Lawrence Kasdan’s neo-noir (and first film- wow!) is inspired by classic noir films: Double Indemnity (1944) and The Postman Always Rings Twice (1946). Kathleen Turner (in her debut role- wow!) played a woman so alluring/confident that we can believe her lover could be convinced to do anything for her. Kasdan wanted a woman editor, Carol Littleton, to have a female perspective on the erotic scenes; she would go on to work on 9 films w/ him. Unlike many of the films of the ’80s, Body Heat has a balanced take on revealing skin. I saw this film maybe three times; on this most recent viewing, I noticed how well-done the editing turned out!
Women are rarely allowed to be bold and devious in the movies; most directors are men, and they see women as goals, prizes, enemies, lovers and friends, but rarely as protagonists. Turner’s entrance in “Body Heat” announces that she is the film’s center of power.
One of the brilliant touches of Kasdan’s screenplay is the way he makes Ned Racine think he is the initiator of Matty Walker’s plans.
It is a very hot/humid night in a small town in South Florida. A small-time/ arrogant lawyer, Ned Racine (Hurt), is strolling on a pier where a band is playing. We can see straight down the center aisle to the bandstand. Suddenly, a woman in white stands up, turns around and walks straight toward him- Matty Walker (Turner). She is slim, tall, w/ hair down to her shoulders. The white dress w/ long sleeves she wears might remind some viewers of how of the actresses in ’50s films (such as Barbara Stanwyck, Lauren Bacall, or Lana Turner) dressed.
The characters here are constantly hot and sweaty. The film was shot in freezing cold temperatures. The actors sucked ice cubes before speaking to eliminate foggy breath and had water sprayed on their skin and shirts to simulate body sweat. Christopher Reeve was offered the lead, but turned it down by saying: “I didn’t think I would be convincing as a seedy lawyer.” Kim Zimmer (who plays Mary Ann) had originally been offered the role of Matty, but the producers of The Doctors (a soap opera) wouldn’t give her time off to shoot the film. This movie slated to be shot in the NYC/New Jersey area; it was moved to Florida because of a Teamsters strike.
 …I felt the music really pushed the movie over the top. The hauntingly melancholic string work serves not only as ambiance, but also acts as narrative. The sweet yet cautionary score mirrors the plot theme of ‘moth to the flame’- obvious danger yet unavoidably seductive beauty.
 William Hurt is very assured in one of his early roles as an incompetent small time lawyer who’s also an inveterate womaniser. He’s driven by lust and greed and his gullibility makes him easy fodder for the manipulative Matty.
-Excerpts from reviews on IMDB
The film opens with an inn burning in the distance; Ned lazily comments to his hookup: “Somebody’s torched it to clear the lot. Probably one of my clients.” There is use of the color red, incl. in the Pinehaven bar and the famous scene where Matty brings Ned home to listen to her wind chimes. She is wearing a white blouse and a bright red skirt (revealing that she is red-hot below the waist, as Shannon Clute and Richard Edwards discussed on their podcast- Out of the Past).
Maybe you shouldn’t dress like that. -Ned advises Matty (when she complains re: the local men hitting on her)
This is a blouse and skirt. I don’t know what you’re talking about. -Matty retorts quickly
You shouldn’t wear that body. -Ned comments
The above dialogue is inspired by noir of the past, but it works in this movie (as Ebert wrote). Matty even gives Ned a fedora- a direct homage to classic Hollywood. Kasdan surrounds the lead characters w/ good supporting roles; he creates world of police stations, diners, law offices and restaurants. Mickey Rourke, an arsonist/former client of Ned’s, steals the show in his scenes. Matty’s husband (Richard Crenna), who she calls “small, mean, and weak,” is nothing of the sort. Ted Danson is an A.D.A. and Ned’s friend, who eventually suspects him of murder. The dancing Danson does was choreographed based on the dance moves of Fred Astaire.
The film delved into content that would’ve been censored earlier, incl. the love scenes and also the femme fatale getting away w/ her crimes in the end. Pay attention to the scene in Ned’s office when he and Matty resolve to kill her husband. They speak softly (and calmly) re: murder.
