Daud hubba-hubba
Thanks to Vasan Bala’s post on Paresh Rawal, yesterday I watched Daud again.
After 10 years, that is.
Didn’t like it then, didn’t like it now. But the second look really helped me recollect why I didn’t like it the first time.
The storyline and the screenplay are heavily based on Kshana Kshanam (KK - 1991) and Anaganagaa Oka Roju (AOR - 1996) - two cult RGV hits - comedies that were better made.
Compare Urmila’s intro scene (Daud) with the scene in KK where Sridevi goes to this Irani Chai place to call her friend and a bunch of local dadas *chedao* her - IMNSHO, the scene from KK plays better than the Daud one.
Urmila saves Sanju from the Khurana guy using a pen instead of a gun - “pen anukunnava kaadu gannu” - Bhahmanandam made the scene immortal in AOR.
The songs were most untimely placed and were extremely irritating - especially the two Daud songs - what a waste! Not to mention Oh Bhanvre… one of ARRs best compositions till date - when played over a few mickey mouse montages - ridiculous gyrations of the leather lead couple - feels decomposed.
Neeraj Vora’s Chacko - the neverending drivel about the shikar *baap* and shikaari *maa* - an imbecilic attempt at the infantile comedy - hopeless!
Pinky - besides the scene with the kid at the inspector’s house and the scene in the bus (OM’s fav), what else did this guy do to evoke laughter (or even a smile)?
Ashish Vidyarthi’s Inspector Nair - one role that was degenerated by design - my deep hearted condolences.
I once asked Akira Kurosawa why he had chosen to frame a shot in Ran in a particular way. His answer was that if he he’d panned the camera one inch to the left, the Sony factory would be sitting there exposed, and if he’d panned an inch to the right, we would see the airport - neither of which belonged in a period movie. Only the person who’s made the movie knows what goes into the decisions that result in any piece of work. They can be anything from budget requirements to divine inspiration.
… thus begins Sidney Lumet’s amazing book Making Movies.
I wish RGV, or someone who knows the background, could really tells us on PFC - why Daud was made the way it’s been made?!
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looks like u hate RGV…..
- hubba hubba hubba… oye WB… are you hell bent on making me and editors of PFC take up comment moderation as a Full time Job by doing a post that run downs RGV???
just kidding… truth is I didn’t enjoy Daud either. It started off well then got lost somewhere in the chase and the Neeraj Vohra angle (though he acted well)… to return back to the city by which time I had lost all interest and closed my eyes to whatever good that may have been there in the movie…
adding here… Daud was the first time I got the feeling that RGV at times loses interest midway through a movie at times. The initial surge of excitement that may have made him start a movie… that interest isn’t there and the loss of excitement mean loss of creative inputs… it’s happened more often in the recent years.
WB
Thanks for reminding me of AOR. I remember watching it a long time back. And yes I completely agree, Bhahmanandam was superb.
Also, I am not sure if I have got this all mixed up. There’s this song as well right - similar to the one Johny Lever had in Love Ke Liye Kuch Bi Karega? In that song, Bhahmanandam was lot better then Johny Lever (respecting him for what he’s capable of ). This, when I watched the movie without understanding the language.
Also, I would like to say (knowing very well that I may get brickbats for this), I thoroughly enjoyed daud. Now when I think about it, it probably was for Paresh Rawal’s role.
I didn’t really enjoy Daud all that much either. I find it slow at times, didn’t keep my mind engaged. It became boring after the interval
The thing is.. you have seen those two Telegu classics and if you had not seen it, you might have liked ‘Daud’!
i agree HG: ..i have nt seen any of these telegu movies ..so liked DAUD…specificly that shikari related part…
I’ve seen Kshanam Kshanam, but still did enjoy Daud…esp the wacky shikhari joke :)..Don’t see intentional silliness in Hindi films too often.
Paresh apart, Dutt impressed me a lot. I’d never thought he could even act prior to Daud, forget do comedy. The DayaShanker and the deadpan retort Uma Parvati had me in splits :), as did the ‘on Wed I cut my hair’ gag…this is the first movie that made me take him seriously as an actor.
Agree that Ashish was wasted here (but you should see the poor stuff that he has to do in Tamil and Mallu cinema now..he must be dieing a thousand deaths everyday), but the interrogation-scene with Chako and Asish’s reaction was priceless!
Daud did lose steam toward the end, I agree….but it was one of the few, intentionally whacky films to come out in Bollywood…I just loved it when I saw it then….Have to re-visit it.
Daud…Daud..Daud…what a waste…Cinematography was above the rest at that times. Urmila was in her prime. The micro-mini skirts, the cleavage showing tank-tops, Manish Malhotra was “IN” for make-overs…he was “IN” for turning ugly-ducklings into damsel divas. RGV pounced on it. The obsessiveness to “make” people love his discoveries started during that time for RGV. So, what yu got? Mix Kshna Kshanam and Ana Ananga Okka Roju, add two spoons of bulging “sanju” biceps, Loads of “Urmila” Skin, pinch of “Pinky” humor, let it boil for a few minutes…if something is missing…add ” Neeraj Vohra” comedy-track…If still there is something short…search for a story.
