Top of the line star cast.
Gargantuan budget.
Lavish mounting.
Big-time director.
Tremendous hype…

Bharat Shah's DEVDAS, directed by Sanjay Leela Bhansali, is a saga of mammoth proportions, but it lacks the power to stimulate, mesmerise, captivate and enthral the viewer.

Son of an affluent zamindar, Devdas (Shah Rukh Khan) opened his eyes to a world where wealth dominated his existence. Indulged he was by his lovely playmate Paro (Aishwarya Rai). It was a special childhood and it seemed only Devdas and Paro seemed to exist for each other.

The reverie was broken when elders sent Devdas to London for education. When Devdas returned, Paro's mother (Kiron Kher) proposed Devdas and Paro's marriage. But it was met with condescendingly.

Heart-broken Paro entered into a chaste marriage with a wealthy, much older man, Zamindar Bhuvan (Vijayendra Ghatge), while a shattered Devdas took refuge in anguish, alcoholism and Chandramukhi (Madhuri Dixit), a stunning courtesan.

Strange was the fate of Devdas. Intensely loved by two women, who were never meant to be his. One, whom he could never love and the other, whom he could never stop loving…

DEVDAS, one of the keenly-awaited flicks of the year, has finally released. And the hype and hoopla associated with the film has translated into tremendous craze for this mega venture. However, unfortunately, all that shimmers in not gold!

Innumerable directors have tackled the story of two childhood lovers facing parental opposition, going separate ways, yet loving each other. In that respect, the story of DEVDAS holds no charm or novelty for the cinegoer of today.

But the difference lies in the fact that the person at the helm of affairs is none other than Sanjay Leela Bhansali. A craftsman par excellence. A great story-teller.

DEVDAS has the budget, the canvas, the mounting that no Hindi film can boast of to date. The opulent sets, the grandiose look, the mounting and the ambience makes you gape in astonishment.

Technically too, the film is a superior product. The shot execution, the sound quality and the cinematography bowl your mind as you embark on a journey that promises the world as far as entertainment is concerned.

Bhansali also deserves bouquets for handling several sequences with aplomb. The Kiron Kher – Smita Jayakar fiery confrontation (first half) deserves distinction marks. Ditto for the scene between Madhuri Dixit and Milind Gunaji, when the latter throws a challenge at her.

The Madhuri – Aishwarya confrontation and the dramatic sequence soon after 'Dola Dola', when Madhuri confronts Milind, are a few instances that endorse the fact that Bhansali is amongst the best in the business.

But the film lacks the grip in totality to keep the viewer's attention arrested, which factually was a strongpoint of Bhansali's previous effort HUM DIL DE CHUKE SANAM. It is evident that Bhansali has, this time, taken extra care to make the frame look brilliant, but the screenplay abounds in glitches and clichés.

The first half has an enjoyable mix of light moments and dramatic scenes and the interval point raises the expectations of a better and much bigger second half. But the post-interval portions fail to hold your attention and there are several reasons for it.

One, the Chunnilal track (Jackie Shroff) comes as a major hindrance in the plot. Although his significance is imperative in the script, somehow you don't take to Chunnilal's character and his presentation. He's been used as a mere prop to further the story and the lines mouthed by him grossly irritate.

Secondly, the sequences between Madhuri and SRK are far from magical. Why does Madhuri fall in love with SRK instantaneously, without any reason whatsoever, baffles the viewer. Later, Paro and Chandramukhi's friendship and making them dance together ('Dola Re Dola') seems forced.

Moreover, the second half is too lengthy and needs to be trimmed by at least 20 minutes. The 'Sheeshe Se Sheesha Takraye' song, for instance, was just not needed. Besides, the film moves at a snail's pace in this half.

Most importantly, will a theme like this – a tragic love story of yore – find flavour and identification with the cinegoer of today and more specifically with the youth and the hoi polloi, remains a pertinent question while watching the film.

Ismail Darbar's music gels well with the mood of the film. Nusrat Badr's lyrics are lyrical gems. Binod Pradhan's cinematography is dazzling. Dialogues are brilliant at places. The sets, props and the overall look deserve special mention. Costumes and finery are exquisite.

And now to the performances!

Shah Rukh Khan excels in a couple of sequences, but seems like replicating himself in the others. Madhuri Dixit looks bewitching but lacks the fire to carry off such a role. She goes through her role mechanically. It is Aishwarya Rai who steals the show with a performance that takes you by surprise. She dominates the film with a performance that is sure to win her accolades. Jackie Shroff hams. Kiron Kher is first-rate. Smita Jayakar is alright. Ananya, as Devdas's scheming sister-in-law, is superb.