That man is gonna die for no reason but . . . we want him to. -Ned flatly tells Matty
What do you think of their relationship? In the last act, Matt’s says: “Ned, whatever you think- I really do love you.” Does she? Does he love her? Matty got what she always wanted- “to be rich and live in an exotic place.” The ending, showing her relaxing w/ a drink on a sunny beach under blue skies, is ambiguous. She reacts to an (offscreen) man, but sounds indifferent to him. What is she thinking about under those sunglasses? Matty is a mystery at the end!
There is so much cool BTS info (trivia) re: this film! Kirk Douglas (who died at age 103 this month) wanted to play the title hero in Ben-Hur (1959), but director William Wyler wanted Charlton Heston in the role. Douglas was offered the antagonist role of Messala, which was eventually given to Stephen Boyd; he did’t want to play second banana. Later, Douglas admitted that he made Spartacus as to show Wyler and his company that he could make a Roman epic also: “That was what spurred me to do it in a childish way, the ‘I’ll show them’ sort of thing.”
In order to get the large number of big stars in supporting roles, actor/co-producer Douglas showed each a different script (written by the blacklisted Dalton Trumbo) in which their character was emphasized. Stanley Kubrick (known for his perfectionism, vision, and difficult personality) was brought in as director after Douglas (a real-life tough guy) had a falling out w/ the original director, Anthony Mann. According to actor Sir Peter Ustinov, the salt mines sequence was the only footage shot by Mann. In his autobiography, Douglas wrote that he replaced Mann b/c he felt he was “too docile,” esp. for the powerful actors dominating the cast. “He seemed scared of the scope of the picture.”
Kubrick (then only 31 y.o.) felt the script was full of moralizing; he wanted more focus on the Romans. He also complained to Trumbo and that the character Spartacus had no faults nor quirks, so was interchangeable w/ any other gladiator. Kubrick thought the “I am Spartacus” scene was “a stupid idea”(and said so in front of cast/crew)! Douglas promptly chewed Kubrick out. The disagreements between Kubrick and Douglas got so bad that the men reportedly went into therapy together.
Kubrick was a professional photographer who had shot some of his previous movies by himself. He did the majority of the cinematography work on Spartacus. When you see the way that Kubrick shot the battle sequences, you’ll be impressed! All the battle scenes were filmed near Madrid w/ 8,000 trained troops from the Spanish army (serving as Roman infantry). Kubrick directed the armies from the top of specially constructed towers. He later cut all but one of the gory battle scenes (b/c of negative reactions at previews).
A good body with a dull brain is as cheap as life itself. -Batiatus explains while examining the slaves in the salt mines
Kubrick spent $40,000 on the 10+ acre gladiator camp set. On the side of the set that bordered the freeway, a 125-foot asbestos curtain was erected in order to film the burning of the camp, which was organized w/ collaboration from the LAPD and Fire Department. 5,000 uniforms and seven tons of armor were borrowed from Italian museums, and every one of Hollywood’s 187 stuntmen was trained in the gladiatorial rituals of combat to the death. Modern sources note that this production used 10,500 people- wow! Richard Farnsworth (who moved into acting after 30+ yrs as a stuntman) and five other stuntmen worked for the entire filming; they doubled as salt mine slaves, gladiators, and generals in the slave army.
Gladiators don’t make friends. If we’re ever matched in the arena together, I have to kill you. -Draba tells Spartacus when he first arrives at the gladiator school run by Batiatus
This movie parallels ’50s American history, particularly the House Un-American Activities Committee (HUAC) hearings, where witnesses were ordered to “name names” of supposed Communist sympathizers. This closely resembles the climactic (“I am Spartacus”) scene; Howard Fast was jailed for his refusal to testify and wrote the novel (Spartacus) while in prison. This film also has something to say re: race/segregation/civil rights, as I noticed on this viewing. The best fighter owned by Batiatus (Peter Ustinov)- Draba (Woody Strode, who is black)- sacrifices himself by choosing to attack Crassus (Laurence Olivier), rather than kill Spartacus. Not only is Draba the tallest and most handsome warrior, he projects a lot of dignity in his few scenes. There is no differentiation between the slaves of different races who train w/in the gladiator school and- later- serve in the army of Spartacus.
