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The dialogue is pitched right, the cinematography can be both rich and edgy, the art direction terrific. If there is pain, there is humour too, of various hues, but mostly dark. Kashyap plays down the long-awaited reunion with unexpected domesticity in some beautifully executed scenes and then intertwines Dev’s two love stories in a tale of redemption. She was then Lenny she renames herself as she watches Chandramukhi’s Maar Dala in Sanjay Leela Bhansali’s Devdas.īut Paro returns to Dev’s life. Unlike earlier directors, Kashyap fleshes out this character: Chanda’s slide begins with a lurid MMS clip in school. With her bee-stung lips, unusual face and refreshing lack of acting guile, Kalki Koechlin imbues the part with a touching fragility. Enter Chanda, the multilingual call girl who can seduce in Hindi, Tamil, English and French. With Paro gone, Dev begins his slow descent into hell. The eponymous hit song, performed at Paro’s wedding, has to be one of the highlights of the film with its picturisation as quirky as its music and lyrics. Under Kashyap’s baton, Dev aka Devendra Sigh Dhillon (Abhay Deol) and Paro aka Parminder (Mahi Gill) are sexually adventurous lovers who break up because of a lie and an emotional atyachar. Amazingly, it all holds - for the most part. But you could still be taken aback by the unfettered play that Kashyap allows his imagination as the film ricochets between gritty and bizarre, mustard fields and dreamscapes. You expect that, of course, given a title like Dev D and characters transposed from genteel Bengal to earthy Punjab, from one century to another. And he gives as much as he takes from this classic tale of a love lost and pined for.ĭev D is a stylish, adventurous interpretation that gives an old story a contemporary edge and pushes the boundaries of Hindi cinema. Director Anurag Kashyap is equipped with both. To reprise one of Hindi cinema’s most-remade storylines would require both courage and an audacious new vision. Cast: Abhay Deol, Mahi Gill, Kalki Koechlin