AAR was in top-form, so was Remo. Apart from that…it was very boring movie..no matter how hard everyone tried..And please dont tell me it was ahead of its time..Proof…WB watched it after 10 years…and still didnt connect…\:d/
@ Push - Nahee bhai. Gunehgaar mat karo humien. I hated the movie *because* I used to worship RGV. I reckon the movie could have been a lot better, if only RGV had a tad more respect for it. He must have taken us for granted, just the way he took us for granted while making Deyyam, Mast, Naach, Shiva 2006, and so on.
@ oz - “Daud was the first time I got the feeling that RGV at times loses interest midway through a movie at times.”
Spot on, Sirjee!! I got the same feeling when I watched all the above mentioned movies. Deyyam was a shocker. We felt so deceived, walking out of the movie. Felt that RGV had let us down. Well… you watch, you learn, you grow.
@ VC - The song you mentioned is “Wah re wah, emi faysu” from the telugu movie Money - ripped off the movie Ruthless People.
@ Sangeeta - Exactly! Slow and insipid. I can understand if it was a KRR movie… but RGV?!! How could he?
@ Honhaar Goonda - You’re right HG. Perhaps. We perhaps have high hopes for people whom we would like to place on a pedestal and do pooja. Perhaps it’s not right to have high hopes of any movie - no matter who makes it.
@ Ranjit - To me… Chocko was Captain Curmudgeon.
“Paresh apart, Dutt impressed me a lot. I’d never thought he could even act prior to Daud, forget do comedy….this is the first movie that made me take him seriously as an actor.”
Dude! You must watch Inaam Dus Hazaar and Thanedaar. Seriuosly! The former is an often overlooked awesome entertainer - inspired by Hitchcock’s North by North-West. Full time pass! Thanedaar of course was infamous for Bhappi’s Tamma tamma. I remember that Amit Kumar’s “Thandeee thandee pani” played better for us then. Another paisa vasool movie.
“it was one of the few, intentionally whacky films to come out in Bollywood
- Ranjit, adding to WB’s reply to your comment, you must watch Sanjay Dutt’s Naam, one of the first of his films where his acting was highly appreciated. Also Kabza… both of which he did with Mahesh Bhatt (who was rumored to extract a good performance out of the table and chairs too)… these movies came about 10 years before Daud…
Oz, Wb - Problem is Naam, Thaanedar came out when I was a kid. Dont remember Naam at all, whereas as you daid I remember only Tamma Tamma (and rumors of Madhir teaching Sanjay to dance) about Thanedaar.
That said, was not terribly impressed with Dutt in blockbusters like Saajan or Khalnayak. First time I LIKED him was in Sadak, a bit, and then in Daud. Which was why Vaastav hit me like a ton of rocks…man, he was awesome in that !!!
Oz, KABZAA’s interesting because it features an “adaptation” of ON THE WATERFRONT years before GHULAM. Same source, different Bhatts
Another curious bit is the name of the character that Paresh Rawal plays: Velji Bhai. Years later, he played a character of the same name but a different disposition for Mahesh Bhatt in SIR. [all this is based on a dim memory of KABZAA]
George, Yep! Paresh played Velji Bhai Soda… don’t remember much of “Sir”… as I had walked out halfway through the movie cursing Mahesh Bhatt…
haay oz! How could you walk out of Sir with gifts ranging from the cult (Gulshan Grover’s chhappan Tikalii) to the sublime (the performances of and interplay between Paresh Rawal and Naseeruddin Shah); Perhaps one must blame the musical interludes that often don’t quite work; or does one blame the lead pair who kept hogging time that would have been better spent dedicated to the Velji/Varma relationship. Anu Malik’s songs were decent, despite the filch from listen to the pouring rain.
Then again, all this might be tinged with a nostalgically dimmed vision of my viewing years ago. Who knows how terrible things might turn out to be, if I watch it again now.
Some more Daud memories:
The opening credit before the title read “An A R Rahman musical of a Ram Gopal Varma film”
RGV seems to prefer this three-word form of his name now; yet the writing and directorial credits sport the two-word form Ramgopal Varma.
The number of explicit references to Sholay; RGV’s obsession with the film was also seen in Antham/Drohi; the late R D Burman reprised his theme for Sholay in the prelude to Asha’s Duubaa Duubaa in Drohi (Chitra’s entasepaina in Antham).