Who wants to fight? An animal can learn to fight. But to say beautiful things, and to make people believe them… -Spartacus tells Varinia (after listening to a story told by Antoninus)
Ingrid Bergman was one of several actresses who rejected the role of Varinia. Sabine Bethmann was then cast, but when Kubrick arrived, he fired her and offered the part to Jean Simmons. In the 1988 interview on NPR’s Fresh Air, Douglas explained to host Terry Gross that he was reluctant (at first) to have Simmons (who is English) portray Spartacus’ love interest. He had cast the English actors as aristocratic Romans, b/c he felt they “had a more elegant pattern of speech.” He explained: “All the slaves, like myself, were Americans… it’s just that Americans have a rougher speech pattern.” During the long shoot, Curtis allegedly asked Simmons, “Who do I have to f*ck to get off this film?” Simmons may have shouted back, “When you find out, let me know.”
I thought Simmons and Douglas had strong chemistry, so you can believe them as a couple. As w/ great actors of any time/place, the acting comes from the eyes; you don’t need dialogue to express yourself. As slaves who fall in love, Varinia and Sparticus don’t have the luxury of speech or much time alone. Others in the household notice that they care for each other, so try to put a stop to it. When they are suddenly reunited, they laugh (w/ a lot of joy) and embrace as free individuals. Of course, their relationship made me think of how life might’ve been like in the time of slavery in US.
My taste includes both snails and oysters. -Crassus tells Antoninus
Sir Laurence Olivier gave Tony Curtis tips on acting to improve his performance; Curtis gave Olivier tips on bodybuilding to improve his physique. The original version included a scene where Crassus attempts to seduce his body slave, the young Sicilian- Antoninus (Curtis). The Production Code Administration and the Legion of Decency both objected to the “oysters or snails” scene seen in the 1991 restoration. Since the soundtrack had been lost, the dialogue had to be dubbed. Curtis was able to redo his lines, but Olivier had died. Dame Joan Plowright, Olivier’s widow, remembered that Sir Anthony Hopkins could do a dead-on impression of her husband. Hopkins agreed to voice Olivier’s lines in that scene (and it’s seamless); he is thanked in the credits for the restored version.
You and I have a tendency towards corpulence. Corpulence makes a man reasonable, pleasant and phlegmatic. Have you noticed the nastiest of tyrants are invariably thin? – Gracchus comments to Batiatus
I liked seeing the evil side of Olivier; Crassus was very convincing as a powerful/tough/smart villain w/ a hint of insecurity. You buy him as a senator and as a soldier, unlike his wimpy brother-in-law Glabrus (John Dall). He is best-known as the villain in Hitchcock’s Rope; here Dall portrays an inept leader of the Roman forces. A lot of the light/humorous moments were given to Batiatus (Ustinov), the wimpy slave peddler who is a follower of the powerful senator, Gracchus (Charles Laughton). When Crassus and his family come for a visit, Batiatus rushes to cover up the bust of Gracchus. As w/ Olivier, Laughton gives gravitas to his character, but also humor. When Batiatus comments on the many beautiful women in Gracchus’ household, the older man laughs and comments: “Since when are women a vice?” Gracchus is considered eccentric (for that time/society), b/c he is a lifelong bachelor; he explains that away by saying he “holds the institution of marriage in too high a regard.” I almost forgot that the (also very handsome) John Gavin portrays Julius Caesar; he doesn’t get as much of a role as Curtis. Both Gavin and Curtis have shirtless scenes- why not!? Gavin co-starred in Hitchcock’s Psycho (also released in 1960).
This Bollywood film (which Roger Ebert mentioned) is a little bit country and a little bit rock ‘n roll. Manav (Akshaye Khanna), the son of an uber-wealthy family (raised overseas) falls in love w/ Mansi (Aishwarya Rai), the beautiful/shy daughter of a talented rural musician/teacher. He nervously follows her and her girl cousins around and snaps pictures (don’t do this, kids). Mansi’s father warmly welcomes Manav’s father, brothers, and business associates to his house. Though reluctant at first, Mansi decides to give Manav a chance to get to know her. Their first date (or meeting, as Bollywood often uses) is a sunrise yoga lesson high up in the hills.
Their relationship is mocked by Manav’s extended family; when they go to the city, Mansi and her father are humiliated (having to wait outside for hours, then insulted verbally). Mansi has a strong relationship w/ her father; both are humble, straight-forward, but also very proud. Vikrant Kapoor (Anil Kapoor), a slightly older record producer, discovers Mansi’s knack for singing/dancing and helps her climb the ladder of success. As Vikrant exlains, he takes songs from the villages and turns them into hits (remixes). Manav tries to make amends, but Mansi ignores him. In time, Vikrant, finds himself developing feeling for Mansi, too.
