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Devdas meeting Paro scene

Updated on May 31, 2017

Devdas is an unforgettable movie that was remade a number of times. For detailed plot analysis and number of times it was remade, click The Immortal Devdas.

Different versions of Devdas
Different versions of Devdas

Devdas, which brilliantly portrays how social customs can bring distress to personal lives, 'Devdas meeting Paro' is one of the most important scene in the film. This is an analysis of how this scene was conceived in four major versions (Devdas 1936, Devadasu 1953, Devdas 1955 and Devdas 2002)

P.C. Barua's 1936 version

SCENE ANALYSIS

In a top angle shot, Devdas is shown walking gently toward's Paro's house in a suit and smoking. As soon as he reaches the door, he throws his cigarette, removes the cap and enters.

The same old Paro is still traditional and is seen praying. She feels so happy seeing Devdas after all these years and gets up from her prayer. Devdas comes closer to her. After a warm wish, Paro is surprised to see Devdas in a western wear and remarks that he has become just like others. This makes Devdas feel uncomfortable. After a while, unable to stand this, he escapes telling Paro that he will meet her tomorrow. A close up of Paro's concerned face ends the scene.

In this P.C.Baura's version, movie starts with a love scene between Devdas and Paro. There is is childhood episode. Both are in a village and are traditionally dressed. Devdas informs Paro about his travel to Calcutta and leaves in a traditional dress while Paro longs for Devdas in the village.

In a casual conversation between Paro and her friend, Devdas topic comes up and the friend warns that Devdas would have changed because of his stay in a big city which Paro denies. However, she is concerned. This warning is made true to an extent by Devdas's friend Chunnilal who influences Devdas and makes him wear a suit instead of traditional dress.

Vedantam Raghavaiah's 1953 version:

SCENE ANALYSIS

While a happy and uplifting music plays, Devdas enter's Paru's house with full of excitement looking for her. He moves from one to another and finds Paru in the last room where she is praying. The entire run is captured in one single shot.

Devdas and Paru see each other and are dumbstruck with happiness. Both of them wish each other without uttering a single word.

Greeting Devdas, Paru's mother and grandmother enters. Grand mother tells Paru to make the guests sit first for which Devdas denies as he is yet to go to his home.

In a gesture of respect, Paru gives the Prasad (Sacred food kept in front of God) which accidentally falls down. This is a great way to foreshadow the tragic ending.

In this Vedantam Raghavaiah's version, Devadas is a naughty kid creating trouble for everyone in the villiable. This becomes a huge concern for his father and unable to handle the heap of complains, he decides to send Devdas to city for studies.

Devdas leaving the village turns out to be a very painful event to his endearing childhood friend Paru. In the city, Devdas grows up to a handsome young man. Bhagawan, who is a happy-go-lucky guy having lots of debts for his pleasures is Devda's dear friend.

Devdas's return to the village is shown in a song in which he expresses his excitement and happiness.

Great performances, emotional music and flowing camera movements capture all the required emotions with great subtlety making this one of the best scene.

Bimal Roy's 1955 version:

SCENE ANALYSIS

The old people of the house welcomes Devdas. Paro, in shyness runs to the floor above and peeps to shee what's happening. As soon as Devdas comes, he enquires about Paro for which the old people point to the top floor.

As Devdas, starts coming up, Paro a little excited goes further inside and lights a lamp. As she just light the lamp, in that light, Devdas is seen near the door. For a second, the flame of her matchstick and the flame on the lamp are shown together.

Both of them doesn't speak. Paro is shy and at the same time happy. Devdas remarks that she has grown up for which she blushes. However, sadness return to her as Devdas leaves.

In this Bimal Roy's classic version, after the childhood episode of Devdas and Paro, story moves forward from Paro's point of view. The growing up of Paro is shown in a timelapse shot while she is doing her daily chore of bringing water from a lake in a pot.

Realising the amount of time that has passed and the fact that Devdas will be returning anytime soon, she runs back home and checks her beauty in a mirror and looks towards the door for Devdas.

The old people of the house mentions about Devdas's return and predict that city would have changed him and he wouldn't pay a visit. This concerns Paro which is immediately broken when she hear's Devdas's approaching voice.

Sanjay Leela Bhansali's 2002 version

SCENE ANALYSIS

Paro is applying Parani (A red auspicious liquid). Devdas enters. The door opens and Paro's mother strikes a conversation with Devdas explaining how he is while the audience and Paro is still left in mystery. Unable to hide her happiness, Paro runs while the huge house is exposed in a typical SLB style. Paro goes to her room above leaving the Parani footprints on the ground.

Devdas asks for Paro and starts towards her room. In Paro's room, there is a fly. To protect herself she uses a bedspread. Though, it look unnecessary at first, this works to reveal Devdas's face while still hiding Paro's face from Devdas.

Throughout the scene, Paro and Devdas doesn't see each other still coversing with each other.

In this Sanjay Leela Bhansali's version, there is no flashback or Devdas leaving scene. Movie start with the news that Devdas is coming back from London and the dialogues explain all the backstory of how Devdas and Paro were friends and how she is longing for him.

Before Devdas's entry, Paro sings a song holding a lamp which she ensured that the flame was never put off indicating that her love is still on since he left.

Devdas's mother wanted to be the first person to see Devdas. To her disappointment, he goes to Paro's house directly.

This scene is built on top of Bimal Roy's version in a typical Sanjay Leela Bhansali style which is Lavish but beautiful. Though, this captures all the beauty, is is soulful is an open question.

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