Those who have followed the lives and works of makers like Sriram Raghavan, Sudhir Mishra, Shimit Amin, Hansal Mehta, Onir, Anurag Kashyap will know that these makers have always taken risk. Few succeeded, few did not and others were labeled self-centered psychopaths (read just Anurag). Isn’t every artist/actor/director/producer? Didn’t we just see that in LBC? But Anurag has been subjected to all kinds of brickbats since he made ‘No Smoking’. I loved his ‘Black Friday’ immensely and was excited about NS like hell. I did not understand it first time. I spoke to few filmi friends, discussed and went for repeat watch. This time I liked it. I became fan of Anurag.
Dev.D unlike his NS is not a self-indulgent cinema but yes, it definitely shows the pain and anguish the man has gone through in this industry. He vents out his fury through Dev; A man in search of salvation after screwing up his love life. The movie in all departments takes Indian Cinema a few notches higher. Watch it to believe that it is nothing less than a Nolan or Fellini or Scorsese. We have our answer to west, east, middle, left, right, up, down. And the answer is Anurag Kashyap.
I usually do not go with the disclaimers. However, here I would wish to say that if you are an escapist, ignorant, and fragile then skip the movie and this review as well. Others read on.
As we all are aware by now that Dev.D is a contemporary take on Sarat’s celebrated novel Devdas. Bimal Roy (sticking to the book) and SLB (a bit twist by arranging a full fledged meeting between Paro and Chandramukhi) have given their versions. Anurag’s version in actuality is a convincing mockery of SLB’s version. There are four to five direct and countless indirect references to SLB’s version. From a Sonapur and Kolkota, the movie shifts to picturesque sarson-ke-khet of Punjab via 'London' to neon-lit Pahar Ganj in Delhi. A rich father who threw Devdas out of house in earlier spoils him rotten in this by justifying to mother, “Tumne bachpan me bigada, Mai jawaani me bigad raha hun.” The two ladies who had a cheesy confrontation of ‘Devdas loves you more’ exchange just a strange ‘Hi’ here and both proclaim ‘Dev doesn’t love anyone.’
The real protagonist of Dev.D is Amit Trivedi’s music and background score. His 18 songs aptly placed throughout recite the story. You can almost call it a musical. I have never experienced something like this before where you can almost feel that you do not need dialogues, the songs says it all. Anurag himself confessed sometime back that Amit’s music was so impressive that he changed his script to rationalize and credit Amit’s work. Welcome to new-age Bollywood. Times are changing. Those who understand and believe in lucid and rational cinema know that SLB’s Devdas was a ridiculous movie with idiocy written all over it’s frames and the essence lost in its grandeur. Chuck it. Embrace brand new Paro, Chanda and Dev. 
Dev (Abhay Deol) is sent to London for studies. The only motivation for him to return is the nude pics of Paro (Mahie Gill) which she diligently scans and sends after having a steamy internet chat with Dev. ‘Dhol yaara dhol’ begins and Paro is cheerful with dreams of a good life ahead. Dev is back. His elder brother is getting married. ‘Hikknaal’ and ‘Maahi Mennu’ (the two Punjabi numbers of the lot) steps forward the story along with Dev’s and Paro’s failed attempt to sleep with each other. Misunderstanding follows and Dev insults her, tells her to stop dreaming that she can get married in his family (aukaat nahi hai teri) almost calling her a slut. Dev’s father in fact is keen on making Paro his bahu. What an irony!!! Anyways Paro’s father gets her married to much elder Bhuvan and just before her marriage Dev realizes he was at mistake and not her. But it’s too late, gulps down full bottle of Vodka, vomits and falls with a huge thud in front of the baraat. What an ‘Emosanal Attyachaar’!!!
