Devdas

Chapter - 3
Film Semiotics of Devdas

CHAPTER III
THE FILM SEMIOTICS OF DEVDAS
3.0 Introduction:
The proposition of this chapter, is that “Film semiotics” has established

advances in arts criticism in recent years. Film theory has been broken, the general
debate about auteurism and “realism” in film-critical discourse which had dominated,
by the early 1960s. “Film semiotics” and its developments have been at the focus of
the coherent establishment in film.
At the first phase, the dominant theoretical model, feeded by Saussurean

structural linguistics, which is followed by in a second phase by Althusserian
Marxism and Lacanian psychoanalysis became the preferred ideational frames. It
succeeded by a pluralistic stage in which movements like feminism, a constructive
presence in film studies, both examine and incorporated the previous theories. Post-
structuralism “buried” the objective approach of early structuralist semiology, turns
into a novel sense, semiotics. Film semiotics has partially retreated from its earlier
totalizing claims, Guy Gauthier referred as “semiotic diaspora” remains vigorous
presence within reflexion on film. The sporadic attempts made by film maker and
critics to theorize the cinema.It has only been in current decades that film semiotics
came up in a panoramic movement.
The semiotic theory and the its language in a diversity of intellectual area
confirms the relevalence of “the science of signs, sign systems and signifying
practices” to address the excesseive diversion of cultural forms in terms of semantics.
While semiotics’ cross-disciplinary forced to comprises an antidote to the
compartmentalization and fragmentation of intellectual disciplines. Semiotics
comprises a language which is highly standard, rich in borrowing, neologism and
so on. Instead of broadcast semiotic theory and its language , the dreath of
guidelines and definitions has made semiotics as a difficult and confusing task for
teaching.
The term FILM LANGUAGE frequently used by in the work of earliest

theorist of cinema. France based theorist Louis Delluc and Itlian theorist Riccioto
Canudo used metaphor in their works in 1920s. Both of them are noticed cinema
88
function as a language like characters, it connected to non-verbal behaviour,
positioned as “visual Esperanto”exceeded the boundries of national language.
Vachel Lindsay, who used metaphors in their work known as poet-critic.

Articulated film as “hieroglyphic language,” in work of Bela Balazs Hungarian film
theorist focussed the language like nature of film in his writing from 1920s to the late
1940s.
Russian Formalists, who established the correspondence between film and

language in very organized manner.
In Poetics of the Cinema, the Formalists de-emphasize the slavish extension of

film in support of its “linguistic ” and “poetic” qualities. Tynianov viewed, cinema
offered the apparent world in terms of semantical signs generated by cinematic
procedures such as montage and lighting. Eikhenbaum has seen “inner speech” and
“image translations of linguistic tropes.” Cinema described by Eikhenbaum, as a
“particular system of figurative language,” Stylistics treat as filmic “syntax,”
connecting shots into “phrases” and “sentences.” Analysts are allowed to identify a
typology of such phrases by the analysis of close shot-by–shot.analysis.Eikhenbaum
did not established a fully developed typology, he mentioned some principles of
syntagmatic construction coincidenc and contrast. The notion later established by
Metz. Russian Formalists, introduced the term of film language which came to form
the implicit way of grounding the correct “Grammars” of cinema—i,e Raymond.
This chapter discussed the analyses of film DEVDAS. These analyses

