kya “Devdas” “DevD” nahi ban sakta?
The language of the post is hindi and the script is roman.
Maine “Intellectual” ki kahin par defnintion padhi thi ..wo kuchh yun thi ki agar kisi intellectual se ye poochho ki ghode ki kitni taange hoti hain to wo seedha seedha jawaab nahi dega..pehle poochhega ki astabal me kul kitne ghode hain..phir ghodo ke hisaab se unke number of taange calculate karega phir use no. of ghodon se divide karega aur jo answer aayega wahi tay karega ki ghode ke kitne pair hote hain…
pata nahi ye definition kis desh ke kis intellectual ya non intellectual ki dimaag ki upaj hai lekin Hindustan me kai aise qile hain jahan intellectuals baste hain…akhbaron aur media sansthanon ko chhod
den to central universities ke alag alag departments me intellectuals bhare pade hain…. ..newspapers or newschannels ki to hamaare yahan baadh aayi hui hai lekin film institutes ki baat karen to wo ungliyon me gine jaa sakte hain..shaayad isliye ki is desh me film institutes ki itni jaroorat nahi hai… isliye wo 100 crore se jyaada ke desh me sirf 2 ya 4 hi khulne chahiye … …… filmwaale thodi chalaate hain desh……. padhne
likhne waale chalaate hain…Engineers doctors chalaate hain isliye IIT’s khole jaayen… medical institutes khole jaayen…filmy keeda kaate huo ke liye kyon khola jaaye institutes….? bade hi vaahiyat kisam ke log hote hain ye filmwale…… film ka institute koi paan ki dukaan thodi hai jo har gali kuche me kholi jaae …is ka ek bura parinaam ye hua ki 100 crore se jyaada ki jansankhya ke hisaab se humaare yahan jitne “filmy intellectuals” hone chahiye the utne nahi hai..isliye jab in gine chune “filmy intellectuals” se doosri jagahon se aaye intellectuals milte hain to jitni jaldi ho sake in par attack kar dete hain…..
To is baar bhi log mile ….poona ke film institute me… aur “adaptation” par ek charchit seminar hua….ab filmy intellectuals ki kami ke kaaran doosre sthano ke intellectualls ne filmo par badh chadhkar bola….
aise intellectuals bhi aaye jo Devdas ke “dilip kumariye” rang roop se upar hi nahi uth paaye…humaare jaise adne se log akhbaar ke panne hi paltte
reh gaye aur apni chhoti buddhi par kudhte rahe..samajh kuchh aaya nahi so kuchh “nasamjhi” ki list banaa li…
Nasamajhi no. 1 Suprasidh lekhika Mamta Kalia ji ne kaha ki “ agar sharat ji jinda hote to apne upanayas ki ye gart dekhkar ro padte..”…Mamta ji hum jaise adhkachre gyaan waalon se kahin jyaada vidvaan hain..Bhartiya bhasha parishad ki director hain..lekin main is statement ka matlab nahi samajh paaya khaaskar jab ye Mamta ji ki taraf se aaya…
Mamta ji ..aisa kya kiya Devd ne?.. kya aapko DevD me dikhaaye gaye sex ki bhaavna se pareshaani hai..?Chanda ke character aur uske aaspaas ki duniya ko jis tarah se racha gaya usse samasya hai ? agar haan to mujhe isme samasya hai..jahan tak maine aapko padha hai aapne apne lekhan ki shuruaat hi auraton ko sex ke liye ek saamaan ki tarah prayog kar rahe puroosh samaaj par palatwaar kar ke kiya tha…aap hi ki likhi hui ek line mujhe yaad aati hai jisme aap kehti hain “pyaar shabd ghiste ghiste chapta ho gaya ..ab humaari samajh me sahwaas(sex) aata hai”…inhi tevaron aur isi aag ke saath aap hindi saahitya me aayi thi aur tab se lekar aaj tak aapne stri vimarsh me ek krantikaari bhoomika nibhaai hai…DevD me dikhaaye gaye Chanda ka kirdar kya
