Devdas

I have to admit that as great as Devdas is, I can't watch it too often as it is far too depressing but it is ultimately the most spectacular movie I have seen in a long time. Aside from its theme, the film making process was awesome including the costumes, the cinematography, the direction, camera angles. Imagine the number of hours the extras worked their *beep* off to dance in sync. Even the soundtrack was perfectly tuned to help set the mood of the movie and hearing Paro (Aiswarya Rai's character) sing for her love lost for Devdas (Shahrukh Khan) on her wedding day was enough to make you burst into tears.

The actors chosen were perfect for their roles as they portrayed it with such heart wrenching gut, you could almost feel their sorrow along with them. I was particularly surprised how Aishwarya Rai pulled off her biggest acting role to-date, thereby quashing any doubts on her previous beauty queen title. Shahrukh Khan once again proves why he is the reigning king of Bollywood playing a heartbroken alcoholic pining for the love of his life who's been married off to another man. Madhuri Dixit was equally wonderful as the beautiful courtesan who played her role with such empathy that I couldn't help but feel sorry for her and wished Devdas would eventually reciprocate her feelings for him. Jackie Shroff has never disappointed and was excellent in his supporting role as Devdas 'brothel' companion. All in all, the cast ensemble of this movie is one of the best in cinema history.

This movie is also a perfect (and spectacular) introduction to first timers of Bollywood movies into the lives and culture of Indian/Asian people in general. How, in this modern and civilised world, old traditions and values still hold dear in certain communities and whilst it is not the most favourable of beliefs, it is the age old cultural practices that makes one culture unique to the other.

Yes, no movie is perfect but Devdas almost does it so watch it with an open mind. Being Asian myself, I dare be bold and say this is better than 'Gone With The Wind'.

I have not seen the other previous versions of Devdas, but as far as this Devdas goes, I can say that it is really difficult to transform such an old and popular story into such an amazing film without being boring, and the director has successfully managed this task.

The set decorators, choreographers and the costume designers must be lauded very very highly. It is truly amazing and a real pleasure to just even observe these three elements. Of course, Aishwarya Rai (Parvati) is so incredibly beautiful, the camera loves her, and she sparkles like a diamond. Still, (also credited above Aishwarya) Madhuri Dixit (Chandramukhi) is the real acting talent.

I had great pleasure watching this lyric melodrama, although it lasted about three hours, it deserves all kinds of appraisal.

DEVDAS (2002) is a beautifully mounted romantic melodrama based on a popular Indian novel published in 1917. When I first read about the film and its enthusiastic reception at Cannes, I had high hopes that this might become the first Bollywood film to cross over to arthouse audiences in the U.S. While watching it, however, it became clear that the class-conflict narrative would be a tough sell these days with its supremely overwrought tale of parental disapproval, family honor, unrequited love, and two beautiful women's complete and utter devotion to an irredeemably dissipated man who is left with nothing. It's also more deeply rooted in Hindi culture than the other Bollywood movies I've seen and would most benefit a viewer who had more than a passing knowledge of it.

In comparing DEVDAS to MOHABBATEIN (2000) and TAAL (1999), the other Bollywood musicals I've seen, I would cite a few Hollywood parallels. DEVDAS is like a Jeanette MacDonald-Nelson Eddy MGM musical of the 1930s (e.g. MAYTIME, 1937, with which it shares some surprising similarities) to MOHABBATEIN's SEVEN BRIDES FOR SEVEN BROTHERS or TAAL's BYE BYE BIRDIE. (When I saw MOHABBATEIN I also thought of WEST SIDE STORY and GREASE.)

I enjoyed MOHABBATEIN and TAAL much more, but I was still gripped by DEVDAS and its high romantic expression of love through song, dance, and incredibly rich, poetic dialogue. It's a powerfully old-fashioned film, which is not necessarily a bad thing.

Right from the opening credit sequence it is apparent that this is not your typical Bollywood movie. There are no iffy dance sequences with multiple costume changes. During those dance sequences the location does not change inexplicably - thus no bemused Swiss folk staring at the actors in bemusement in the background. Devdas' dance sequences are sexy without being sleazy. They are lavish but not gaudy.

The women do not ape western fashion (badly I may add) with pleated miniskirts and glittery tops. The men, thank God, do not wear tight PVC muscle tops and leather trousers (it may be all the rage in India for all I know, but its a big nono everywhere else). The fashion in Devdas, historically inaccurate as it probably is, is nevertheless stunning.

The obligatory fight sequence where our hero beats the crap out of a dozen armed 'bad-guys with moustaches' without breaking into a sweat is notably absent. No goofy comedy sidekick either.

All in all, its difficult for me to categorise this film as a 'Bollywood movie' at all - it's just too damn good.

It does have flaws, the main one being that you do not get a clear idea of how much time has elapsed between events in the movie. However, I look forward to Sanjay Leela Bhansali's next film.

Gloriously excessive Bollywood epic starring former Miss World Aishwarya Rai. Set in the 30s and sumptuously shot, it follows a lovelorn suitor's slide into alcoholism and despair

Bhansali's film boasts the biggest budget for an Indian film ever and boy, does it show. An extravagant tale of love, loss and serious drinking, it operates on a scale previously unseen in Bollywood.

Essentially a tragic love triangle, the story follows tortured Devdas (Khan) as he mucks things up with childhood sweetheart Paro (Rai), meets courtesan Chandramukhi (Dixit) and then drinks himself to death. A spirited anti-hero, in India his name his synonymous with a sort of heroic failure.

Everything about the film - costumes, sets, songs and sentiments - is larger than life and the sheer spectacle demands respect. The musical numbers cast Devdas and Paro as the mythical lovers Krishna and Radha. Cheeky, sexy and dizzyingly complex, the dancers display astonishing energy and precision, whole sequences shot from above to resemble the shifting patterns of a kaleidoscope.

Certainly there are moments of daftness. A half-cut Devdas resolves a financial dispute by setting fire to a sofa, for example, and nobody tries to stop him. But there's also humour, style and a conclusion that's plenty teary. As Western directors continue to look to Bollywood for inspiration this is a shining example how it should be done. Intoxicating.

Verdict Starts big, gets a whole lot bigger then gets twice as big after that, this is Bollywood at its most flamboyant. The song and dance numbers alone are worth the price of entry and whether you're familiar with the genre or not this is irresistible from start to finish.