explored the formal frame to make up the systems, frequently separated a codes
which are small in their number, then tracing their interweaving across the film
DEVDAS 1936, DEVDAS 1955 and DEVDAS 2002. The semiotic analysis of
DEVDAS proven, accentuated cinematic component which different to the
component of plot and character. This chapter gives the idea to study the film in a
different prospective. Finally, the present study focused a new language of film which
is drawn from literary semiotics,narratology,psychoanalysis and structural linguistics
ignored the evaluative traditional terms of film criticism. It is not possible to discuss
everything about film . So the chapter imphesizes especially those shots which left
the effect on audience as well reader.
89
3.1. Analysis
3.1.1 Segment: First Meeting Scene
From Arrival of Devdas to Departure from Parvati’s house.
Abbreviation:
36D-Dialouge from 1936 version of Devdas.
HTD- Dialogues from the Hindi translation of the text.
PRM- Parvati’s mother.
PRG- Parvati’s Grand mother.
DD-Devdas.
PR-Parvati.
The table given below presents the camerawork of the film Devdas 1936,1955
and 2002, along with the description.
Table 3.1: Showing the Screenplay/Script of the Scene
Devdas 1936 DEVDAS 1955 DEVDAS 2002
When DD was coming to Almost darkness has Devdas came from

PR’s house, he was wearingbeen spread in the sky. London, and went to
coat suit with hat, holding a meet directly PR. Scene
Long shot scene
stick, DD was smoking on began with the close up
the way. As he reached to Where PR’s grandmother of PR’s feet where PR
PR’s house, he threw the was talking about DD’s mother was putting
arrival with PR’s mother colour on her feet.
cigarette, remove the hat. PR
was busy in house temple. on their house courtyard. Somebody knocked the
PR was standing with door and called
Long shot scene. them, after looked protagonist name. Now
Back close up DD. outside, towards the the dialogue started:
Then camera covered PR DD’s house, path, which
from back, again camera was empty. Now the
focussed on DD back close dialogue started:-
up.
Now the dialogue started:-
90
36D1PR: Tum aa gaye 55D1PRG:Bahu suna 02D1DD:Paro.....
Devdas? hain Devdas shahar se 02D2PM:Lagta hain
aya hain,age jab bhi ata Devdas aa gaya?
humse milne zarur ata
lekin aj to abhi tak nahi Head to shoulder close up
aya... of PR
Cut to PRM
36D2DD: Haan. 55D2PRM:Shaherki 02D3PRM:Devdas!Kame

PR was pointing out to DD’s hawa hi ase hoti nacho bhalo to .....
hain,admi rang badalta
dress. Cut to PR
hain dang badlta
hain,shayad Devdas bhi Pan shot started
badal gaya hoga.... PR was running and
DD Calling making the red mark of
her foot print on the
floor.PR was listening all
the conversation which
occur between PR and
PRM. Camera focussed
on PR.
Cut to PRM
Close up
Aao..aao suit mein to
ekdam angrej lag rahe
ho...hum sab to taras rahe
the tumhe dekhne ke
liye.Kausalaya didi to
badi besabri se tumhara
intezar kar rahi thi....
36D3PR:Yeh sab kya hain? 55D3DD:Chachi... 02D4DD:Paro kahan

hain?
55D4-PRG: Yeh to
Devdas ki awaz hain... Cut to PR
PRG opened the door and Standing on terries in a
start talking to DD from condition of nervousness
the door. and shyness.
Voice over scene
36D4DD:Kya yeh lebas 55D5PRG:Haan...Are 02D5PRM:Are abhi abhi

