very political issue based on religion in the second segment, which does happen in real-life. But towards the end, one can’t help but feel that all three religions depicted in the film end up being depicted in one particular colour. Christians are white and make sacrifices. Hindus (black) are greedy while Muslims (black) want to avenge themselves and their loved ones. A straight line is drawn through complex issues with none of the sides appearing strong enough, so much that even a character who tells the Mumbai David to act on his words is in a kurta and has a jhola on his arms. No points for guessing which profession he is a part of. (No points for guessing his regionality too. Yes.)

The acting is strong throughout the film. The three leads perform to their best. Tabu (Goan David’s friend Frenny), Akarsh Khurana (London’s Iqbal Ghani) and Nasser support the cast brilliantly too.

David #1

Nambiar chose three different cinematographers for the three different locations, and it must be said that all three of them did a commendable job. Sanu John Varughese’s black and white palette lends a classic touch to the mafia tragedy in London, while R. Rathnavelu bathes Goa (and Kerala) with a soft orange tinge. P.S. Vinod is good with the Mumbai segment too but is overpowered by some impressive photography from the former duo. The editing by A. Sreekar Prasad plays fine too except while switching between segments where a certain jerk is always apparent.

The film is won, though, by two departments that are usually undermined in Hindi films. The production design by Rajeevan and costume design by Ameira Punvani are excellent and some of the best seen in recent times.

Nambiar takes ahead his theme of good triumphing over evil from Shaitan and multiplies it threefold. He does manage to stay in control of his cinematic techniques this time around, using them to create a desired effect, but make no mistake, the movie bleeds visual pleasure. There is, also, no doubt that, perhaps, after Kashyap and Bhardwaj, Nambiar is one director who knows how to use music in his films. It is harsh to say that Nambiar’s second film is ‘all style, no substance’. David has an interesting plot and a few colourful characters going for it. Nambiar knows to play subtle too. But there is no denying that although David is a good film, it could have been a whole lot better had the story been stronger.

Written by Runcil Rebello.


The Year In Review – Hindi Cinema (2012)

2012 was (by its usual standards) a very good year for Hindi cinema. Yes, we saw the usual masala films hitting the 100 cr mark, but we did see other cinema receive recognition too, and not just from critics, but audiences as well. Here we try to lay down our 5 favourite Hindi movies of 2012, scenes, songs and what you should be looking forward to in 2013.

Favourite films (in reverse order)

5. Ek Main Aur Ekk Tu

Ek Main Aur Ekk Tu

Finally, an Indian rom-com that did not make me cringe. Bonus points for the end.

4. Paan Singh Tomar

Paan Singh Tomar

An extraordinary (real-life) story told very well. And Irrfan, one of our best actors.

3. Barfi!


May have lifted scenes but its sum was greater than its parts.

2. Supermen of Malegaon

Supermen of Malegaon

Okay, I cheated. This is a documentary. But you’ll laugh, and laugh, and ponder, and laugh again while watching the people from Malegaon creating their famous parodies. The whole film is available online here.

1. Talaash


The film got a lot of stick for the twist, and it was promoted wrongly too – as a thriller. But watch the film knowing it’s about grief, and perhaps even knowing the twist, and this film turns out to be something else. My Hindi film for this year.

Before we move on to my favourite songs of the year, the composer of the year goes to Amit Trivedi (Ek Main Aur Ekk Tu, Ishaqzaade, English Vinglish, Aiyya, Luv Shuv Tey Chicken Khurana as well as Trishna and the best episode in Coke Studio India Season 2). Runner up: Sneha Khanwalkar for Gangs of Wasseypur.

Might I add the best background score in a movie this year was by Abhishek Ray and Sandeep Chowta for Paan Singh Tomar.

Favourite Hindi songs (in reverse order)

6. Auntyji (Ek Main Aur Ekk Tu)

Composer: Amit Trivedi; Lyricist: Amitabh Bhattacharya; Singer: Ash King

5. Ala Barfi! (Barfi!)

Composer: Pritam; Lyricist: Swanand Kirkire; Singer: Mohit Chauhan

4. Laakh Duniya Kahe (Talaash)

Composer: Ram Sampath; Lyricist: Javed Akhtar; Singer: Ram Sampath

3. Jiya Ho Bihar Ke Lala (Gangs of Wasseypur)

Composer: Sneha Khanwalkar; Lyricist: Varun Grover; Singer: Manoj Tiwari

2. Motorwada (Luv Shuv Tey Chicken Khurana)

Composer: Amit Trivedi; Lyricist: Shelley; Singers: Tochi Raina, Amit Trivedi

1. Aafaton Ke Parinde (Ishaqzaade)

Composer: Amit Trivedi; Lyricist: Kausar Munir; Singers: Suraj Jagan, Divya Kumar

Favourite scenes of 2012 (in reverse order)

Have tried to provide clips as much as possible.