Paresh Rawal’s moments and lines including the sequence with the kid (wasn’t there a line that went bhaabhii kitanii bhii sexy ho dekhanaa nahii.n chaahiye?); that story about how he wanted to take his girlfriend for the 9-to-12 show of Mahasati Anusuya, only to kill her and find another girl to accompany him after his girlfriend preferred the 3-to-6 show; all those one-liners he gets to embellish his desire to blow up a stadium during an India/Pakistan cricket match (naa rahegaa ground, naa rahegaa wicket, because i hate cricket, maut kii ek laath, dekho gaanaa na.mbar saath, maar duu.Ngaa bas, dekho gaanaa na.mbar das, jaaiyegaa nahii.n, milate hai.n blast ke baad)
Saurabh Shukla’s uncredited appearance at the clothing store
The line agar mai.n vimal kaa shirt pahanuu.Ngaa to vimal kyaa pahanegaa?, which seemed to paraphrase the Rupa Banian joke and offer some subtle product placement
Was the box containing a neutron bomb a nod to Hitchcock’s MacGuffins or a tip of the hat to Aldrich’s Kiss Me Deadly?
The song sequences often stick out like sore thumbs and o bha.Nware is even preceded by a lead-in that might either be a filmmaker tossing his hands up in the air at the need for a relief song or a filmmaker sitting with his tongue firmly in cheek: Urmila asks Dutt tumhaaraa iraadaa kyaa hai? to which he responds bataauu.N? gaanaa gaane kaa
Sanjay Chhel’s dialogues yield bizarre nuggets (or groaners, YMMV) like ja.ngal me.n kaa.NTe nahii.n mile.nge to kyaa carpet milegaa?.
George, wow! woW! WOW! All that from memory??
Yes. Saurabh Shukla’s clothier - another Kshana kshanam momemt.
“Same source. Different Bhatts.” he he :d
McGuffin indeed - I haven’t watched Aldrich’s noir - but I wouldn’t be surprised if it was RGV’s tounge-in-cheek homage to Avery/QT’s Pulp Fiction as well. Or Mamet’s Ronin perhaps.
I remember reading a filmfare interview of RAMU, just after Rangeela and he had mentioned PARESH’s performance in KABZAA as one of his favorites.
@WB… Hubba Hubba…is this the Kannada hubba? Meaning festival…that wud be funny…or is it the telugu hubba meaning…oh my God….baaton ki banawat..heheh
IMHO Sanjay gave a very good performance in Hathyar (J P Dutta wala). Look out for the scene when he realises he has killed a Police wala. Kroadh (I think directed by Rahul rawail co staring Sunny Baba) had some good Moments.Kabzaa had an amazing performance by Paresh Rawal. Look out for the scene when he is explaining to Neelu Phoole that Land is a good business because hisbarber agrees with him….the killing scene of Neelu phoole …heck where has that Mahesh Bhatt gone :((
:((:((:((
somebody on PFC please give me an ass-whooping b-( bc i still haven’t seen this movie.. and i call myself obsessed with ramu??
daud, here i come.. daudta hua..!!
FOR ANYONE USING ITALKIES! :(( just tried adding “daud” on italkies and got a note saying that they only have defective copies.. so anyone with italkies.. PLEASE ADD DAUD TO YOUR QUEUE… even if you’ve already seen it. PLEASE. this will let italkies know that they need to order the good copies from the supplier with all defects fixed because there’s demand for this movie. please do this for me
[-o< shukriya in advance!
- Striker, don’t you have any desi stores close to you place? They surely must have a copy of Daud
don’t have a membership with any of them
will have to try and get it from a friend’s membership.. time to harass some people 
daud started when munna bhai was arrested mistaken as “bhai”…and this delayed the shoot and rgv completed the film hurryingly when sanju baba was released on bail…but that couldn’t b the reason why the film bombed, it certainly lacked direction, looks like it was completed just beacuse they startd it and can’t shelve it..
i enjoyed daud and i have seen all of rgv classics in telugu, the best scene for me was the shikaring in a circle part and some songs and definitely urmila…
comparing it with the telugu versions, with brahmanandam at the helm of affairs, no one can surpass him,
in AOR, mj’s dangerous playing in the background enters brahmanandam and utters one of the many immortal lines…jackson..mickael jackson
top notch, hilarious
those who haven’t seen the telugu versions, definitely watch AOR(anaganaga o roju), KK(kshanak kshanam) and money(love keliye…)
another hilarious scene in daud was sanjay and urmila’s re-introduction scene in the jungle..
(they were so busy singing, dacing, fighting and running that they don’t even know eachother’s names… )
aye..tera naam kya hai…urmila answers- bhole shankar, kya bole, she repeats bhole shankar..kabhi suna nahi kya.. nai, achi naam hai,
when she asks him, he says uma parvathi..=))
not sure if those were the exact words…but still i enjoyed many such dialogues..
some lesser known rgv films also has some value..
he either brings out a good technician or an actor out..here it’s manoj bajpai
i hated him in this film, hiss was the most irritating part in daud..looked uneasily serious in his small role, but i have no complaints…they gave us the legendary character as a follow-up,
mumbai ka king kaun?? “bhiku mhatre”
what a triumph it was, hats off rgv and anurag