Taal (meaning “rhythm” in Hindi) is a must-watch for its hit soundtrack; the music (composed by a young A.R. Rahman) is considered “timeless!” I thought all the songs were great; I esp. liked Ishq Bina (featuring Sonu Nigam), Taal se Taal (sung by Alka Yagnik and Udit Narayan), and the remixed version of Ishq Bina Ishq Bina (sung by Kavita Krishnamurthy and Sukwinder Singh). Early in the film, it’s fun to see Rai w/ almost no makeup and wavy (natural) hair; she looks fabulous nonetheless! The ’90s hairdos, bright colors, and funky styles the back-up dancers/singers wear are a blast from the (recent) past. There is simplicity, innocence, and a flow to (most of) this story. The woman at the center of the story isn’t given much agency; Mansi goes along w/ what Manav or Vikrant have planned. The movie was shot in some unique locations, incl. Toronto, Ontario and Niagara Falls, NY.
This Netflix movie (released also 30 days in theaters) is based in large part on director Noah Baumbach’s own experiences when he divorced actress Jennifer Jason Leigh in 2013. Jason Leigh (the “Jason” was added as tribute to actor Jason Robards- a close friend of her parents), on whom the character of Nicole Barber (Scarlett Johansson) was based, had early success in the teen comedy Fast Times at Ridgemont High. Baumbach and Leigh previously collaborated on movies together; during the 2009 filming of Greenberg, he and actress/director of Little Women– Greta Gerwig- fell in love. Theater director Charlie Barber (Adam Driver) lived in Indiana before moving to NYC; Driver grew up in Mishawaka, IN. The toys shown while Nicole plays w/ son Henry (Azhy Robertson) in the opening are from Star Wars, a reference to Driver’s connection to that sci-fi franchise. Celeb divorce lawyer, Nora Fanshaw (Laura Dern- now winner of Best Supporting Actress Oscar), is loosely based on Laura Wasser (who represented Dern, Johansson and Baumbach) during their divorces. The mediation scenes were filmed in Wasser’s office building.
This film has something for everyone– domestic drama, comedy (arising from realistic situations), music, courtroom drama, etc. Charlie sings Being Alive (which Gerwig admitted Baumbach wouldn’t do), and Nicole sings You Could Drive a Person Crazy from Stephen Sondheim’s 1970 musical Company. Many of us know that Johansson can tackle challenging roles (having seen her since she was an ingenue at 16 y.o.); here Driver gets a chance to shine (and whoa, is he bright)! Both actors are very comfortable with each other; they play the quiet and intense scenes well. You really don’t see the acting- as it should be. You will see some similarities to Kramer vs. Kramer starring Dustin Hoffman and Meryl Streep; however, in this story- the wife gets an equal voice (which wasn’t given to Streep).
The supporting actors are all well-suited for their parts, no matter how small or meaty. The child actor comes off as very natural. Merritt Wever plays Cassie’s older sis (also an actor); she provides some comic relief, as does the mom (who is a big fan of her son-in-law). Charlie’s theater troupe includes a few familiar faces, such as Wallace Shawn (best know as the villain in The Princess Bride). Alan Alda’s soft-hearted lawyer breaks down what men really go through in a divorce. On the other hand, we see the intimidating/shark-like lawyer (Ray Liotta) who gets results.
 I will start off by stating my bias….that I generally hate Bollywood movies because of their excesses, and their general lack of realism.In that light, Devdas is classic Bollywood.
 Devdas and Paro, or Chandramukhi and Devdas had a lot of emotions and feeling unexpressed in the original story. The love the three possessed was spiritual, not physical. That is why Paro loved Devdas for so many years without having seen him.
 One has to admire the technical execution of parts of the film, the sometimes stunning cinematography, the lavish sets and costumes. But the director forgets that form and content can not be separated, that more is not always more, that often less is more.