tumhe pasand nahi? Devdas tumhari to shakal to yahin thi na jaane
36D5PR:Tum auroun ki tarah hi badal gayi aao beta kahan chali gayi....pagli...
aao andar aao .
kyun ban gaye Devdas? Kah rahi thi Dev ayega to
Cut to PR yeh karungi....
36D6-DD:He....he....Achha
parvati tumse kal milunga .... she came to tarries Cut to
91
jete raho badi lambi umar PR’s mother Head to
hain abhi tumhare bare Shoulder Close up.
mein hi baat kar rahe Wo karungi yun lad
the.... padungi,yun noch lungi.
Cut to PR
PR half head to shoulder
Close up
Aur ab jab tu aa hi gaya
hain to upar chup kar
baithe hain,ae Paro.....
Cut to
Parvati’s Mother Close
up
02D6-DD:Main upar,
jaoun??...
02D7PRM:Hann beta...
Ja tu hi jake mil le usse....
Cut to
PR Pan Shot
PR was running with
excitement. She came in
the room, sat on bed.
Suddenly, bumble bee
start dancing, PR was
trying to save her.
Background music started
JA BHAWRA JA NA
SATA.....PR covered her
face by bed sheet.
Choker Close up
Of PR
Cut to
Close up of DD’s hand
While opening the door
Back Close up of PR
Cut to PR
PR was playing with bed
sheet.
Cut to
DD’s Head to Shoulder
92
Close up.
02D8DD:Paro..PR was
lie down on bed, tightly
hold the bed sheet.
02D9DD:Kamanacho
Paro....
Cut to PR
She was rubbing their
legs to each other.
02D10DD:Hun.....Bahut
dino baad mile hain
dekhogi nahi mera
chehra...?
Cut to
PR
02D11PR:Din tumhare
liye honge mere liye to
das saal, che mahene char
din aur teen pahar hain.
Sound Of Bumble Bee.
Cut to
DD
Tumhe hum kabhi yaad
nahi aye??
02D12DD:Haan..Paro
55D6PRG:Tumhari to 02D13PR:Jhut das saal

shakal hi badal gayi.... Cut to
PR was listening
PR
everything from the
tarries. Aur sirf panch chitti saal
mein mausam bhi char
55D7DD:Haan bahut hote hain. Kam se kam
dino ke baad dekh rahi har mausam ke ek chitti
ho na chachi...isliye... to leki hoti.
Paro kahan hain?...
55D8PRG:Paro.... 02D13DD:Ab khuch

samajh dari ki baat karne
55D9DD:Haan....
lagi ho..tum badi ho gayi
To heard her name Paro ho Paro..
went in a state of shyness
DD start smoking.
and nervousness...
02D14PR:Agar sagar
93
55D10PRG:Abhi to samne ho to,jharne ko
yahin thi ,shayad upar nadi banne mein kya dear
chali gayi Paro are o Paro hain...
dekh to Devdas aya 02D15DD:To phir apna
hain..... chehra dekhane mein itni
55D11DD:Rahne do dadi dear kyun?
main khud hi chala jata 02D16PR:Aj itne saloun
hun... baad yeh chand khila hain
As she heard the sound dart ha kahin yeh tumhare
of shoes PR entered hosh na udha dein...
inside the room. PR was 02D17DD:Itna ghurur to
searching something to chand ko bhi nahi hain...
do suddenly she poured
oil in diya,than took 02D18PR:Kaise
match box to kindling karta,chand per dhag jo
diya.. hain.....
Fade In 02D19DD:To theek hain
Paro asman mein chand
Close up DD’s leg khilne ke bad hi dikhenge
Cut to tuhara chehra,dekhe kaun
Close up of diya and hosh udata hain us chand
ka noor ya tumhara
burning match stick.
gurur...
Fade out
DD caught bumble bee
Cut to
Paro tumhe koi aur chuye
DD’s Close up
Mujhe accha nahi lagta...
55D12DD:Paro....
Cut to
PR’s closeup with
PR Choker Close up.
burning
Match stick.
Kya ho raha hai?....
Both of them are smiling
55D13DD:Kitni badi ho
gayi ho tum?
PR getting embarrassed,
cover her shoulder again
by sari.
55D14DD:Accha raat ho
gayi hain.main
chalunga...
55D15PRG:Are yeh kya
abhi aye aur abhi chal
diye?
55D16DD:Safar se aya
94
hua na thakur maa,thak
gaya hun kal aunga....
55D17PRG:Accha
Beta....
55D18PRM:Chala gaya
Devdas?
55D19PRG:Accha
Devdas aur Paro mein
kitna sneh hain?
55D20PRM:Kyun na ho?
Bachpan se dono sath
bade hue hain...
55D21PRG:Aur Paro ki
umr bhi to ab shadi ki ho
gayi hain...dono ki Jodi
kitna acchi
banege,Narayan babu ke
yahan unke bayah ke baat
chalaye jae kaisa
rahega?..
55D22PRM:Kaise baat
karti ho maa ji tum bhi
asmaan mein tigli lagati
ho..wo zat badi
zamindari ke log..
55D23PRG:Agar zaat
badi hain to sundarta bhi
kaam nahi..ankh pade
male hoti hain apne
Paro..Devdas ke maa ke
pass jaungi dekhungi wo
kaise mana karti hain...
3.1.2 Dialogues of Hindi Translation:
HTD-1 Aao beta aao ....
HTD-2 Paro kahan hain chachi?
HTD-3 Shayad upar ke kamre mein hain...
HTD-4 Paru...
95
HTD-5 Kya kar raho ho Paru?
HTD-6 Accha chalu main sanjh ho gayi hain.. tabiyat theek nahi hain...
The table given below presents the comparision among the dialogue from
Devdas 1936, 1955 and 2002.
Table 3.2: Showing the Comparative Dialogue Sets
Versions (Column) Hindi 1936 film 1955 film 2002 film

