Devdas grows up!
For months now the only movie that everyone and anyone worth his cinematic senses was talking about was Dev.D. And, that to some extent for it’s cliched theme – Devdas (however modern be the interpretations and in whatever setting – it was Devdas after all) – and of course, for its maker Anurag Kashyap. The one question that most wanted to ask was – Would Dev.D be another No Smoking?
Then the promos hit. And, before you knew it, you were like – Wow! This is it man! Needless to say, Emosanal Atyachar added its own bit to the anticipation and excitement.
Finally, February 6th. The turn-out at the theatres was decent. The surprising part being that the audience was not the youth alone. In a film dealing with sex and drugs, one would generally expect the younger generation to go for it. But, the multiplex was also teeming with middle-aged audience. It was a pleasant and revealing sight. It just went on to prove that Anurag Kashyap had managed to play with the thought process of the average movie-goer – enough to get him interested for a dekko of THE film.
The film is definitely a must-watch. True, it is a take on Devdas, but it is a film where Paro and Devdas (especially the latter) grow up. Some scenes simply stand out in your mind. The scene where Paro pins down Dev in the sugar-cane fields to make love to him and is spurned by him. Or where she is venting her frustration at the hand-pump – amazingly done poignant scenes. The pain and frustration of Paro hits you.
There is this one very powerful scene – which I guess proved once and for all that Devdas has grown up – Devdas is being given a bath by Chanda towards the end. And, he says, “You are right. Maine kabhi Paro se pyar nahi kiya. Main Paro se pyar nahi karta. Maine toh usse kabhi dekha hi nahi.” – or something to that effect. That dialogue tells you, that yes, Devdas has grown up. He is no longer the lovesick man who is drinking his way to death – because the girl he loved since childhood, is finally not his. He has realized the absurdity of it all. When, Dev is a completely lost man – wandering alone – it is not Paro who comes before his eyes time and again – but Chanda. She is the one he cannot forget. And, there Anurag Kashyap proves that he is in a league of his own. He dares to think beyond the frame – and that takes the film to a higher plane.
Of the actors, Abhay Deol is great. There is no other word to describe this man. He beautifully underplays his character and stands out. Mahi Gill is a discovery. Simply superb, from being this gutsy Jat girl, to this confident woman who has made her decision, and is not the one to cry over it. By the way, her jig at her own wedding was really good. It brought out the character of Paro. Kalki Koechlin as the school girl who gets embroiled into the MMS scandal and turns into this high profile sex worker is good – not great though.
The film definitely lived up to its expectations. When I had heard that the film would have so many songs, I was a bit skeptical. But, the songs have been beautifully and sparingly used. And, the musical score is great. The tracks are meaningful and beautifully composed. The only issue I have is with the use of ‘the three musketters’ or whatever else they were purported to be – in some songs.
But, there was something I found quite disturbing. In some of the most poignant scenes regarding Paro and Chanda’s life – I unfortunately found part of the audience laughing away as if the director had cracked some big joke. It brought home the fact that the Indian audience still needs to grow up. After all, if all you remember of the film later are the dialogues – then I guess it’s sad.
The climax with Dev and Chanda together – without giving the film a firm, solid ending – lets you think up your own endings.
Anurag Kashyap even takes a dig at Sanjay Leela Bhansali’s Devdas. You have no less than three references to it. Nice. It is a coming-of-age film, which definitely should not be missed. Experimental to a certain degree, the film is never too experimental for the layman’s sensibilities. Finally, all I can say is – it’s going to be tough for Gulaal after this. And, I sure would like to see what Sudhir Mishra’s take is going to be like.
Anurag Kashyap
Abhay Deol
Dibakar Banerjee
Hansal Mehta
Khalid Mohamed
Kundan Shah
Anish Kuruvilla
Jaideep Verma
Manish Gupta
Navdeep Singh
Bhavani Iyer
D. Santosh
Onir
Ashvin Kumar
Ramu Ramanathan
Sudhir Mishra
Pankaj Advani
Revathy
Saurabh Shukla
Shilpa Shukla
Sujoy Ghosh
Suparn Verma
Santosh Sivan
Shashank Ghosh
Shivajee
Pavan Kaul
Partho Sen-Gupta
Prroshant Naryannan
Sam Langoria
Satish Kasetty
Well written Article.
Since i saw Dev.d Yesterday nite can not stop going gaga over it.
The twilight brothers in songs were a distraction.
Finally i hope Audience will also grow up, to Anurag deserves every Praise.
Waiting for Gulaal.
Indian cinema has long laboured under the idealistic themes that do not excite the audience anymore. Cinema is losing participation and appreciation from audience. Far from being a facet of meaningful entertainment, it has become an apology to entertainment. Images are cooked up in an abortive attempt to bank on the supposedly unchanging sensibilities of people. It only tried to create an illusion of newness in films like Rab Ne Bana Di jodi etc. Dev D, as the reviewer points out, is a wide departure from the old age cinema. And, it has cemented the crack between entertainment and cinema.
Anurag, if you’re reading this you’re a genius! Thanks for the Indian Trainspotting.
A few days back someone said Farhan Akhtar is the thinking man’s hero..I said naah..it’s Abhay Deol. That was before watching Dev D. Now, I’m like “who’s Farhan Akhtar?”
Holywood…now we don’t need you..!!
The twilight brothers may be there to prove that DEVD is still an Indian bollywoodish film which requires dancers in background for songs or it may be AK’s way of poking fun at other hindi films with its usual item numbers.Any way the dance steps were unusual.The significance of those three guys,AK himself has to explain
if hindi cinema ever has a genre of romance in it, after gurudutt films, anurag’s dev.d appears. its timed to be made for now. anurag made his point clear……
dont forget, he is the man with BALLS MADE OF STEEL.
HAIL ANURAG.
why do you think twilight bro’s dance steps are unusual? they are dancing better than many KINGS in industry…
Yes..The audience in the theater I had gone for too laughed for the what chanda says about her father.
I told unusual not in a negative sense.Of course they are dancing better than many KINGS
finally..a film after a long time that has immense repeat value & a soundtrack used so brilliantly..two thumbs up to Anurag,Abhay & everybody associated
i didnt feel that The Twilight Players ws there to suggest anything or to make any statement abt dancing/dancers in Bollywood movies..they were there just coz they were good & somewhat novel in their style of dancing..it ws for pure fun..thats what i feel..anyway killer movie anyway!
Were they Dev’s (or Anurag’s) alter-ego? Overall, enjoyed.