On the whole, DEVDAS belies the expectations that one has from a film of this magnitude. Expectedly, the much-hyped film has taken a historic start all over, but it lacks in merits and most importantly, repeat value, which is so very vital to recover the colossal investment that has gone into its making.

Rating:- * ½.

taran is unbelievable he gave hkskn 2.5 and devdas 1.5 the guy has gone nuts!

1.5 grrrrrrrr

at the moment it seems the audience have liked it more than critics.

i guess what matters more is the audience verdict. overall i dont find taran adarsh a good reviewer. oh well, i better see the movie myself before i comment anything more.

Devdas
By: S Ramachandran

July 12,2002

Devdas ****
Dir: Sanjay Leela Bhansali
Cast: Shah Rukh Khan, Madhuri Dixit, Aishwarya Rai, Jackie Shroff, Kiron Kher, Smita Jaykar, Milind Gunaji and Ananya Khare

There are times when you wonder why a loser like Devdas Mukherjee deserves 11 films dedicated to him and Bhagat Singh gets only eight. The Saratchandra Chattopadhyay novel has been exploited by filmmakers dishing out tales about a spineless drunkard who did not have the courage to stand up to his family for Paro, the woman he loved. Devdas spent his life at Chandramukhi’s brothel without exploiting her too — primarily because of his love for Paro, who married a much older Thakur.

Picking up the spirit from Chattopadhyay’s bottle, director Sanjay Leela Bhansali has concocted a cocktail of emotions, fizzing up the brim with the impishness of Hum Dil De Chuke Sanam and the garish colour schemes of Holi.

Shah Rukh plays Devdas Mukherjee — the London-returned barrister son of the zamindar. His mother Kaushalya (Smita Jaykar) awaits his return, but he meets Paro (Aishwarya Rai) before he sets foot in the house. That is just the start of friction between the families of Paro and Devdas. Egged on by her evil older daughter-in-law (Ananya Khare), Kaushalya invites the ire of Paro’s loud mother (Kiron Kher) who gets her daughter married off to a rich Thakur with three kids — when Devdas’s mother refuses to get her son married to Paro. Admonished for being a lower caste, Kaushalya also casts a curse on the Devdas household.

Devdas meanwhile rushes off to the city and meets his old buddy Chunnilal (Jackie Shroff), his friend from London. He also accompanies Chunnilal to Chandramukhi’s (Madhuri Dixit) brothel. After the initial reluctance, he hits the bottle and also hits on Chandramukhi, albeit with a condition that she does not lay her hands on him. But his father’s death brings him back home and later separates him from the family after one of his sister-in-law’s schemes work out. Soon he seeks refuge with Chandramukhi.

And now Bhansali’s imagination starts working. Thanks to Durga Maa, he gets Chandramukhi to meet Paro. Did we hear Saratbabu say ‘Oui Maa’? Thankfully Bhansali’s idea works, unlike 1978 Telugu filmmaker D N Rao’s wild idea about Devdas’s reincarnation and meeting a now old Paro.
Reverting to this film, Devdas consumes so much alcohol that it consumes him in the end — just before Paro can catch a final glimpse of the eternal lover at her doorstep.

Performances are A-Grade. Shah Rukh Khan excellently hics his way through without a hiccup in the role of Devdas. Aishwarya Rai pumps glamour into the much sought after role of Paro. (Most actresses who have been offered the role of Chandramukhi in earlier versions have asked for the role of Paro.) Lending a sense of respectability to a nautch-girl akin to what Rekha did in Umrao Jaan, Madhuri Dixit leads from the front with a bravura performance.

Bhansali oozes from every portion of the film, including the notes of Ismail Darbar’s music. He has total command over the film and the subject. However, he does not introduce and later define the character of Chunibabu, and does not give him enough footage, though Jackie tries his best to fit into a role that suits him. Neither does he explore Devdas’s childhood, which is an integral part of the novel. Milind Gunaji, as Paro’s step-son-in-law, and Kiron Kher provide commendable support.

However, the film is indeed a landmark, thanks to the flawless Saratbabu script. Bhansali, backed by the biggest budget in Indian cinema till date has given the film the Mughal-e-Azam feel, though at times one feels that he should have been subtler when it came to emotional scenes.