aap hi ke paksh ko majboot nahi karta…? Chanda ka character jis internet se nikal kar aaya hai usi internet se download kar ke poori duniya ne use dekha..kya poore hindi saahitya me kisi ne uske upar ek kahaani likhne ki bhi zahmet uthaai..kam se kam meri nazaron se to nahi gujra..agar ho to jaroor batayen…kya Chanda ka purush varchasva samaaj me is tarah ka durupyog aapke “stri vimarsh” me nahi aata…jo log progressive hone ka daava karte hain unko to kam se kam aage aana tha…lekin aisi koi halchal hume hindi samaaj me nahi dikhaai deta hai..doosri taraf Mumbai me baitha hue ek filmmaker aise ek kirdaar ki rachna karta hai aur ek stri ke bhitar chhupe usi dwand ko bakhoobi nikaal lata hai… 
Nasamajhi no. 2 :Mamta ji Kya aapko samasya hai ki Paro aisi kyon hai..? wo bahut buri ladki hai..apni nangi tasveer bhejti hai..khet me ghar me kahin bhi shuroo ho jaati hai..Paro agar sharamaati hui chupchaap Dev se door door rahti to shayad maamla thik hota lekin mujhe to ab chhote shahron me bhi aisi ladkiyan nazar nahi aati…Dev D ki Paro aaj ke chhote shaher ki ladki hai jiske bare me ye samajh lena ki wo kuchh nahi samajhti hogi ye humaare waqt ki sabse badi bhool hogi…..
aur ye paro wo nahi hai jo apne baap ki beizzati hoti dekh khud mandap se uth jaaye ..ye wo paro hai jo apni beizaati dekhkar bhi jawaab dena jaanti hai…wo bheegi billi nahi hai nahi wo goongi gudiya hai…ye wo paaro hai jise apne baap ke khokhli izzat ki parwaah nahi hai balki resist tab karti hai jab uska apna prem us par shaq karta hai..DevD ki paro sab kuch seh sakti hai lekin use apna charitra hanan bardashta nahi..yahi par Anurag Kashyap ki DevD apne pehle ke versions se jyaada contemporary aur progressive ban jaati hai..Mamta ji kya aapki ek kahaani “peeth” ka bhi mukhya swar yehi nahi hai..ye jaane ke liye aapki kahaani “peeth” ke kuch ansh :
Harsh ek artist hai aur uski nayi aur taazi tasveer ko masterpiece award ghosit kiya jaata hai..aur ye masterpiece painting darasal uski biwi induja ki “peeth” hoti hai…is avsar par ek party di jaati hai aur party khatma hone par Harsh ka sabse kareebi dost jisne in dono ke releationship ko banaane me madad ki wo kehta hai ki
“is masterpiece ka credit tumhe nahi tumharo model ko jaata hai
Harsh: “maine model ka istemaal kahan kiya ?
Darshan: “hum bhi samjhte hain dost..yeh Induja ki hi peeth hai”
Ghar lautkar Harsh Induja se direct poochta hai
“batao darshan se tumharo kya rishta hai..use kaise maloom ki ye tumharo peeth hai”
Induja react karti hai “paagal ho kya ..main kya janoo darshan tumharo dost hai main tumharo dost ko peeth dikhaati phirti hoon kya”….
kya is kahaani ka marm aur Dev ka Paro aur sunil ka rishte ka shaq ek nahi hai……original Devdas me ye iljaam paro par nahi hai…
Agar aapko Paro ka apni tasveer bhejne par aaptti hai to ..agar aap ise ashleel samajhti hain to mujhe bhi aapki kahaani “peeth” ke us moment se pareshaani hai jab Induja apna kurta upar uthaaye hue rehti hai aur Harsh pehli baar Induja ki nangi peeth dekhta hai…thode bahut farq ke bavjood tools to ek jaise hi hain..
