THE DEVDAS EXPERIENCE - THE MUSIC
Special Feature By Rupa Nandha

Sanjay Leela Bhansali's adaptation of the tragic love story Devdas is arguably the most eagerly awaited film of the year. Not only does it star three of Bollywood's leading superstars (Madhuri Dixit, Aishwarya Rai and Shah Rukh Khan) but this film marks Bhansali's third directorial venture and is his follow up to the 1999 super-hit Hum Dil De Chuke Sanam. In an exclusive Radio Sargam feature, up-and-coming British filmmaker Rupa Nandha takes a look at the song picturisations in the movie.

WARNING: The following article features details on the narrative of Devdas. If you would prefer not to find this out before watching the film, we recommend you do not read on!

SILSILA YEH CHAHAT KA:
Silsila yeh chahat ka introduces Paro (Aishwarya). On hearing the news that Devdas (Shah Rukh) is returning home after studying in London for ten years, Paro celebrates that she has kept a burning diya alight for those 10 years, which represented her love for Devdas. The song teases the viewer by fragmenting the beautiful ex Miss World. When her face is finally revealed, one can't help but gasp. Aishwarya hasn't looked or danced so well. The way she dances with a diya in her hand for the beginning part of the song showcases Aishwarya's capabilities as a dancer.
Rating: 8/10

BAIRI PIYA:
When Devdas tells his Dadimaa that he has found the girl of his dreams in the form of Paro, she gives him a bangle that she'd saved for his future wife. Bairi Piya is the song where Devdas tries to put the bangle on Paro. It's a very cute and mischievous song, no great dance sequences this time, but the on-screen chemistry between Shah Rukh and Aishwarya works well. Their realisation of love for each other is conveyed beautifully with full conviction.
Rating: 7/10

MOREY PIYA:
Paro's mother, Sumitra (Kiron Kher), who comes from a nautanki background, sings and dances at Devdas's babhi's godd bhari rasam, not only to celebrate the pregnancy, but to also show her gratitude towards the acceptance of Paro as Devdas's wife. She dances as though it were the actual wedding day. Juxtaposed with this is the chuppa rustom between the lovers at a nearby waterfall/lake. Aishwarya holds her leg up to show a thorn in her foot, Shah Rukh takes her leg and an unusual dance sequence commences!
Rating: 9/10

KAHE CHEDH MOHE:
Kahe chedh mohe is a visual delight. The backdrop is that of a khotha and is Chandramukhi's (Madhuri) first song and dance sequence as the stunning courtesan. It sounds rather crude to suggest a brothel as a visual delight and a courtesan as the epitome of beauty, but Bhansali forces us to think this way so we can empathise with Chandramukhi. Madhuri makes the moves of this complex and intricate sequence look like a walk in the park. Chunnilal (Jackie Shroff) recites the words of Pandit Birju Maharaj.
Rating: 9/10

HAMESHA TUMKO CHAHA:
After realising his mistake of leaving Paro, Devdas returns to his village to find wedding preparations in progress (Paro's marriage to an aristocrat). In a classic Bhansali moment, Paro touches Devdas's feet and they decide to accept their fate. Hamesha Tumko Chaha marks the unfortunate realisation that the lovers were never meant to be together.
Rating: 8/10

MAAR DALA:
Maar dala is the song that stands out the most and is a par above the rest. The song projects the intensity of Chandramukhi's ill fate (as a courtesan) miraculously. Madhuri moves with graceful elegance and her expressions allow you to see her as a human and not a courtesan. The song begins with Chandramukhi sat in the middle of the dance floor; she is waiting for Devdas. When she feels his presence the song begins, yeh kisski hain aahat…Chandramukhi is wearing a red chunderi. As she sings humpe yeh kissne hara rang dala… she reveals the green outfit we have all been seeing on the promos. This action works like a butterfly spreading its wings; this sudden motion is breathtaking - just like Madhuri, and just like the song, the costume and the set. When the song ends dil maange more!
Rating: 10/10

DOLA RE DOLA:
Luckily we do get a bit more! As it is customary in Paro's in-laws household to use soil from a brothel to build a statue of Durga Maa, Paro visits a brothel. Paro realises that the courtesan that is standing before her is the Chandramukhi who has been influencing Devdas's uncultured lifestyle. But as with the audience, Paro is soon won over by Chandramukhi's humanity and heartiness. Paro invites Chandramukhi to her home to take part in the celebrations and to sing and dance with her. I must confirm that Dola re dola isn't a dance competition. Seeing the two beauties together is mesmerising and is a great privilege to witness two of Bollywood's greatest dancers matching each graceful move step-to-step. Both Madhuri and Aishwarya articulate next to perfection and brilliance.
Rating: 9/10

CHALAK CHALAK:
The last track, chalak chalak, is a masti-type song. It starts of in a pub type surrounding with a herd of men singing in glee. As they step outside one thing is missing - Chandramukhi! When she steps into the frame they all dance in merriment. As the song comes to an end Chandramukhi sees Devdas fade away into the background.
Rating: 6/10

Overall rating: 9/10

REVIEWED BY RUPA NANDHA