A must film for the gentry

An another one from Rediff:

If you find something amiss in this equation, I would like to know:
500,000,000 = 3.15 hours.

I would like to shrug that off with just the same nonchalance that Devdas displays when Paro asks him how many hours there are in 10 years, six months and three days. He cannot answer her question.

Just the same quandary you might find yourself in, when faced with another: did Sanjay Leela Bhansali have to mount his tragic tale of two star-crossed lovers on this scale?



Hindi cinema's most expensive film ever is a responsibility most directors might bow under. But it must be said: Bhansali sails through his Devdas with just the same panache that Baz Luhrmann did in his Moulin Rouge.

Both films are musicals. Both films assault the senses. Both flaunt dramatic elements, costumes and sets. Both have lead actors (Ewan McGregor and Nicole Kidman) that sing and dance. Just like Devdas and Paro.

There is a difference. Christian and Satine cannot shed tears with the same ease that Devdas (Shah Rukh Khan) and his childhood sweetheart Paro (Aishwarya Rai) display in Devdas.

This is why they must shed tears: Paro's mother Sumitra (Kiron Kher) forcibly marries her off to Zamindar Bhuvan (Vijayendra Ghatge) in a fit of indignant pique. Snubbed by Devdas' mother Kaushalya (Smita Jayakar), Sumitra vows to marry her daughter off to a man far superior in status to Devdas' family.


The ease with the tears might have probably made sense if Paro were just another Hindi film heroine. But here, Bhansali invests in her character a passing whiff of individualism. She is shown just as arrogant as Devdas. (She once declares, 'Devdas is my love, Devdas is my pride.') She is unfearing enough to sneak into Devdas' home, at 2 am, asking him to elope with her. Pretty progressive, for a woman in a film set in the 1900s. She is also not one to meekly cower in the face of taunts --- witness, in her marital home, she treads heated ground with her stepdaughter's mother-in-law.

Why then, you wonder, does Paro meekly run off in tears when Devdas' father insults her as being a woman with loose morals when she sneaks off to see Devdas in the middle of the night?

Perhaps as a foil to Paro is courtesan Chandramukhi (Madhuri Dixit). Introduced when Chunni Babu (Jackie Shroff) drags the lost, heartbroken and disheartened Devdas to her brothel, she turns out a gentle woman, all heart. Initially intrigued by Devdas' immunity to her charms, she soon falls irrevocably in love with him.

She heals Devdas, or tries her best to do so, given that he wallows in alcohol-induced stupor. What makes her character so interesting is that she is a giver in contrast with all of Paro's taking. Just as Paro loves Devdas with all her being, in a sense, she also saps him of all emotion for anyone else.

And that is what leads Devdas to his final ruin and death. Which does not speak much for his own will power: he finds it too easy to remain in dullened inebriation; he finds it easy enough to proclaim himself dead.

What Bhansali does here is introduce lavishness in practically every department of filmmaking. From the first frame of a red-petaled tree to the last, which frames a supine Devdas, there is colour, grandeur and melodrama.

Doom finds exaggerated mention throughout the movie --- in the loud gongs sounding off whenever a scene opens with any of the palatial havelis (mansions) designed by Nitin Chandrakant Desai. Or the plaintive violins and pakhawajs that precede a momentous scene.

The narrative is flush with often tiresome dialogue (Prakash Kapadia) ["Tawaif ki taqdeer hi nahin hoti (A courtesan has no destiny)!"]. Or Binod Pradhan's camera that does not hesitate to flood the frame with so much light you almost think it makes fitting contrast to the characters' inner gloom. Even the music (Ismail Darbar) haunts --- Bairi piya, Maar dala, to name two.

As for the performances, you cannot help but think that for Aishwarya Rai, Devdas is a mere continuation of her last work with Bhansali, Hum Dil De Chuke Sanam. She might want to curb her overeagerness in whatever she does, be it emoting or dance.

Shah Rukh Khan in the title role of Devdas lends helplessness to his character. His screen charisma is undisputed. It would have helped him more had he not fallen prey to his onscreen theatrics. Witness the shaking hands and quivering voice and the quirky smile that are now Shah Rukh Khan trademarks.

Which begs the point: the day a director succeeds in reining Rai and Khan, that will be the day the two turn in a stupendous performance.

The most understated role and perhaps the one that is most lingering, in terms of virtuosity, is that played by Madhuri Dixit. As Chandramukhi, she is simply stunning, lending passion, fire and gentleness with such consummate ease that watching her perform is sheer delight.