to aap likhe to wo samay ke saath badi krantikaari kahaani ban jaati hai lekin Anurag use “Dev D “ ke madhyam se dikhayen to problem hai…ye Thoda samajh me nahi aaya…
Nasamjhi no. 3: Priyamvad jo ki mere priye rachnakaar hain..itihaas par likhi gayi unki kitaab aur haal hi me naya gyanodya me unhone “sardar patel” ke vyaktitva ko jis rochak tareeke se khnagaal hai uske liye we badhaai ke patra hain aur zaahir hain mujhse kai guna jyaada saahitya samaaj aur itihaas par pakad rakhte hain aur unhone jo baat is seminar me kahi who bhi nischay roop se ek naye bahes ko janma deti hai..unhone saaf kaha ki “kisi ko bhi kisi kahaani ya novel ka period badalne ka dhikaar nahi hai Anurag ko iska koi adhikar nahi…”agar is logic se dekhe to Vishal Bhardvaaj ko bhi “Maqbool” ya “Omkara”
nahi banaana chahiye tha.
Gulzar sahab ko bhi “Angoor” nahi banaana chahiye tha…..
“Maqbool” ki prishthabhoomi mumbai ka artheek aur apradhik jivan hai jo “Macbeth” me nahi hai …
Omkara ka samay period badla jaa chukka hai…ab wo aaj ke merutt ki kahaani ban jaati hai…
Langda tyaaagi SMS ko SM bolta hai..”….to kya isse ye filme buri ho jaati hain…Urdu prishthabhoomi se aaye Gulzar ki “Angoor” bhi Shakespere ki kriti ka “period” badal deti hai to isse kya kisi rachna ka mulya kam ho jaata hai..
Natakkar Mahesh Elkunchwar se sehmat hoon jinhone isi seminar me kaha ki “Sharat ki Devdas apne aap me itni shashakt aur badi rachna hai ki use kisi bhi samay me dhaalo wo bigadta nahi..”…
Sharatchandra ki “Devdas” ek amar rachna hai aur who ek bhasha ki tarah hai jo apne aap me mahan hai..yaad kare “Chupke Chupke”me jab dharmendra David poochhte hain ki main kahin kisi bhasha ka apmaan to nahi kar raha to david kehta hai ki “beta bhasha to apne aap me itni mahaan hoti hai ki koi iska kya mazaak udaa sakta hai…
Bhasha aur upanyas ka apna ek niji sambandh hota hai kyonki bhasha me upanyaas ki sanskriti aur uski aatma basti hai..us jageh ki kahaani jo us jageh ki sanskriti me dhali hoti hai use kehne ke liye usi jageh ki bhasha se behtar koi vikalp nahi hai…isliye aapko “Premchand” ya “Renu” ke yahan jo “Hindustan” milega wo aapko VS Naipual ke yahan nahi milta…to kya yahi samjh liya jaaye ki jo rachna jis bhasha me hai use usi bhasha me rehne diya jaaye…phir to uske translation se bhi aaptti honi chahiye…kynki translation se to rachna ki aatma hi mar jaayegi…lekin aisa karne se kya wo amar rachna us viraat janmaanas tak pahunch saktI hai jiska us rachna ko adhikaar hai…Manto…Qurtul AenHaidar aur yahan tak ki Gulzar tak ne apni kahaniyan urdu me likhi hain to kya use hindi aur dossri bhashaon ke readers tak na pahunchne diya jaaye ?.. theek usi tarah se paash ki kavitaen passh ne originally punjaabi me likhi hai aur chamanlal ne uska anuvaad hindi me kiya hai..anuvaad me punjaabi waala ras nahi hai lekin hindi anuvaad uske
kaafi kareeb hai aur kavitaen itni zordaar hain ki kisi bhi bhasha me karo uska mahatva barabar hota hai…dev d ko bhi isi sandarbh me dekhne ki jaroorat hai ..nayi peedhi tak devdas se rishta jodne ke liye use us peedhi ki bhasha me translate karne ki jaroorat thi.