Enter Lenny (Kalki Koechlin), a class XII student in Delhi. She is a cheerful and smiling girl who is dating a visibly very old to her boy. She does stuff to him, goes on bike rides with him, and is not apologetic about it. ‘Yahi Meri Zindagi Hai’ background score tells her story. The boy makes MMS. The girl is made fun of. The family is shattered. They leave country but the ghosts do not. Lenny gets into argument with her father when he says that he indeed has seen the clippings of her doing the stuff to boy and asserts she knew what she was doing. “How could you watch, fucking coward? I am your daughter.” Father kills himself, mother abandons her. She is left alone to be picked by a pimp and later gets into prostitution. Yahi Meri Zindagi gives way to ‘Ye Kaisi Kaisi Aankh Micholi Khele Zindagi.’ Lenny makes course for Chanda (Chandramukhi). Chunni (Dibyendu Bhattacharya) gets her client but also makes sure she finishes her education. She is taught the nuances of the profession (master-slave, phone erotica et al) in the mid of passing the board exams. ‘Paayaliya’ takes her into the new world; she has killed her ghosts. She has moved on. Dev enters her life. Dev, who by now in the guilt of losing his love is an alcohol chaser, pills popping, self-centered wreck mocks at Chanda’s show of compassion. “When in pain, it’s good to talk” she says. “What do you know about pain?” he replies. He leaves her place and goes back to his earlier histrionics. The ‘rock version of Attyachaar’ shows Dev wandering on streets, hiking between Delhi Metro and buses. When legal bars close, he ends up elsewhere. The dancing trio mocks at him, ‘Meetha Sa Chadha Hai Bukhar’ becomes his state of mind, he is ‘Pardesi’ in his own mind. He tries to find out ‘Saali Khushi’ which is lost. He calls Paro. Re-enters Paro. Content with marriage Paro to whom he desperately wants to make love to and requests to be loved back mocks at him too, “Tum kisi se pyaar nahi kar sakte. Tum sheeshe se shaadi kar lo.” What a scene it was when she makes him see the reality, “Itni mat peeya karo. Kisi se itna bhi pyaar na karo ki baaki cheeze nazar hi naa aaye.” She is clear, she doesn’t need him anymore. She shows him his aukaat, leaves him infuriated more than before. Welcome to new-age women. What a rip-off to Aishwarya’s self pity in earlier version. 
He is lost again. ‘Nayan Tarse' does the same. He is having a trip. He drinks more. Chunni follows him, wants him to come back to Chanda (after all Dev is loaded). Dev gives in, back to Chanda. Chanda with her new ‘Dil Me Jaagi’ beat goes out with him; they share steaming Momos, jump into swimming pool, talks about her pain. “Half of the country downloaded the clipping, had fun out of it and they turned back and called me slut.” Dev shares his pain. Chanda agrees to Paro’s stand. “You can not love anyone.” I have moved, she has moved. You move on ending with calling him a slut. Dev leaves her again, gets into drunk-driving-killed-seven-people fiasco. His father dies. He goes to the funeral; brother ignores his presence, gives money to settle the court case. Dev doesn’t return to Delhi. ‘Duniya Gol Hai’. He blows away the money too. He is completely broke, sleeping on the road next to dog, sees a speeding car hitting the wall. The man dies. ‘Abhi bhi wakt hai’. He traces Chanda, finds her at steaming Momos joint. She takes him in. He confesses that he never loved Paro in true sense as he never saw her carefully actually and accepts he indeed is a slut. ‘Ek Hulchul Si’ marks the happy ending with duo having a bike ride. 
The movie has Anurag’s style of film-making stamped all over it. The first half is radiant, full of life as we slowly gets introduced to the characters. It’s the second half that would blow your mind off. Each and every person can comprehend the happenings. The third plus after Amit’s exceptional music and Anurag’s characterization of the trio is Rajeev Rai’s photography. The movie gets dark in the second half with almost the whole second half shown in neon-lit streets and bars. The concept is by Abhay Deol which Anurag wrote along with Vikramaditya Motwane to give it a position of a formal script. Nikhat Azmi of TOI who surprisingly gave it a 5 star rating (surprising not because it doesn’t deserve but cuz Nikhat finally acknowledged good cinema) says for Abhay: Manorama-6FU and OLLO were just trailer, Dev.D is the class act from Deol. Not that the movie/Abhay needs her approval. Anurag had limited audience so far, but now the audience will multiply. Anurag has given Bollywood which is decomposing day by day a boost. And Abhay is the real star-baadhsah-king-ace or whatever those titles are called that few stars keep calling themselves with. One says 'I am King', then other replies, 'So what? I am Ace' for which third smiles mockingly at both of them. But it's Abhay for me and for many fans who find him the torch bearer of coming-of-age cinema in this country.
P.S. It is A rated but it is not porn as the belief of few goes. It’s not even soft-porn as the belief of many goes. It's a contemporary, on-your-face, blunt, straightforward and extremely engaging cinema.
P.S. 1 – I have seen it twice so far and will go for few more dekko. That’s what an excellent piece does; every time it throws up something marvelous.
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