Sanjay Leela Bhansali’s adaptation of Devdas is a virtuous celebration of the escapism of cinema and its multi-facets in an immaculately crafted giganteum production, yet with hints of contemporary shades of cinema. Devdas is a absolute epitome of escapism; cinema that contrasts reality with a surreal and fairytale creation. Here the characters do not speak in short sentences; they recite poetry. The characters do not live in pedestrian structures, but in giganteum sets. Paro is not the vulnerable and fragile woman of the early 20th century, but a woman of utopia. Devdas is not the wounded-hero; but a dejected loser. Chandramukhi is not a whore; but a saint.
The subtlety of expression that pervaded Bhansali’s earlier works; Khamoshi and Hum Dil De Chucke Sanam, seems to have diminished completely in Devdas. Devdas is the extreme opposite of Bhansali’s earlier works. It’s boisterous; It’s theatrical; It’s ravishing; It’s fantasy; in essence it is the return of cinema of the mythical type and the closest Hindi cinema has arrived at the unrealism that haunts Hollywood lore.
The fundamental premise of Devdas is passé and unappealing for the modern cinematic flairs, and it could well have been colourless had it been narrated and presented in a truly subtle and bourgeois manner - a la Khamoshi. Yet instead it is presented in a energetic, raucous, ravishing, melodramatic and theatrical manner, that are both its saviours and its pitfalls and constantly clash against each other throughout the film.
Yet what appealed mostly to my sensibilities - aside from the exhilarating visuals - were the rich social and spiritual reverences; a lit lamp symbolic of everlasting love that ultimately extinguishes in the end; a prostitute finding meaning in one that despises her and pines for another woman; a husband denying his wife spiritual love because his heart still belongs to his first wife; a prostitute challenging higher society on their hypocrisy and many such ideologies that adorn Devdas like rose petals.
Yet where Bhansali has adorned rose petals, he also laid a path of thorns. Where there is a spiritual revelation; there is also deliberate overemotional, comedic clamouring and outcry by the supporting cast that seriously malign Devdas. These annoyances are more prevalent pre-intermission and thus the first half is rendered tiresome and dissatisfying. The most severe stigmata is none other than Ananya Khare, whose scheming and loud outbursts irritate. It is unconceivable to think that this was the same actress that portrayed Deepa in Chandini Bar with such zest. Kiran Kher known for her serious works, is not only disappointing in Devdas, but laughably defective. A scene where she taunts Devdas’s family while he sets the room alight is unbelievably distressing. Kher’s character is almost as if one of the witches from Macbeth were juxtoposed into this film.
Another equally atrocious performance, comes from Smiti Jayeyal, Devdas’s mother. The scope of how bad this is, becomes apparent within seconds as the film opens. Kaushaliya(Smiti) is excited about Devdas returning from London in 10 years; and so she should be. So she expresses her excitement in a rage to all that surround. She dances gleefully shouting ’’My Devdas is coming’’ However one fails to believe her artificial show of excitement.
The rest of the supporting cast, comprising of television artists, with the exception of Devdas’s delightful grandmother, are equally irritating, and after so many high-pitched and unbearable displays, one yearns for some subtleness!
- And subtleness arrives post interval in the form of the stupendous Madhuri Dixit(Chandrmukhi) who yet again delivers an arresting and restrained performance. Madhuri’s performance is in many ways akin to her character; it is spiritual. While others go astray at times, Madhuri never deviates from her dedication. Each of her occurrences on the screen captivates one into her intoxicating and unescapable presence and make the screen aglow; there is absolutely no doubt, that she will be cherished and rememberd as Chandramukhi. A scene that will echo in many minds is when she challenges the hypocrisies of the ’’higher’’ society at the Durga prayer festival.
Aishwarya is too, effervescently vibrant throughout the film. While her prowess is not as overwhelming as Madhuri, she is competent and given the most on screen time. Bhansali attempts to seduce the audience by regularly focusing on her enchanting beauty as an object of fetish. However; Paro’s character is perhaps the most overworked personality in the film. Her character is unrestrained and thus essays a spectrum of emotions. Whilst doing this, the human elements of Paro’s character are dissolved. Thus Paro’s character’s is that of a utopian, perfect woman; Paro is extremely intelligent; she is courageous; she is enchanting, she is mature; she is the most articulate, in essence she is portrayed akin to a goddess.
In fact having said that, SLB did the same with every other character as well. None of the characters were realistic; none had human elements.
When a writer is fleshing out characters; there are two mistakes he can make - he/she can either under-develop the character or over develop them. SLB does neither; he has simply created fantasy characters which compliment the surrealist fantasy stage.
Shahrukh Khan as the main protagonist oscillates between usual and ground breaking and is largely successful in realising the character of Devdas; his performances particularly in the later portions are superlative. However not withstanding, he does tend to become repetitive and can also come across as comical at times. You will either laugh at him; or cry for him. This really depends on, how you are going to accommodate a loser in your minds.
Production wise: The technicians have crafted a production that will astound audiences anywhere in the world. Devdas opens with a grandly orchestrated opening sequence and from thereon it is visual extravaganza every frame - that it will strike awe into the most prestigious Hollywood studios. Giganteum sets; dazzling cinematography; jeweled costumes; epic background scores and rich colours make Devdas a sheer audio-visual treat to explore.
Each of the songs(with the exception of the Ode to alcoholism, ’’Chalak Chalak’’) compliment the narrative and are picturised and choreographed elegantly and at same time filled with poetic meaning. ’’Dola Re Dola’’ is the most visually electrifying song and mesmerises one immediately. Followed by ’’Hamesha Tumko Chahah’’ which plays as a score to the bridegroom procession. Another striking song is ’’Kahe Ched Mohe’’; whose art direction is eye catching.
Devdas plays a lot like a shakespearean trajedy; high on melodrama; high on operatic performances; high on poetic speech; low on beleivability. It commences melodramatically and frustrates pre interval, and then recoups and excels itself post interval. Now that the annoying supporting cast is almost ousted and the ever-glowing presence of Madhuri Dixit; the histrionics of Shahrukh Khan and Aishwariya Rai and many commanding and arresting scenes that completely grip ones attention; elevate Devdas into more respectable and admirable ground. From hereon, Devdas is powerful and engaging and climaxes in a thunder of brilliance.
Bhansali has adapted and retold the story of Devdas like a fantasy Shakespearean tragedy. Like painting one of those paintings that can hold so much meaning yet be nothing more than a painting to some eyes. It is one of those works of art, that has layers within layers. Devdas will be remembered as a milestone in India’s cinematic history.