Bacha Bechara Dev…jisko sabne maar daala Anurag ne jinda rakha…
ye bhi herpher hai ..Mujhe to laga ki Anurag ke “Dev” ne khud ko paa liya hai jabki peechhe ke devdas maut ke saath khatma hote hain…jo log ye kehte the ki Devdas ek depressed love story hai unke munh me bhi taala lag gaya..Anurag ne use jinda rakha..khud ko pane me uski madad ki..aaj ke aise khatarnaak samay me Dev ke roop me jo ummed Anurag ne baandhi hai wo aaj ke samay ki sabse badi jaroorat hai main aisa samjhta hoon…hume to bas itna hi samajh me aata hai..baaki to gunijan hi iska faisla karenge…
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
Completely agree we need more film Institutes,well i had heard some authors had expressed there displeasure over, Ned Dev.d , i guess to each his own.
Nice Article dispelling some of myths.
devdas dev d ban sakta hai
Hi,
Mujhe Ye Lekhni DevD ke astiva ko bachane ya samjhne se jaayeda Anurag ki Bhakti se oot-proot lagi… aapki sabhi nasamjhiyon se mujhe koi paresaani nahi hai ek tarah se dekha jaye toh aaj naa toh kisi Devdas ki naa hi DevD ki jaroorat hai. yeh opportunistic society hai jo naa toh devdas ki tarah kisi ke liye jaan de sakta hai aur naa hi DevD ki tarah apni biological need ko fulfill karne ke liye chanda ke paas jaayegaa, aur khud ki Mahabharat Itni lambi karega ki ek tarah se swayam ko hi bhool jaayega… arre bhai sahab Dev Ko “D” banana hi kyo hai jab paaro ke liye woh ruk hi nahi sakta aur there is no true love in between them… Nikalta woh apne andaaz mein apni need Duniya to jeetne usko kudh ke liye kisi chanda ki jaroorat nahi hai. Hazaaron chanda ko ghumata woh Mahal khada kar sakta hai.. Woh Dev hai iss duniya kaa Dev kisi bhi parakar kaa koi “D” nahi… Nahi???
“Cinema Is larger than life” if you present something unique then you have to create logic around you. I am not against with Anurag or his DevD but not convinced with there character presentation. some scenes are not only very good but really admirable.
aur lekhni main samaloochna honi chahiye sirf aalochna yaa Bhakti nahi.
writing should be DIALECTIC not Preachy.
Thnx.
ache post per humesha sabse kum comments hotein hai.
ghatiya post likho mere Giri…lakhon ki tadad mein aayein ge gungan karne.
Not sure abut others, but I find it really difficult to read Hindi written this way. Is there way to write Hindi posts in Devnagari on PFC?
@A.Singh – PFC is unicode – so you can technically send in anything unicode and publish it. However transliterated content is accepted by norm for folks who cant read hindi script, like me. However I cant follow clearly the roman transliterated content either – So the loss is entirely mine. If VB feels that Jadugar Goga and all other assortment of characters in PFC skip it for reading lesser quality posts to put comments, then the misunderstanding is clearly on his side.
Loved the post.
Mujhe lagta hai ki Anurag Kashyap ki DevD cotemporary aur progressive hai mainly chanda ke character ke treatment ki wajah se.
Paro puraani Devdas mein bhi, agar use us samay ke context mein dekha jaaye to, kaafi strong character ke roop mein ubhar kar aati hai. Jaise uska samajik niyamon se upar uthkar apne pyaar ko samajhna aur phir usi pyaar ko chhod dena (remember the scene near the river when Dev comes back?). Haan, DevD ki paro comtemporary hai par zyada prograssive hai ya nahi ye pata nahi.
Chanda ka character definitely Devdas par bani baaki filmon se zyada progressive hai.
Nice write up
Dipankar,
Its a valid point and good you clarified the so called “intellectuals” that adaption of classic in a contemporary way by all means abide the cinema norm and every creative person has the right to do that.
But, in your entire article you focused so much on DevD that somewhere the message got diluted and it becomes a Anurag-gaga-post. it was just few line that mention maqbool and angoor.. would have loved the post more if proportion would have varied.
