Binod of art in the form of

Binod Pradhan’s eye for detail cannot be missed as he plays
with the camera with imaginative technics used for angles and lighting. The
good thing is that before the viewer gets too caught up in admiring Aishwarya’s
exotic hairclip, the shot switches to the sorrow in her eyes. Ms. Verma also
spoke about few beautiful moments from the film. Right from the beginning of
the film till the every moment was beautifully shown. Dialogues written were so
perfect and amazing. When it comes to films there are definitely few flaws but
still carried very beautifully, some of the flaws according to Ms. Verma are
how Paro’s mother was portrayed about dreaming about her daughter and also hoe
Devdas’s mother and sister in law were portrayed, they were too loud for the
screen play. According to her, “The entire Paro-Chandramukhi face off comes across as
a purely commercial gimmick. It does nothing to the storyline. The Dola re dola song
though beautifully picturised in hues of red, white and gold is a futile
exercise”.  According to the reviewer the film is completely based
on performance how each actor does justice to the character assigned to them.

The critical analysis of the film “Devdas”
by Kabir Ahamed, begins with the statement, “calling Devdas a modern
masterpiece would be an understatement”. 
Mr. Ahamed, refers Devdas as “future classic” in his analysis. This film
for next few years will stay as visually ravishing film in the history of Indian
film industry and he adds that this piece of art in the form of film can be
taken as a reference text for the future masterpiece. However, waxing
eloquent over a film’s place in the record books does not necessarily mean that
the film is without its flaws. How can a film that unabashedly uses up all of
the classic Hindi film clichés, makes a criminal use of colour, and fronts
itself with a star cast that looks as if they’ve walked off a modelling ramp,
expect to be taken seriously. Certainly director Sanjay Leela Bhansali wasn’t
making this film for unromantic or uninteresting front-benchers. That said, it
doesn’t seem like the film was indicated for a serious art-film audience
either. I assume that the director wanted to strike a middle ground with his
audience-base. To that extent, “Devdas” effortlessly climbs into that
special realm where movies don’t need to have a specific target audience to
succeed. There is both shamelessly commercial saccharine and high-brow avant
garde dialogue, usually one after the other; very frequently in the same frame.
To call this ‘genius’ on part of the director is something that bears debating,
but Bhansali demonstrates that hes no fool with the camera, nor with the seamless
screenplay, especially during the interaction between the three principal
characters. According to the critics Devdas is the most celebrated love story
and the most painful. Most of the Bollywood films promise happy endings and few things are unrealistic but when
it comes to Devdas it is heart breaking how Devdas and Paro are separated and
how Chandramukhi a court dancer falls in love and gets denied by Devdas. 

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