Dev. D: Brilliant, Must Watch! review

Share

Anurag Kashyap’s Dev. D begins by the side of a canal in the lush green Panjabi heartland, where young Dev is hiding from his father Satpal Singh, a Sugar Mill owner. Paro, his childhood sweetheart brings him food and instead of acknowledging her affection and care, he nudges her over trifle things such as pickle and water and the otherwise affectionate encounter turns into a brawl. This is what essentially sums up their relationship.

His father Satpal Singh and beloved Paro, govern the life of the latest avatar of Devdas, the legendary loser loverboy (“loosely“) inspired by the novel of Saratchandra Chattopadhyay.

Kashyap (Paanch, Black Friday, No Smoking), who is known for challenging the feelgood, escapist cinema of Hindi film industry reinterprets the novel and situates it in the contemporary Panjab and Delhi, where familial ties are negotiated by the traditions of patriarchy and marriages are reduced to a game of power and “honour“. Interestingly, he uses the traits of popular cinema, such as song, dance and a story that has already been made into films seven times, to reinterpret it.

After being found smoking and calling his father by his name, young Dev. D is sent to London for higher studies. Don‘˜t expect that the seven seas will dissuade the lovers! In the cyber age, the problem of communication is much deeper. While separated by distance, their youthful love blossoms; only to see its nadir once they meet. What makes them fall apart is mutual suspicion and an essentially male vision of how a woman should conduct herself sexually.

The film is demarcated in three acts, introduced with intertitles. The first one, named after Paro sets the premise of their separation more than telling the story of Paro. A stylistically choreographed sequence where an elaborate Panjabi wedding goes on over days in the backdrop, while the lovebirds meet and attempt to make love clandestinely.

Their endeavor to make love makes for some dark comic moments.

The seeds of suspicion are sown here, that the couple will never be able to weed out for a lifetime.

Second act-named after Chanda- has references to the notorious Delhi school sex MMS scandal. Anurag weaves a story around the much publicized episode, paving the way for victim Leni‘˜s (later named Chanda) induction into the oldest profession.

While Chanda isn’t a career prostitute like a usual courtesan of Hindi cinema, she is no different as well. Instead of performing Mujras, she enacts scenes from popular American pornographic series.

She hasn’t been forced into the profession in the usual way. However, she didn’t have much of a choice either.

The only thing, that makes her different is the fact that she hasn’t given up on her studies for the profession and has also kept the exit gate open.

Dev. D, tormented by Paro’s wedding, seeks refuse in alcohol and drugs. His escape to Delhi from Chandigarh, is as much a pursuit of his lost love, as much it is an attempt to run away from his father. He hides in a dingy lodge of Delhi that’s ironically called Taj Mahal Hotel.

The film threadbares a typical Indian male ego, a product of patriarchy, bit by bit, that always tries to rule over other’s lives and bodies. Dev’s father packs him off to London, without caring much about his and his mother’s wishes. Chanda’s father commits suicide as he feels debased by his daughter’s sexual conduct that spreads through MMS. And Dev refuses to marry Paro, because he suspects his exclusive right over her body has been violated.

Though, their youthful adventures to make love never materialize, they happen to fall in bed together months after Paro’s marriage. She visits Dev in his hotel room after he calls her husband in the middle of night. While Paro has grown to accept her fate, her heart still beats for her childhood lover. Her love always transforms into immense care. On the other hand, Dev demands much more than love- exclusivity over her body and that’s where he runs out of luck. More than separation it’s the thought of Paro making love to somebody else that’s the cause of agony for him.

Much unlike the self-destructive hero Devdas, Dev’s destruction is rooted in his worldview. He is as much a perpetrator of “Emotional Atyachaar” as much a victim of it.

Ironically, his life always orbits around women. He is forced to cause self-destruction by one and rescued by another.

The film also belongs as much to the screenwriter Vikramaditya Motwane and Abhay Deol, who enacts Dev. D. The film is based on a concept by Deol. Motwane and Kashyap’s screenplay is full of wit and humour. One great thing about the film is that this otherwise gloomy story never leaves you grim faced.

Anurag uses humour to keep you always at a distance from his characters, you hardly feel for them. There are plenty of moments where you laugh your hearth out.

The already famous ‘˜Emotional Atyachar’ song is funnier when seen in the film.

The lead cast of Abhay Deol, Mahie Gill and Kalkie Koechlin deliver a wonderful performance. Dibyendu Bhattacharya is likable as Chunni.

So what happens to Dev? Does he reunite with Paro, or does he die at her doorstep? That’s a twist!! So watch it for yourself.

Dev. D is a brilliant film that superbly captures the society that we live in, all the while making us laugh! It’s a must watch that’s destined to go on to become one of the most memorable Hindi films of our times.

[rating:4.5]