In an unapologetic way, Anurag Kashyap's protagonist exposes the hypocrisy and double standards of our social set up. Dev — the rusty, wayward Punjabi youth, and his father's concern of breeding an adamant son, set the scene for our modern love saga – Dev-D.

We might even call it a musical (18 soundtracks!!) which skirts the misery of young harrowing love-struck protagonist in squalid circumstances. Music interweaves the fragmented tales of the three main characters — Dev, Chanda and Paro. It blends the suffering from withdrawal symptoms and the ecstasy that Dev derives out of drugs. If you think I am giving away the tale, perhaps not; perhaps we all know the tale. But, it is the sheer masterpiece of its portrayal that strikes a chord.

After Oye lucky, lucky oye, here again, we see 'Delhi' not the usual-stereotype shots of India Gate. We see our very own Delhi University, Model Town and dingy streets of Pahar Ganj. It is for real. It exists. The entire cinematic experience is magnanimous, wholesome and gripping. Anurag Kashyap plays with the dark and the light. A very important tool used in the movie is 'media'. We have seen it before but this time he is not trying to be critical. He intentionally uses it to keep the plot afloat.

One of my friends said, the message is clear you hate Dev but, love Abhay. He does it again, he is into the character, detestable and yet the contemprary tragic hero. Our anti-hero is lucid throughout, blinded by his own idea of what he calls 'love'. His tragic flaw, hamartia is his pride, too big for himself. The recognition comes in the end but after the downfall.

Kalki Koechlin as Chandramukhi is not that great. She represents the predicament of a girl who survives in this claustrophic world of hypocrites. Mahi Gill as Paro is perfect as the believable, bold, audacious, Punjabi woman in love. Chunni the pimp, Dibyendu Bhattacharya, is real delight alongside the analogy drawn from Sarat Chandra Chatterjee's character.

The dialogues are lewd, explicit, vile, immodest, uncensored, in your face, in one word — extreme. In many ways it keeps the outspokenness or 'Punjabiyat' alive. Indian audiences, including a section of our young brigade, might find the visual experience way too explicit. But, it is all well thought. The director does not want to win points for preaching- be a celibate, drugs are bad, girls should not be shy (Cigarette packets are there for statutory warnings). He is not being moral. Period

For those who want to thrust their morality and want to judge things as black and white, Chanda gives the right message — don't use other's morality as a looking glass mirror for your own. The smooth flow of the movie and the innovative screenplay are certainly refreshing. Another new age cinema, a welcome emotional atyachar. Worth your money!

Photo Courtesy: Karma Takapa

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