Anarchic Analogy

Dir: Anurag Kashyap
Cast: Abhay Deol, Mahie Gill, Kalki Koechlin
Music: Amit Trivedi
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I sat for hours in front of the computer trying to think of the perfect opening line, but my mind just kept drawing a blank. It had never happened before. Every film leaves an imprint, evokes some emotion. But his one left none. And that is what makes this film special. Anurag Kashyap has freed the spirit of Devdas from its fossils. It has managed to break free of the shackles of sentimentality that had kept it bound for ages.

Kashyap’s Dev D is intensely political, played out like a Brechtian drama, and yet at some level managed to capture the changing emotional topography of a rapidly changing psychological landscape. Unlike a tragedy from the classical mould, the protagonist is not a victim of circumstances; rather, he is caught in the structures he has created for himself. Thus the film is devoid of any emotion of sympathy for any of the characters. Although, Chanda does have a rather sad past, her actions too, are of her own accord, and by her own admission she seems to be content with the dual life that she leads. In a sense, Chanda exemplifies the Kashyap’s philosophy. In this overtly existential film, the characters are responsible for their own actions, and there is no sense of regret or revenge. Even Dev’s descent has little to do with unfulfilled love. Rather it is a tale of a protagonist trying to forge/find an identity for himself.

Instead of being mere cardboard cutouts (as they were, in the previous versions) Kashyap’s Chanda and Paro, are made of flesh and blood. Paro’s sexually confident, and she is not shy in taking the first step. In a brilliantly composed sequence, Paro vents out her sexual energies on a handpump, after being denied by Dev. Similarly, Lenny is not afraid of flaunting her sexuality, (her fascination with riding a bike can be read in the same light as the handpump scene) and even after she’s been cheated on, Lenny has the courage to move on. She is a ‘randi’ and does not take refuge in euphemisms. This sheds light on the conceited psychology of the patriarchal society. As long as Lenny wanted to remain Lenny, her presence was uncomfortable and unacceptable, but the moment she became Chanda, her presence became not only acceptable but at some level desirable too.

Kashyap’s Dev D is not a mere rereading of an old text, it is a new rendition altogether... a story so powerful, that even Sarat Chandra would have been proud of it. But does it make a good watch? You bet.

Inspite of it being heavy on philosophy, nowhere in the film does it weigh you down. It is rather quirky, crazy and to certain extent even funny. The casting is brilliant, and so is the photography. Infact, the photography is so good that it manages to induce a heady feeling, and you come out of the theatre on a high. Just go and watch this film to realise (and acknowledge) that films can be political, sensitive and yet score highly on entertainment value.