-Excerpts from comments on IMDB
This Bollywood movie is based on a Bengali romance novel by Sarat Chandra Chatterjee. Despite being finished in 1900, the novel was not published until 1917 (due to Chatterjee’s hesitance over some autobiographical elements). He wrote it under the influence of alcohol and was embarrassed by it. According to Wikipedia: “he is arguably the most popular novelist in the Bengali language. His notable works incl. Devdas, Srikanto, Choritrohin, Grihadaha, etc. Most of his works deal with the lifestyle, tragedy and struggle of the village people and the contemporary social practices that prevailed in Bengal.” Due to lack of funds, he couldn’t attend college. Chatterjee wrote since his teen years and lived in Burma (Myanmar), working in the public works office. His first wife and son died due to illness. Eventually, he moved to Calcutta (Kolkata); he married his second wife, who he taught to read and write.
Devdas has been adapted for the screen 19 times in various South Indian languages. This version is directed by Sanjay Leela Bhansali; he later went on to make Ram-Leela, Bajirao Mastani, and Padmaavat. At the time of its release, Devdas was the most expensive Bollywood film ever, w/ a budget of $10.3 million. It was a commercial success in India and abroad, becoming the highest grossing Indian film of the year. Devdas was nominated for the BAFTA Award for Best Foreign Language Film and was also submitted for the Academy Award for Best Foreign Language Film. The film was screened at the 2002 Cannes Film Festival- not something you hear often (or maybe ever) re: a Bollywood film!
In the early 1900s, Devdas Mukherji (Shah Rukh Khan- then 36 y.o.) is the only son of wealthy zamindar (landowner) of a Bengali Brahmin family. After 10 yrs of boarding school and studying law in England, he returns to his village, where his extended family prepares to welcome him. In the original story, Devdas comes back from studying in Calcutta. However, their happiness changes to shock when Devdas prefers to visit his childhood sweetheart, Parvati AKA Paro (Aishwarya Rai- in her most notable role at 28 y.o.) before paying respect to his mother, Kaushalya (Smita Jaykar). In the first song (Silsila Ye Chaahat Ka), we see Paro dancing w/ the diya (small lamp) which represents the life of Devdas. Then only 16 y.o. Shreya Ghoshal sang five songs for this movie as the singing voice of Paro.
When Devdas’ grandma, Badima (Dina Pathak), lays out her jewelry, his greedy/cranky sister-in-law Kumud (Ananya Khare) giggles and picks up an elaborate bangle. Badima says she can have it all, but not that bracelet, b/c she saved it for Devdas’ future bride. Devdas jokes w/ Kumud, but she gets mad and storms off. She is followed by Kaushalya, who wants to calm her down (b/c she’s pregnant). Later that night, Devdas gives Paro the bangle (Bairi Piya). Kumud watches them (w/ binoculars) and then shows this to Kaushalya.
Devdas’s mother isn’t keen on the match, as she tells her husband when they are alone. The father (a lawyer knighted by the British government) flatly says no way. Paro’s mother, Sumitra (Kiron Kher), tells her husband that Devdas will ask for Paro’s hand, but her father looks worried. Sumitra dresses up and goes next door to Devdas’ house, full of hope. We learn that Paro comes from family that had a tradition of being entertainers and accepting “bride price” (dowry) from the groom’s family. Sumitra explains that was a long ago; they plan to give Paro away (send dowry with her). Kaushalya says it’s settled; both sides will handle the costs of Paro’s wedding. Sumita performs a song and dance re: the love between two Hindu deities- Radha and Krishna (Morey Piya)- while Paro and Devdas frolic by a lake. I esp. liked the lighting in the lake scene.
After her (emotional/dramatic) performance, Sumitra learns the bitter truth- her friend/neighbor thinks Paro- and therefore her family- beneath them. Sumitra explains that their children are deeply in love and pleads w/ Kaushalya to allow them to marry. Kumud (a one-note villain) makes a nasty remark, insulting Paro’s character. That’s the last straw for Sumitra; she declares (in tears) that this decision will lead to the “ruination” of Devdas.
Paro still holds out hope for marrying Devdas (after her mother has been insulted). In a bold move, Paro sneaks into Devdas’ room and declares her love for him. He is nervous and tells her that his father is opposed. Paro (not thinking of her reputation) says they can change his mind. Devdas says he will escort her home, but they run into his father, Narayan (Vijay Crishna), who insults Paro (and her mother). She runs away in tears. Devdas gets mad at this father; he gets slapped. After their big argument (which I thought could’ve been acted better), Devdas leaves home w/ the shawl that Paro dropped. Paro runs after his buggy, but is left in the dust. As I noted before, this director is not a fan of subtlety. After the first 45 mins-1 hr, the film becomes slower.