In Jackie Shroff is invested the best lines of the film. In Shroff's character is also invested a lot of questions: Who, for instance, is he? Why does he keep popping up at opportune --- and inopportune --- times?

It should also be mentioned that this movie is the fourth interpretation of Sarat Chandra Chattopadhyay's 1917 novel on Hindi celluloid. The first was a silent film in 1928. PC Barua then made his version in 1935 with Kundan Lal Saigal. In 1955, Barua's cameraman Bimal Roy made the popular version of Devdas with Dilip Kumar, Vyjayanthimala and Suchitra Sen in the main roles.

As Bhansali has often reiterated, the 2002 Devdas is his interpretation of the novel. Which is fair enough. But the appeal of a good tragedy lies in its ability to move your heart. This movie --- thanks to the effusivenes that pervades --- falls short. Way short.

Devdas
By Gautam Buragohain


Director: Sanjay Leela Bhansali
Producer: Bharat Shah
Music: Ismail Darbar
Cast: Shah Rukh Khan, Madhuri Dixit, Aishwarya Rai, Jackie Shroff, Kiron
Kher, Smita Jayakar, Vijayendra Ghatge
Rating: ***

Synopsis:
Bollywood’s biggest gamble finally opens to public scrutiny.Made at a whopping 50 crore, it’s the most expensive Hindi film ever made in India Cinema. For 38-year-old Sanjay Leela Bhansali the film came at a bigger price -- 260 shooting shifts over two and half years, fire on the sets followed by the death of two crew members and worse, a 16-month jail term for producer Bharat Shah. ‘Devdas’ tells the story of a narcissistic, passionate lover caught between his family and his
beloved, who finally embarks on a path of self-destruction after he fails to get back his beloved Paro, who is now married off to an older man. It treads the trail of love, sacrifice and self-destruction. Coming back to the film, Bhansali departed from the original story of Saratchandra’s ‘Devdas’. Sanjay’s movie shows Paro and Chandramukhi meeting and having a discussion on their common love, Devdas. A dance number has also been added (box-office demand), while in the novel they never met. And Shah Rukh goes off to London, instead of Calcutta (overseas demand again). The story starts with the romance between
Devdas and Paro, which is crushed in the bud by Devdas' parents after he returns from London. The economic and social barriers between a Zamindhar and a Jatra dancing family come in the way of the young lovers. Paro's mother (Kiron Kher) wants to get her daughter married to Devdas but Devdas’ mother publicly humiliates her. Humiliated and angry, she curses and swears to get her married to a richer guy. She also condemns Devdas to a life without love. To find what Devdas has in his
mind, Paro visits him in the middle of the night and urges to him to elope with her. Devdas rejects the idea. Paro is caught coming out of Devdas’ room by Devdas' barrister father; she is further humiliated and is called a vaishya (prostitute) by his father. Unable to take the insult of his beloved, Devdas leaves home and finds refuge with Chuni Babu (Jackie Shroff). He writes to Paro, to forget their relationship, as his family will never accept her as their bahu. Paro agrees to her mother's pleas and gets married to an older man. Heartbroken and lonely, Devdas visits a kotha with Chuni Babu, where he meets
Chandramukhi (Madhuri Dixit). The latter falls in love with him. Devdas realises what he has lost and rushes back to Paro’s house, but it is too late.
With her marriage, Devdas turns to liquor and Chandramukhi’s kotha. Initially he turns away her love, but latter admits his love for her but at the same time never forgets Paro.


Analysis:
As the drink-sodden Devdas, Shah Rukh has given his career’s best shot and immortalised the tragic story of the doomed lover. The king Khan strikes back with ‘Devdas’. Madhuri and Aishwarya, besides looking gorgeous, fit the skin of the characters to the hilt. One can feel the pain of Paro and Chandramukhi being evoked through their characters. As for the production, no effort has been spared right from the first shot of the luxurious haveli belonging to Devdas to Paro’s room to Chandramukhi’s kotha. From the first scene to the last, visually ‘Devdas’ is a treat to the eyes. Nitin Desai, the art
director, outshines himself by making a set which is larger than life.Costumes designed by Neeta Lulla give Aishwarya Rai the classic look, while the clothes made by Abu Jani-Sandeep Khosla for Madhuri Dixit and Shah Rukh Khan are simply out of the world. The dance choreographed by noted dancer Pandit Birju Maharaj will mesmerize you. Though the same
doesn’t apply to Sanjay’s direction. To start with, the film is a bit loud, not a strange phenomenon in Hindi films. The first scene opens with an overjoyed Kaushalya (Smita Jayakar) prancing around the whole haveli thrilled because her only son Devdas (Shah Rukh Khan), is coming home after ten long years in London. The scene is so loud with melodrama
and exaggeration that it ends up being a caricature. Bhansali could have played down the characters which are too loud and also curbed the drunk sequences between Devdas and Chunilal. Taking all the pros and cons, the film manages to hold the audience’s interest, mainly because of its exquisite sets, costumes and classical dance, and dialogue. It might not
emerge a winner compared to the earlier ‘Devdas’ films, but it’s worth a peek.


