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Times of India
David and Goliath revolves around a few character associated with a remote church in a hilly area. It shows how a fearful person, facing challenges from a hostile world, falls victim to materialistic pursuits of smarter men.
There is a puzzling tedium about
David and Goliath
and probing its source might not be fruitful as it does not spring from a single source. It could be the innocence of David (Jayasurya) or the tiring ease which Anoop Menon (Sunny) employs in a manner that betrays a mind besotted with self-indulgence. But more than anything, Anoop Menon's writing, that successfuly merged good-hearted nostalgia with humane warmth, has not worked its magic in
David and Goliath.
David is an orphan and helper in a church that towers over a hilly estate. David has a perennial scare in his eyes that also carry flashes of intellect because he has a prodigious skill for assembling articles and making them work. The priest of the parish bathes in hot water with one such instrument made by David.
Jayasurya, while invoking timidity, misplaces it with an inability to think or act. His piety empowers him for a few seconds, but not more. David goes through humiliation, rejection and a subtle yearning for love. Sunny (Anoop Menon) will be his saviour and his friends would detail the care-free exploits of his past that include relinquishing good jobs and following his dreams at the cost of his family fortune. The exercise seems more like a vain introductory prologue for the character.
The film's honest purposes are quelled by a script that lavishly cajoles Sunny. At one point even his plain meanness is interpreted as a modest expression of a soul that had only known bitterness and pain. The drab scenes and some frustrating flash backs from childhood - that have become an inevitable ingredient for Menon- ruin the film.
There is a feeble attempt to glorify Christian virtues of forgiveness and brotherhood. All this may have worked had there been a more impersonal depiction of certain characters.