Dailybhaskar.com | Last Modified - Feb 01, 2013, 04:20 PM IST
Screenwriting is the only sort of writing that requires money in multiples of crores to see it through. Other forms may at best demand your fingers on a keyboard. Surely this time equals money. But for the most part the process can technically be satisfying for its own sake. Hard-selling a screenplay on the other hand is as crucial as writing one, I suppose.
Here’s an uneducated guess on what could have happened then with this movie’s script (or the lack of one). The filmmakers may have had a story in mind about a mafia don’s surrogate son (Neil Nitin Mukesh) in London of 1975. The Indian government is on the lookout for this don of Pakistani origin for a bomb attack he planned and executed in New Delhi. This seems only slightly odd since transnational terror on Indian soil weren’t common back then. The Indian agency tries to get hold of the foster son to bump off the Mafiosi in London. Enough bullets get sprayed for no reason. They could drill a hole in the audience’s head. Perhaps this story didn’t sell. Or maybe this is not what they had thought of in the first place.
The script they had wished to further flesh out probably related to a Christian priest’s son in Bombay of 1999. The boy’s an ambitious musician (Vinay Virmani). He lets go of his dreams basically to take revenge for his father’s humiliation by a Hindu nationalist group. Maybe the finances weren’t easy to come by for an entirely political film, or no major actor was willing to take up the main role.
Or how about this: the actual movie that everybody wanted to make was a feel-good, happy-go-lucky subject set in 2010, Goa, about a drunkard’s (Vikram) repeated attempts at finding himself a suitable girl. This seems most likely. Because this is evidently the best part of this picture. It has a sweetly crooked sense of humour, the Goan anthem ‘Maria Pitachi’ plays at the shack, the action is twisted and comical, let alone that the segment involves two of the most remarkable actors in this show – Vikram and Tabu.
To give credit to the script’s narration thereafter still, the filmmakers managed to rope in quite an ensemble cast with some well-known names agreeing to do really odd, short walk-on parts: Sarika for a song, Milind Soman to stare, Nikhil Chinappa to fight, Lara Dutta to play the guitar....
What you’re left with essentially are three characters with the same name David fighting Goliaths of their own in three different time lines. The years are irrelevant. The connection is lame. This isn’t a hyper-link film, where one engaging track merges with the next through good construction and smart editing. About 160 minutes get equally divided – 50-plus minutes each – as one dull David takes a break, the other one starts from the point where we left him. Fun in Goa is the comic relief between the two main narratives that are seriously soppy, sappy, pretentiously pseudo tragedies in comparison.
The bigger tragedy in fact is that this half boiled material is in the hands of a reasonably gifted filmmaker (Bejoy Nambiar, Shaitaan) with a rare sense of the visual, besides a strangely repetitive fixation for slow-motion in close-ups. The film’s camera work and production and sound design is as inspired and artistic as you’re likely to find in any film, anywhere. That’s the air filling up all the empty spaces. Sadly, that’s what you gawk at to meditate: These guys look good. Why did they make this?