6. The Dinner Table sequence (Ek Main Aur Ekk Tu)

One of the best written scenes of the film (and the year).

5. “I love gandagi.” (Supermen of Malegaon)

One of the writers of the film Malegaon ka Superman comes up with a classy entry with a fitting monologue for the Lex Luthor-esque villain of the film – Ding Dong Ding – who is the owner of a tobacco company and loves filth.

4. The Bengali and Punjabi parents visit each others’ homes. (Vicky Donor)

Our cultural biases can be a lot of fun, especially when shown in such a hilarious manner. What Chetan Bhagat tried to show in one entire book called Two States was shown here in two smartly-written, short scenes. Here’s a (very) short clipping.

3. “Parmissan” (Gangs of Wasseypur)

Hands down, the most hilarious scene this year!

2. The Underwater Sequence (Talaash)

Beautiful cinematography aside, (and avoiding spoilers), this scene was just surreal.

1. Raabta (Agent Vinod)

Not a good film, not a bad film. But was it technically sound! For instance, this one take shot for the song Raabta.

Films to look ahead to in 2013 – In no particular order.

1. Matru Ki Bijlee Ka Mandola

Matru Ki Bijlee Ka Mandola

Director: Vishal Bhardwaj; Actors: Imran Khan, Pankaj Kapur, Anushka Sharma

2. Lootera


Director: Vikramaditya Motwane; Actors: Ranveer Singh, Sonakshi Sinha

3. David


Director: Bejoy Nambiar; Actors: Vikram, Neil Nitin Mukesh, Vinay Virmani, Tabu, Lara Dutta, Isha Sharvani

4. Kai Po Che!

Kai Po Che!

Director: Abhishek Kapoor; Actors: Sushant Singh Rajput, Rajkumar Yadav, Amit Sadh

5. Bhaag Milkha Bhaag

Bhaag Milkha Bhaag

Director: Rakeysh Omprakash Mehra; Actors: Farhan Akhtar, Sonam Kapoor

6. Ghanchakkar

Director: Rajkumar Gupta; Actors: Emraan Hashmi, Vidya Balan

7. Dhoom 3 (in IMAX)

Director: Vijay Krishna Acharya; Actors: Aamir Khan, Abhishek Bachchan, Uday Chopra, Jackie Shroff, Katrina Kaif

8. Gunday


Director: Ali Abbas Zafar; Actors: Priyanka Chopra, Ranveer Singh, Arjun Kapoor, Irrfan Khan

9. Chennai Express

Chennai Express

Director: Rohit Shetty; Actors: Shah Rukh Khan, Deepika Padukone

10. Peekay

Director: Rajkumar Hirani; Actors: Aamir Khan, Anushka Sharma

Rockstar Not So Rocking

Rockstar leaves one perplexed and disappointed. Another Bollywood offering that has failed to come good. Imtiaz Ali had a promising story on hand and he has frittered away the whole potential with wasteful gimmickry. Disparate flashbacks, poor characterisation of the lead characters mar the proceedings completely, making the viewer wonder what the director was actually getting at. After the hype and expectation that Rockstar generated, one would have expected better from Ali.

Janardhan Jakhar (Ranbir Kapoor), scion of a lower middle class business family, and an aspiring singer, pursues pain in order to make his music more ‘meaningful’. Nice thought. But what does he do? Chases the most sought after girl in Stephen’s, Heer Kaul (Nargis Fakhri) and follows her through the lush locales of Prague, where she lives post marriage. Meantime our protagonist rises to fame and stardom as Jordan, the Rockstar – The pain of love works its magic on the music he makes.

To give Ali his due, the first half seems like the movie is heading towards poignance and maybe even towards becoming a modern classic. But, the second half just peters into nothing; nothing at all. Fakhri, will at best, remain a pretty face, a country cousin of Katrina Kaif, unless she is bitten by lady luck, oh yeah, the same one that bit Ms Kaif.

There was this expectation of seeing the making of the star, exploring his psyche, the deconstruction of stardom and the man behind it, but sadly, Ali did not do justice to any of these. Ali missed the point that the movie should have been more about rock and the rock star (so much for vague references to Jim Morrison). Instead, what we are subjected to is a confused crossover between a love story and a musical journey. A R Rehman’s score is good (Naadaan Parindey and Sadda Haq are infectious), but not superlative and does nothing to elevate the movie to a true-blue rock musical extravaganza. So, what are we left with? Two and half hours of splendid cinematography and grandeur, more in the Bhansali-esque mode. What’s gotten into you, Ali? After Jab We Met, we really thought we saw a great maestro in you. You need to buck up to make us forget this unimpressive fare, and yes, young Kapoor’s brave performance, notwithstanding.

Written By Shantheri Mallaya.

Do you agree with Shantheri that Imtiaz Ali has failed this time? Is Ranbir the only shining star in the film? Or do you agree with our other reviewer who liked Rockstar? Let us know in the comments.