The two best song-and-dance numbers are those most integral to the story, and both offer a relief from the film's indulgence of Devdas' self-pity with glimpses of feminist aspirations. The best musical section is the solo act by Kiron Kher, who gives the film's all-around best performance as Paro's mother, Sumitra.
Devdas' mother, Kaushalya, deviously invites her pesky neighbor over for a party, hinting that she will approve of a Devdas-Paro marriage, but secretly wanting to embarrass her by exposing her low-class theatrical background. She urges Sumitra to come out of retirement to provide the evening's entertainment, an impressive folk dance that brings down the house. When Devda's mother reveals the cruel joke, Sumitra stands firm and thus the war of the two houses begins in earnest.
Another number features Paro revealing her love of song and dance to her aristocratic in-laws, and, in defiance of social etiquette, inviting Devdas' prostitute companion to join her for a duet.
Putting aside the film's faults, this is an excellent opportunity to discover the new direction of popular Indian cinema and experience an epic spectacle.
RSS