Saw Dev D. Had heard it and about it. Had seen it in parts, now completely. Liked the movie and the posters [they are really good too]. The story is based on one of the most [ab]used characters in the Indian cinema. Just think about the dying scene in Bhansali’s DevDas. I can’t stand it, but I know many who adore the performance of the King Khan in that film. Sorry. I can’t. Period. It’s [rather he’s] not my type. Have seen the older Devs too. But, nonetheless, found them boring too. What is that fascinates directors, actors and the moviegoers to the character of DevDas. What is in the character for everybody, that again and again the character resurfaces with the cream of actors each time.

Abhay Deol has done really good work so far, I mean he is definitely much better than his two cousins. The choice of the movies that he has made over the years, and his portrayal of the characters tells his story. No need for me to certify. But the character of Dev played by Abhay is the most brilliant one he has played so far. From a boy who has everything in life in his grasp, including Paro, love of his life, to a DEVastated Dev, who is lying waste on the streets of Delhi, the journey itself is the main theme of the film and also the essence of Dev’s character.

Why is that what we desire is just within our reach, but we can never reach it?

The teasing is always there…

Life is like a juicy, ripe fruit just out of our reach.

Dev has Paro [Mahie Gill], but is unable to take her. Mahie Gill plays the role of Paro well enough. The rustic charm of a गवांर jaat babe, is present in her character and in her. The thought that she has shared herself with someone is unbearable for him. This is where the first explosion is shown. The breaking of bottle on the head, is where Dev unleashes himself, from the bonds of Paro. But the bonds are too strong, to be broken. The farther she goes from him, more intense the attraction is [F = -kx ?]. Why does the thought of sharing the one you love with someone [or even something for that matter] else is just unbearable? If this was not true lot of world’s problems would have not arisen. But this is the tendency of the human mind and the human kind. True as Mr. Smith says, we are like a virus [ Do viruses have a mind?].

I love thee not, therefore pursue me not.
– William Shakespeare: A Mid Summer Night’s Dream

Dev tells Paro, what he does not want to, its just a few moments of hate and rage, during which the silent bitterness comes out. This is one of other problems of life, you cannot tell a person how you excactly feel, the feeling is always within you, but somehow it does not find an exit. The feeling remains within you, becomes a part of you, does not depart, for there is nowhere for the feeling to exist outside you. And when you make a decision to talk about it, something else comes out, something that is not planned at all, something which has no meaning, but can be quite devastating and this is what Dev does. For me this is the “emosional atyachaar इमोसनल अत्याचार” of life. This is where Anurag Kashyap is brilliant. If it was any others formula film-maker, the scene would have had required gallons of glycerine. Dev is oblivious to the fact, even when told explicitly that he also did [ the same to] Rasika, that its the same thing Paro did. But obviously as for any self loving, self indulging person the standards for the self and the others are not the same. So is with Dev, a promiscuous Paro is not acceptable for him …

Would a promiscuous lover be acceptable to you?

Paro more stronger than before [and definitely more than Dev] and “moves on” with life. Even when promiscuous, she has an absolute love and is mad about Dev. Dev is her first and true love. But after the Dev-debacle she first reluctantly and then whole heartedly takes the new life that comes to her post-Dev. But post-Paro Dev has no where left, so he goes to Delhi. When he is unleashed he is all around but no-where in particular, like the mists of Delhi. Life for Dev, becomes a psychedelic experience for us. The life revolves in circles in bottles of vodka, fumes of smoke from cigarretes, and the ATM. The hotel room which he lives in is a sort of mirror of Dev’s own life, chaotic, orderless, yet we are somehow strangely attracted to it.

And the one encounter with Paro in Delhi, Dev again loathes her. Paro still down to Earth and still caring about Dev. [Is caring for somebody same as loving them too?] Paro does not stop his advances, but neither does she give any encouragement. [This can be really frustrating, believe me.] On the other hand, the imagery of Paro doing it with her [superman] husband is too much for Dec. This is surely इमोसनल अत्याचार.

Can you bear to see your loved one in someone else’s arms?

So he again bursts, Chunni is there to handle him. And guides him to Chanda.

Enter Chanda [Kalki]. As a daughter she has “disgraced” her family and her father kills himself in shame. But Chanda emerges stronger, from all this. Post-MMS, she lives a double life, one of a prositute [A commerical sex worker if you prefer] and one of a college student, thanks to Chunni. Chanda makes a point when she says that, what right do they have to call her a slut, when they all watched “it”. The character of Chunni identifies Dev as an appropriate candidate for the business he runs. In Dev, Chunni finds the ideal customer. And in Chanda, Dev finds the traces of lost love that he is looking for.

Though initially Dev loathes Chanda, she persists, in his life and his outbursts. A bond develops between them, which gives, if only vague, aim to Dev’s life. So there is some relief from the Vodka bottles, but this is short lived too. Dev again unable to bear Chanda doing it to another man, walks out, literally. Again the psychedelic trance life begins. The relfections on the aviator that he wears is now his life. The neon lights of the nights are what Dev sees all around him, life is like a roller coaster ride, which only goes down, always speeding up, never slowing down, but which gives Dev a high, a high to rise above all the troubles life has presented him with.

And here we [all] wander in illusions.
– William Shakespeare: Comedy of Errors

Now that Dev has a BMW, the life speeds up. The life and the BMW gets a hit, literally. The accident scence is another brilliant stroke by the director. You would otherwise see tankloads of blood and dozens of dummies being crushed by the car… But here you see the accident from Dev’s perspective, after all this film is about Dev. The scene is as it would look when you are in non-drivers seat and Dev is in drivers’. The deaths are just like bumps you would feel on a bad road. [Maybe they _are_ bumps for Dev on a bad road of life.] Overwhelmed by the experience he [rather his system] just crashes. Dev is in hospital. And in all this turmoil Sattu is dead. So Dev gets bail to attend the funeral. While coming back, Dev just runs away from the harsh
realities in waiting for him back in Delhi. Dev escapes to the Himalayas, maybe seeking a nirvana, maybe just running away like a coward. Finally, his health forces him to come back to the coarse realities in Delhi.

… my pride fell with my fortunes.
– William Shakespeare As You Like It

Once the cash reserves are all gone, Dev takes to the streets literally. Paro is nowhere, neither is Chanda. Dev is and has lost. He desparately looks for Chanda, not Paro mind you, but she is nowhere to be found. Roaming aimlessly on the streets of Delhi, finally Dev finds Chanda, or is it the other way round? Anyway the end is a welcome relief from the other who followed the original DevDas blindly, without any brains good enough for their own interpretation of the story.

The story _is_ loosely based on Devdas, the novel.

Final rating 4.8 out of 5. Must see.