Hindi

prince naz, if you dont mind can you tell me which publications published those reviews?

first 1 was from chalomumbai the second 1 from filmfare.com
naz

public reaction so far..

public reaction so far...this what matters!
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From Harshad, Pune
I think Devdas is very very very good film. The performence of SRK & aish & madhuri is outstanding

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From Staree, USA
Devdas is just amazing. It was a beautiful movie, a beautiful stories and beautiful characters. This is the best movie I've ever seen. Shahrukh was just too good as the lead player. Madhuri and Ash excelled in their respective roles as well. Devdas is a must watch for everyone!!
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From Saarang, Hyderabad
Devdas is hyped up movie with very mediocre performances.i think dilip kumar's devdas was far better.
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From Naveen, USA
As per earlier comments from someone that Devdas is an ordinary movie, i think he meant it has an ordinary theme. And rightly, which theme in this world is extraordinary? Stars Wars, Jurassic parksm, tianics, and all classics, all great movies, could be classified as ordinary themes, which could form a comic book, and also a video game for children, and also could be presented on celluloid. The treatment is what makes a movie a movie. Great movie.
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From Abhik, Mumbai
I do not think that granduer and opulence alone makes for 'one of the best movies', as so many have put it. Frankly, compared to the original film, Shah Rukh Khan's portrayal of Devdas is a caricature, with the same facial gimmicks and expressions that one generally sees in his movies. Aishwariya Rai definitely looks like a dream, but dosen't act like one. The most brilliant performance comes from Madhuri Dixit, who is the only one who suits her character. Frankly, if anyone over here has ever read Devdas, which I doubt, they will know that Shah Rukh and Aishwariya have been comletely miscast in their roles.
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From Ashthemist, India
I have seen the movie and heard the music. And I can't decide which justifies which. Only a brilliant composer could come up with something to match the masterpiece. Hats off to Sanjay and Ismail. Way to go guys...give us more of such stuff...!!
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From Nikhil, Phillaur
very lucky for my project work
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From Naz, England
Excellent move. All three of the main stars were brilliant, songs were picturised beautifully, sets were very Lavish. Aishwarya Rai and Shahrukh Khan work well on screen together and have excellent chemistry. Only critisim is that it did get a bit slow paced in parts. but I would definatly reccommend this film to anyone.
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From Ashthemist, India
I think Vikci (wonder what made him/her spell it like that) has absolutely no semblance of movie judging. If Devdas is an ordinary film, I wonder what an outstanding film will need to have. I cannot agree more with Shamaila Khan in saying that Devdas is by far one of the best Indian movies ever made. Calling it a masterpice is almost grossly understating what it really is. Movies like this should be made as benchmarks for other film makers in all aspects of movie making...Music, Art direction, Dialouges, Choreography, Cinematography, Costumes, Direction, Production Values and above all..Acting performances. Brilliant movie!
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From Naveen, USA
This is a B E A U T I F U L movie. in the times of thrillers and artificiality, this is a stupendous movie depicting the purity of love. EXCELLENT MOVIE.
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From Vamsi, Chennai
very good
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From Hina, Canada
I havent seen the movie, but from wut I have seen (trailors, etc) and heard from pple, its going to be an amazing film! i cant wait to watch it!
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From Vikci, India
Dont agree. Devdas is an ordinary movie only made better with good sets.

yaar! Apun tou Book hai, aaj first show maen, Ab kuch Kuch Yaadein Dikhne lag gaya hai? mean Devdas going Yaadein's way?

OOncha dukan Pheeka pakwan! Kher we will c! ???

yaadein was pathetic piece of shit, its an insult to compare with devdas D:

all i know is that i enjoyed the flick and is my fav flick of 2002 regardless of how it does at the box office.

