While comparing with other films of the same
genre like “Kabhi Khushi Kabhi Gham”, “Kal Hona Oh”, “Dilwale wale Dhulhaniya
le jayenge” and so on. All these movies show foreign countries and Western
clothing, and as far as new Devdas is considered it was made with utmost care
and keeping in mind about the situation and necessity of show-casing Indian
history. In a land that is progressively facing an identity
crisis, the retelling of a classic Indian tale could have a ripple effect that
could bring about new tidings in the way films are made in India, and more
importantly, the stories that are told.

analysing other director’s and Bhansali’s other movie there were failures as
well as classic box office hit. Unlike fellow film-makers Karan Johar and
Aditya Chopra, the director Sanjay Leela Bhansali has a critically rich body of
work under his belt. His first film, a poetic piece entitled ‘Khamoshi’
(‘Silence’) was an immediate failure in India, where people weren’t too
interested in a story of a young girl who sings her way to the hearts of her
deaf-mute parents. Yet there were sparks of genius that were apparent in this
first film as well, where he wheedle out a glorious performance from Nepali
actress Manisha Koirala, and made some use of the lesser gifted Salman Khan.
However, his second film, ‘Hum Dil de Chuke Sanam’ was one that critics either
loved or hated. Indeed, there was much to hate. Though it marked the ascent of
model Aishwarya Rai as Hindi Filmdom’s reigning queen, it also managed to pile
in the worst of cheesy Indian movie-making into three insufferable hours. There
is also much to like – no one can debate the director’s use of color or musical
score in this film, but the fact that he took for granted that his audience
were chronically retarded, didn’t help matters. His attempts at passing off
Hungary as Italy is what I remember the movie most for, even though everyone
who is supposedly ‘Italian’ in the movie speak with heavy Magyar accents. We
were also treated to monuments in Budapest, and the lead couple even joined a
Hungarian dance troupe to do a traditional folk dance, but the director kept
insisting that we were in Italy. ‘Hum dil de chuke sanam’ also marked the
return (of sorts) to traditional Indian values, when the lead character is
forced to decide between her husband and her lover. It’s no mystery that she
does the ‘right thing’ but there could have been no possible outcome
considering the social climate in the subcontinent at the moment. Such
questionable credentials apart, we are quite ready to redeem Sanjay now that we’ve
seen his third film.

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