Be it KL Saigal, Dilip Kumar, SRK or Abhay Deol - Dev (babu or otherwise) has always been dark, and this one is no different, except that there is sarcasm in it like no body’s business, and intelligence that even a 2-brained Bhansali could never fathom.
Like many modern day takes on age old themes (hamlets or Othello), this one pinches where it hurts, lightens where it tickles and all in all takes one for a splendid emotional RIDE.
The Paro (Mahi Gill, 2 Punjabi films under her belt) part of the movie is an in-your-face girl next door (manager ki Punjabi jatani beti) with a complex side, a regular erotic side, and a woman side. Paro and Dev as kids in Chandigarh, Paro and Dev as adults in Punjab and London, IM-ing, and Paro and Dev in the shadi-ka-ghar trying to make out - all 3 are interestingly done.
While the movie fails to make the emosional connection between the 2 like the Dilip version did, may be this one never meant to make it. A simple misconception by Dev, the MCP, pushes Paro to marry someone else and be "happy-ever-after". Dev can’t handle the faux pas and the movie pushes Dev to marry Daroo and Drugs.
The Chanda (the French, Kalki Koechlin) part of the movie is I think the part that lacked the slickness of the rest of the film. It was less believable and looked like Anurag Kashyap, the director, had dozed off a bit (may have been distracted since Kalki is his GF). The Delhi school MMS incident resurfaces as a stark reality of what a little nonsense and no parental support can do to a life. Gives one the realization that the connection between parents and teens is vital vital vital vital....... While her landing up as a CSW (you will find out in the movie what this is), seems inevitable, the role of Chunni (Dibyendu Bhattacharya) is short enough and catalytical.
The DevD (Abhay Awesome Deol) part is a well dramatized, while the drinking and drugs seem a bit overdone, the couldn’t-care-less look in his eyes may be a reflection of a section of today’s youth, who need a near-miss incident as a wake-up call. Dazed lad with a rich dad in dark Delhi doing drugs and daroo does make one yearn for a Patiala after the movie. The "BMW mows down seven" is somewhat left hanging and not given due justice. Some scenes with Abhay though are memorable - The dog’s life on the footpath, the psychedelic move through the bar, the sardar and the taxi part, the soft side at his father’s death, the "jolt" at the PCO etc.
The music is overdose of rock and earthy Punjabi, but "emosional atyachar" is sure to hum in your brain for a long time. The nasal twang of the Elvis duo is quite a keeper. I’m sure the Mumbai local train singers have found their new song of the decade.
Abhay is truly a cut above any of the other Deols, Gadar or otherwise. The actresses and Chunni put in a fine performance too, along with all the other punters.
Cinematography is electricity.
Editing is the only place where the movie truly gets choppy, but I’m not sure if the Censor Board had something to do with it. Go see the film if you’re in the mood for a non-stereotypical movie moment.
Warning: Dont take kids to this one.