All these negative reviews are puzzling me -- I just saw the movie and thought it was stupendous. I'm a Shahrukh fan, but admit I had doubts about his ability to pull off this character. Well, he did it splendidly and I suspect all these people who say he "can't shake the Shahrukh mannerisms" would only be pleased if he somehow found a new face for every performance -- I saw nothing of his trademark mannerisms, and the only thing I can think that was close to one of them was his occasional laughter -- and come on, people, you can't change the sound of your own laughter! Just b.c he used it to good effect in some of his creepier roles doesn't mean it can't transmute to the current one!

Oof. I'll stop now. But folks, I do think Devdas was quite enjoyable and if you're open-minded about SRK, you're in for a treat. Oh! And what the hell is all this about not explaining who Chunnilal was? I've read that in several reviews, and he out and out says that he studied with Devdas in college in his first or second scene!



Edited By Simran on July 12 2002 at 12:01

indiaxpreess review
Starring
Shah Rukh Khan .... Devdaas
Aishwarya Rai .... Paro
Madhuri Dixit .... Chandramukhi

Director : Sanjay Leela Bhansali



Synopsis
Three Bollywood stalwarts Shahrukh Khan, Madhuri Nene and Aishwarya Rai play the leading roles in Sanjay Leela Bhansali’s celluloid adaptation of Sarat Chandra’s poignant saga of timeless love and unrequited emotions: Devdaas.

The film has Shahrukh Khan playing the title character of lovelorn Devdaas, Aishwarya as his childhood companion Paro, and Madhuri in the role of the infamous courtesan Chandramukhi. Macho Hunk Jackie Shroff too makes a special appearance in the film as Chunnilal, the close friend of Devdaas.

Born to the wealthy Zamindar Narayan Mukherji, Devdaas spends his childhood ensconced in the opulent surroundings far from the scourge of harsh realities. He wiles his time away with his callow playmate Paro. Together they weave adolescent dreams, make hay castles in the air, tease and chide each other – not conscious of the delicate bond that would culminate into platonic love one day.

But, instead the day comes when the inseparables have to part ways. Devdaas is being sent to London for higher studies and Paro is left in lurch to do nothing but to count-back the days when Devdaas would return from across the seven seas.

Years roll by before Devdaas returns, but he comes back a changed man – debauched by the sophistication of the west. But something of the past romance still smolders and Devdaas still feels drawn to gorgeous and nubile Paro. But Devdaas’ Zamindar father looks down his proximity to Paro. He wants his son to marry in high society.

Unable to find acceptance in Devdaas’ family Paro recedes into shadows and begins to rebuff his amorous advances. Soon she is married to an older Zamindar Bhuvan, although their marriage never consummates.

Separated from Paro, Devdaas takes to heavy drinking and begins spending his time at Kothas. Here, enters a special woman into Devdaas’ bacchanalian and gloomy life – courtesan Chandramukhi.

Chandramukhi is impressed by Devdaas’ open criticism of her profession. Devdaas, on the other hand, finds an outlet for his repressed emotions in Chandramukhi as she lends him an attentive ear. He knows she is the only one he can speak his heart to before drinking himself to death!!
Review
‘Falling in love is easy. But letting go of lover is very difficult’.

This is the message that story of Devdaas gives. Full of emotional drama that is void of any mushy sentiments Devdaas grips you with its flowing narrative. Add to it the laudable acting performances by its star cast and Sanjay Bhansali’s cinematic presentation. What you get is a moving tale of love and separation.

Although the film’s story does not have an element of surprise (as the story of Devdaas is very popular) Bhansali’s directorial sense lends it a strange novelty. His Devdaas has innocence, arrogance, love (unrequited) and a streak for self-destruction.

Acting by SRK, Ash and Madhuri is superb. SRK, in particular, gets under the skin of bacchanalian Devdaas and conveys his swagger, vulnerability, pain and dipsomania with conviction.

Pitted opposite him Aishwarya stands in equal stead and cuts a performance deserving praises. With the quicksilver agility she changes the expressions on her face and makes you believe that she knows Paro’s agony. Particularly impressive is the note of anguish she brings about in her voice whenever she utters the name Devdaas.

Madhuri Dixit too leaves an indelible mark with her portrayal of a confident (but lonely-at-heart) courtesan who longs for Devdaas’ love but also knows that she will never get it.

http://www.hindustantimes.com/news/1153 ... 030005.htm

gives it 3.5 stars.........

http://www.rediff.com/entertai/2002/jul/12sld1.htm

Now I know why some folks are so JEALOUS of Bollywood (you know who you are)