As journalist Rajib Kanti Roy noted (in an article published on September 14, 2018 in Daily Sun): According to Sarat Chandra, pure love of a woman is a treasure for the world. That is why he has made no mistake in highlighting true love of Bengali women in his fictions. The character of Parboti in Devdas is a classic example of that. A girl of strong willpower and passionate feelings, Paru (Parboti) is not dependent on Devdas. When confronted with the practical choice of marrying a rich man to save her family name, or pining for a fickle lover who changes his mind on the whim, Paru chooses the former.
Devdas writes a letter to Paro, saying that he doesn’t love her, but sees her only as the “girl next door/friend.” We realize that he doesn’t want to go against his father. Devdas stays w/ a friend from college who drinks and lives a life of debauchery, Chunnilal (Jackie Shroff). When Devdas looks “stressed,” Chunnilal (who some viewers consider annoying) tells him to relax and offers him a drink. Devdas says no, as he never drinks alcohol. The men go off to “escape” in the next scene; Devdas meets a courtesan named Chandramukhi (Madhuri Dixit- then 34 y.o.) She and her fellow dancing girls perform (Kaahe Chhed Mohe). This song (by Kavita Krishnamurthy, Dixit, and Birju Maharaj) carries on the Radha-Krishna romance theme. Before the number ends, Devdas gets up to leave; he regrets that letter and wants to go to Paro. Chandramukhi stops him; he advises her to do something else w/ her life (giving her his wallet). Suddenly, she goes from flirty to very serious; she has fallen in love w/ Devdas. I thought Dixit did as well w/ this clunky dialogue; her eyes expressed much.
As Roy noted:Chondromukhi is a prostitute who stands out for her assertiveness and independence. Though repeatedly scorned by the man she loves, her body and mind remain free from the societal control that women are subjected to. She stoops only to love and that too out of her own choice.
Sumitra (w/ in a week) arranges a marriage for Paro; she helps dress and adorn her daughter as Devdas returns. We take notice of their big argument; Paro stands up for herself and the pride of herfamily. Devdas (who is spoiled and temperamental) thinks it’s not too late, but she is headed for a new life (where she will be “an aristocrat”). About 12 yrs ago, I met a young Indian-American woman at a literary event in NYC; she was writing a PhD dissertation on domestic violence in Hindi cinema and discussed the next scene. Devdas calls Paro “vain,” grabs a heavy pearl choker, and hits the top of her forehead. Though he claims this is “the mark of his love,” we see that it is physical abuse. The saddest song of the movie follows (Hamesha Tumko Chaha) as Paro leaves home; the two voices are Krishnamurthy and Udit Narayan. One of the main things here is that before touching her parents’ feet (sign of respect), Paro crosses the courtyard to touch Devdas’ feet.
Bhuvan Choudhry is a widower w/ a large estate; his white-haired mother introduces Paro to his adolescent son and daughter (who will call her Choti Ma- “little mother”). We also hear of an older daughter who is not happy about having a stepmother. After the wedding night, some giggling maids reveal that the bride and groom slept apart. Bhuvan explains that he married only b/c he needed a “lady of the manor and a mother for his children.” He shows Paro a picture of his late wife, saying that he will remain loyal to her memory. The look on her face is hard to determine- maybe she is a bit surprised and relieved.
We learn from Chunnilal that Devdas (very distraught) was taken care of for two nights by Chandramukhi. When Devdas cuts her down and offers her money, she retorts that he already paid her. We see that she wants to dance for him. She waits for his arrival, which annoys Kali Babu (an impatient patron w/ a thick mustache). As Devdas watches this song/dance (Maar Dala), he pours out some drink. (SRK actually drank alcohol while shooting some drunk scenes, so had to do many retakes.) He admits to Chandramukhi that he’s drinking to forget memories of Paro that haunt him- yeah, no kidding! I never got the feeling that SRK was losing control here, or in the following scene (where he cries, yells, and displays self-pity).