translation of version version version
Segments (Rows)
the text
DD’s Conversation HTD1,HTD2, None 55D3,55D4, 02D4,02D5,02

with other Member HTD3 55D5,55D6, D6 02D7
of PR 55D7,55D8,
55D9,55D10,
55D11,55D12,
55D13
Discussion on DD None None 55D1,55D2 None

before his arrival
Discussion on DD None None 55D19,55D20, None

and PR marriage. 55D21,55D22,
55D23,55D24
Conversation HTD4,HTD5, 36D1, 55D13,55D14, 02D8,02D9,

between DD and HTD6 36D2, 55D15 02D10,02D11,
PR 36D3, 02D12,02D13,
36D4, 02D14,02D15,
36D5 02D16,02D17,
02D18, 02D19
3.1.3 Few Observation:
In the book ,there are complete description of DD’s personality and attitude.
DD came from Calcutta after four years. The name of place still remains same in
1936’s version and 1955’s, Version. In 2002 version, DD came from London after ten
years. As DD reached PR’s house. He called PRM as chachi then asked about PR.
This incident was absent in 1936, present in 1955 and changed in 02 version.
96
36’s Version:
This version, is different from the book. DD directly met to PR, Dialogues are
different from the book. This scene focused on DD’s dress.
55’s Version:
This version, shared similarity to the book. Roy inserted DD’s conversation
with PRG In the book PR traditionally greet DD, which was absent in the films .In
this version DD was wearing a Dhoti kurta, when he was coming to meet young PR
for the first time. While in the book the description of DD’s dress is Coat suit. In 36’s
and 02’s DD was wearing a coat suit.
02’s Version:
This version in quietly, different from the book and previous ones. At the level
of vision the emergence of Scene. DD’s arrival,his attitude, PR’s attitude and even the
dialogue section is Distinctive from previous ones.In the version the event of PRG
was absent. Bhansali inserted bumble bee as metaphorically with a background sound
to give the romantic impact in it. To show the culture Bhansali used a Bengali words
and phrases which were absent in previous ones.
3.2 Segment: Chatting Scene:
On PR marriage
Abbreviation- 36D- Dialogues from 1936 film version
55D-Dialogues from 1955 film version
02D- Dialogues from 2002 film version
PR-Parvati
MM-Manorma
97
Table 3.3: Showing Screenplay/Script of the Scene
Devdas 1936 Devdas 1955 Devdas 2002
Parvati and Manorma are The act took place in Scene began with high
friends. Manorma was Paro’s house where both camera angle.
combing on Parvati’s hair. the friends Manorma and MM and PR were
Now the dialogue started Parvati were sitting revolving and making
Scene began with the together.Scene began with ball of wool. MM was
medium shot. the close up of Parvati ‘s sitting, PR was standing
hair style which is done infornt of her. Now the
by Manorma. