David Dhawan : some observations over the years
If I go back ten years I remember a sleazy, apologetic emotion I felt around watching David Dhawan films. They had a kindergarten script, a lousy look, a no-claim execution, and a general lack of obsession written all over. They went through various ups and downs, as the genre underwent many transformations itself, from slapstick to pajama-naara-khatiya jokes to marital/infidelity/double role capers to plain schtick and nonsensical fun.
I hardly bothered to watch the Govinda-Dhawan films after their screen demise a couple of years back. And Salman Khanwas hardly a substitute, it was funny but nothing close to the mediocrity-fun that the original pair churned out. The last memorable time I had at the premise was at “Deewana Mastana”. I still remember this day when we had a huge argument in our school group over watching Judwaa over Hero No. 1, there were all sorts of reasoning and deductions thrown in on the success parameters and the entertaining acumen of Govinda vs Salman Khan. Which, to some extent, I found senseless later, as both were entertaining, albeit at an equally disappointing low from the high they achieved in its prime(Swarg, Shola aur Shabnam, Bol Radha Bol, Aankhen, Raja Babu, Coolie No. 1).
Though being devoid of all the cinematically intellectual elements, somehow I could never ignore the David Dhawan films for their in-your-face attitude. They always seemed to me a contradictory hypothesis, which put things into perspective more than spoiling the game. One after another, no-brainers followed- Dulhan Hum Le Jayenge, Kunwara and the likes.
This was followed by a rather better, polished and ‘grand’ film called Bade Mian Chhote Mian, which was more famous for Govinda outshining The Master at his game than its more visible positives (a first of its kind male comic duo film, opulent songs, memorable dialogues and sequences, and a complete dhamaal).
It was time to give shape to the comedy career of Akshay Kumar now, done exceptionally well with Mr & Mrs Khiladi(“abbey, bachche ki jaan lega kya” became a classic case of self-depracation giving rise to another successful career in comic films. Akshay plays the same underdog character in all his comedy outings, to surprisingly pleasing levels till date).
After BMCM, Dhawan played his ‘pairing’ cards with Govinda & Sanjay Dutt which struck magic with Haseena Maan Jayegi, ebbed with Jodi No. 1, and almost disappeared in the popular circles with Ek aur Ek Gyarah(though its another matter I loved the last installment due to its free format). “Now what to do, let’s pair Sanjay Dutt & Govinda”, didn’t work. Case in point: Chal Mere Bhai.
“OK, lets go back to Salman then and pair him with Anil Kapoor.” Biwi No. 1 followed. I had lost interest by now. Something ground-breaking would need to come out to reignite the interest levels. I waited.
“OK, lets pair Salman with Sohail, and see….
Maine Pyar Kyun Kiya: Hit
“hmmm,can’t do it again immediately..”
What now, “let’s reinvent the wheel?”
Partner happens.
And its no turning point either, starts off as very lame and not even one chuckle is heard the first 30 minutes into the film. It looks almost dead. Somewhere amidst the depressing silence, it all begins to make sense, it come alive. And by the time it ends, you realize you haven’t laughed like that in quite some time at the movies. And its back to that same self-agreed upon guilt trip when you drive back home listening to a loud “soni de nakhre sone lagde” trying to recreate the images in your head that created a riot on screen an hour back.
The reasons? Analysis? None fortunately. And it’s back to the original quest. “What the *beep* is funny here?”
Though I would like not to, if I do look for answers to the riddle, I might conjure a few options:
Govinda, and his eternally vibrant presence on screen. That man makes you laugh even when you know you don’t want to. He will walk with his underpants on in all of his films, he will snort hard into that kerchief, he will indulge in alarming levels of self-pity, he will sing old songs cheekily, imitate stars of the yore to death, wear glasses to gather that extra bit of sympathy his character requires, gyrate like its his last day on earth, he will do on screen what one fears to do in a bathroom and get applauded for it. And you keep laughing. All rules of the genre put to shame. The laughter keeps roaring. That’s Govinda for me and I can see no better reason for the ‘electricity’ to live.
Then comes David Dhawan, the director. Yes, he copies blatantly; he loves to jumble up page 1 with page 32 and scene 5 with song 4 and an out of schedule slicing in of that special appearance. He loves to have no qualms about being foolishly emotional in his exhortations through his characters going bizarre, going melodramatic, going berserk after making you fall off your seats in the first half. He has the same things to say before every release, the music is rocking, the stars light up the scenes and the works. He never attempts greatness, he lets Priyadarshan be Priyadarshan and David Dhawan be David Dhawan, no confusion intended. He gets more and more beatings because of this stubborn attitude, he blows up the industry money, he promotes star worship, he kills new ideas, he needs a break etc etc. That’s David Dhawan for me. I find it hard to fathom any of the above might ever change.
And all of it dwindles in thin air when I let out those “crack-jawed, chuckle-headed, monstrosities of laughter” in the theater. All my filmic fundas go near a Siddhuesque Air Hostess soaring in the high skies.
And it gives me a little reason to believe I do not mind the fun, as it rarely happens that you see a complete theater turned into a practical joke of the film maker, you see the emptiness in the hall after all have gone, and after the last production details have rolled off the credits.
And you are ready to watch it again!
Well, almost…
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The last David Dhawan film which was not Hollywood or a south-indian film copy - Shola aur Shabnam
Yeah. Imagine all this from a FTII grad. I still cherish fond memories of his Jurrat though, Amrish Puri the GOD with Kumar Gaurav.
Bol Radha Bol did not star Govinda..but it was one of DW’s best movie
I meant to write DD’s
He has a very chummy way of presenting scene situations that appeal to the viewer instantly…you get caught up in the eccentricities of the various characters..also DD has presented some of the strongest supporting casts in all his movies…a definite plus when you try such loony atmospheres!
Superb piece, though I have a huge weakness for Dhawan’s “male bonding” cinema. Of late his formula is the same with Salman playing the “easy to irate” type and be it Akshay, Sohail or Govinda being the one that irritates him.
A.Shah
i dont have many happy memories of the earlier films but saw this one yesterday and laughed a bit. i think the intelligence of david dhawan at least going by this one is that he creates characters that suit the natural personalities of his actors and allows them to go wild … the rest of course was hitch.
Nice article - David Dhawan doesn’t seem to put any thought into his movies but somehow SOME of his films work. I laughed a lot at Partner even though I knew it was terrible. I actually thought Salman was better than Govinda - something I thought I would never ever say!
The movie’s only for hardcore Govinda fans,though i gotta admit,Lara and Katrina looked wow in the movie.But in spite of that,the movie was a painful watch
@wb, haven’t heard about Jurrat. would love to know more about it.
@hemanth, thanks for mentioning that, I could have covered his association with Rishi Kapoor which turned out be just one good film affair, as Eena Meena Deeka was a bad bad bad attempt at recreating the fun BRB was. Also, it had the natural timing of Rishi Kapoor, which DD mistook for Govinda-esque humour. But I am kinda glad that for good reasons or bad, he never stuck to Govida in the same groove and experimented with other actors too, it made his profile more interesting.
@akshay, glad to see The Akshay Shah stopping by
@Smriti, yes that is so tue, glad that he finally used it to full effect in Partner, everyone seemed to enjoy it when both the actors were spoofing themselves(esp the dance practice bits), it was all in ‘good humour’
@cds, thanks.
Nice read… but you forgot Mujshe Shaadi Karogi which I thought was one of DD’s best films. For me, and I know I’m not alone, it was one of the funniest films since Hera Pheri. I know it wasn’t the most original film (DD’s rarely are) but it was entertaining and sometimes that’s the bottom line when you go to watch a movie
@tony mera naam, thanks for pointing it out. Like I said, I was trying my best to recall all the films that have left some impression on me-good or bad. In case of Mujhse Shaadi Karoge, however, it was none. When the film became a success, I tried watching it a couple of times, but couldn’t see any great sequence save some bits by Akshay. The climax was another blooper. Somehow, Dhawan is missing the shoddy touch of his early films, and the current crop looks too polished and hence made-up and less funny than what it used to be. The only film probably where he balanced the two brilliantly was Deewana Mastana. It was a delight to watch as a family drama comedy caper as well as a vintage Dhawan, in the same league of Shola aur Shabnam & Aankhen.
IMO, his top 5 would be:
Deewana Mastana
Haseena Maan Jaayegi
Bade Miyan Chhote Miyan
Ek aur Ek Gyarah
Coolie No. 1
Tushar, I can agree with you that Deewana Mastana was one of DD’s better films. Highly entertaining. I’m a great fan of Anil Kapoor and in DM & Biwi No.1 I thought Dhawan offered AK great characters and AK for his part delivered spirited, hilarious performances.
Can’t say I enjoyed Ek Aur Ek Gyarah though… personally I HATED that film.. The rest of your list I agree with… Aankhen should be on there though, that film is still funny…
@tony mera naam, I am a big fan of Anil Kapoor too, and he was the only part of many non-happening films, including Biwi No. 1. Many people might also say that about Taal, but thats another discussion.
Coming back to Biwi no. 1, I couldnt enjoy it much. May be it was too steretypical a treatment of Karishma, i couldnt take that entire sati-savitri bit.
I knew Ek aur ek gyarah was an odd entry there, but I have special reminiscences of the film, it was strangely ‘free’ in its approach, the whole sequencing of the theme song and the fun the lead pair had was pretty cool.