@ Aryan …..aapne bilkul sacchi aur sateek baat kahi hai aur tark ke saath kaha hai…ek shabd jo aajkal humaare aaspaas se gayab hota jaa raha hai us shabd ki jaroorat ki baat aapne ki ye dekhkar kaafi khushi hui aur wo shabd hai “samalochna”…”samalochana” se mujhe koi aapatti nahi hai lekin iska ek sabse bada khatra hai ki hum rachnao se pyaar nahi kar paate..kirdaron se khud ko connect nahi kar paate…ek udaaharan dena chahunga ki jab Namvar singh ne Nirmal Verma ke “parinde” ko “nayi kahaani” ki pehli kahaani kaha tha to hindi samaaj me badi halchal hui thi…lekin saalon baad pata chala ki usi “parinde” kahaani ne hindi me ek durlabh lekhak ko janma diya….Beshak Namvar singh ne “Parinde” ke “prem” me padkar hi ye baat kahi thi aur hum sab jaante hain ki Naamvar singh Ramchandra shukl …Hazariprasad diwedi ke baad shreshta alochakon me gine jaate hain…”Parinde” hindi ki pehli kahaani thi jahan bekaari nahi thi..gareebi nahi thi..Nirmal ne apni kahaniyon me ek badalte hue urban conflicts ki kahaniya likhi..Dev D usi maayne me ek alag tarah ka cinemaai badlaav hai jise sooshmata se dekhne ki jaroorat hai…”Dev” ki jaroorat hai ki nahi ye ek bahes ka mudda ho sakta hai lekin mujhe lagta hai maut ke bajaaye jivan ki ummed liye agar koi rachna aa rahi hai to hume is badlaav ka swaagat karna chahiye ….”bhakti” jaise shabd se to koi badlaav nahi aa sakta…chizo ko sensitive tareeke se dekhne par shaayad kuchh badle..
dhanywaad
Vasan bhai…comments par to apna koi adhikaar nahi hai democracy hai bhaiya
@ scrapmanic…will write more about the adaptation in these films like “maqbool” n “Angoor”…but this post is mainly abt a seminar and the debate over DevD….
aapki hindi itni achchi hai… mujhe indore ke nai duniya samacharpatr ki khushboo aa gayi. bahut dhanyawaad. likhte rahiye…
i am sorry again folks… but can someone translate this stuff for me
@ Dipankar-
Dev D ke zariye Devadas phir se na kewal zinda hain, balki ek naye josh ke saath ubharke aaya hai.Lekin meri ek vinati hai- shayad aapne gaur nahin kiya ki tasveeron ka placement is write-up mein sahi nahin hua hai.Kaafi likhit baat main pad nahin paa raha hoon kyonki woh shabdon ke upar overlap hua hai.Ho sake to isko theek kar lijiye.
VB- itni bhi kya naraazgi?is tarah taana marte rehne se kya haasil hone wala hai?
Dipankar ji tussi great ho, naari ki asmita ke sangharsh ko saratchandr ke is akele upanyaas ke sandarbh mei ya to Barua ne samjha ya phir Anurag bhai ne. Bhansali ho ya dusre tamil ya telugu sanskaran, bengali bhi, sabne mil kar aurat ko is had tak kamzor dikhaya hai ki hamaari pragtisheel mahilaaye bhi is se sahmati jatati dikhti hai. Bimal roy ne zarur madhyam maarg apnaane ki koshish ki lekin naari ka sthan purush ke paanwo me hi hai is drishya (jab suchtra sen raat ko dilip kumar se milne jaati hai…)me wah bhi apne aap ko santulit nahi rakh paaye. Jab PC Barua ne khule aam hi ye elaan kar diya tha ki paaro nirbheek hai aur us waqt ke sandarbh me bhi wah yeh dikha sake the ki aurat ki swatantrata ke maayne kya hote hai hai. jamuna( barua ki Paro) ke saamne Aish kitni hasyaspad lagti hai, naa to wah aaj ke jamane ki hai naa hi saratchandra ke, Bhansali ka melodrama Anurag ke samsamyik charitro ke saamne hansi ka paatra ban jaata hai aur bharbhara kar gir jaata hai. DevD aaj ke yuva mann ki aawaj hai.
deepak ji your analization is fabulous
Bahut hi badhia lekh laga mujhe aapka.