Back at her mansion, Paro is handling things quite diplomatically. She isn’t intimidated by a formidable guest (mother-in-law of Yashomati, Bhuvan’s oldest child). Since they are close in age, Paro explains to Yashomati that they can relate to each other as mom and daughter or friends. Yashomati (also a new bride) is very touched and gives her a hug. Then the groom enters to touch Paro’s feet- it’s Kali Babu- the creepy guy we saw earlier.
Paro goes to visit her family and sees that many people of the village are flocking next door. Sumitra explains that Narayan is at death’s door. Paro (being forgiving/kind-hearted) insists that they go to pay their respects, too. The old man weakly calls out for his son, but finds Paro instead. Kaushalya weeps, recalling how Paro used go find Devdas when he’d run off. Now, the family doesn’t know where to look for him.
Devdas is staying w/ Chandramukhi, but they are not together; he won’t let her touch him. She continues to listen to him go on… and on… Suddenly, Dharamdas (a loyal servant from his house) comes w/ a message- his father is dead! At the funeral, Devdas is falling-down drunk in front of his relatives and other mourners. I liked this next scene- both actors played it well (and it wasn’t too over-the-top). He opens a small treasure chest filled w/ items which belonged to her- anklets, a water pitcher, and the shawl (from when they were last alone). Paro (again in tears) insists that he stop drinking, but he refuses. She can’t bare to see him in this condition. Paro says she wants to take care of him; Devdas asks her to “elope” w/ him that night. What a clueless man- that’s what some viewers were thinking- no doubt! We see that Paro has matured, but Devdas is still a little boy.
Devdas finds Kumud (who holds a big ring of keys) and his older brother plotting to steal all the inheritance. He comments that Kumud doesn’t know re: the “crazy” side of his family, then sets a fire in his father’s office. For six mos. after he’s kicked out of the house (by his mother), there is no sign of Devdas. Paro finds an excuse (Durga Puja) and goes to check out the brothel (having learned of it from Dharamdas). Chandramukhi is no longer a courtesan and keeps praying for Devdas’ return. We see an altar, some of his possessions, and a diya which she lit for him (a recurring motif). Paro realizes that this woman also loves Devdas; Chandramukhi says she “worships” him. Before Paro leaves, she presents the bangle (which Devdas gave her) to Chandramukhi. They meet again at the Durga Puja, talk, and dance together (Dola Re Dola). This has a mix of Indian classical dance forms w/ steps that come from Kathak and Bharatnatyam.
As an Indian viewer noted (on IMDB), it is unlikely that a conservative Hindu woman (like Paro) would’ve visited a brothel or danced at a gathering (even in her own home). When Kali Babu reveals who she is, Chandramukhi is not bowed- she gives some strong retorts (calling out the hypocrisy of the aristocrats). I enjoyed that scene- she’s a badass! As he leaves, Kali Babu apologizes for what he did, but also tells Paro that her husband and mother-in-law now know of er “friendship” w/ Devdas. When Bhuvan asks re: Devdas, Paro replies that he’s her “first love” (just as his dead wife). Bhuvan decides that she will not be allowed to step outside the manor, and she accepts his punishment. When the old lady tries to put out the diya (“fire in own house”)- Paro quickly stops her. I think this was a kind of gutsy scene- I hadn’t remembered from previous viewings.
At a bar, then on the streets, Devdas and Chunnilal drink (Chalak Chalak). Some women join in, incl. Chandramukhi (who is very happy to see Devdas again). Some viewers commented that they liked this number (sung by Ghosal, Narayan, and a few others). It starts out humorous, then becomes more frenzied/unsettled. We see that Devdas’ health has deteriorated; a doctor says he’s in a “treacherous” state. This is basically a drawn-out form of suicide. Devdas (finally) tells Chandramukhi that he loves her! He also tells her “if they meet again in Heaven, he will not be able to renounce her.”
Devdas travels by train w/ Dharamdas watching over him; Chunnilal finds him and they drink to friendship (not a good idea). His friend learns that Devdas is “incurable.” Devdas gets off at a station and travels to Paro’s manor, as he promised. Paro hears his voice (in her mind) and wakes up in the middle of the night. In the early morning, there is a crowd of men gathered around Devdas sleeping on the lawn just outside the manor’s gate. Paro runs through the house, evading servants and family, but her husband orders the gate to be shut. Devdas dies and the diya’s fire is blown away w/ the wind. This last sequence is well done and very intense, even to those of us who know how it ends.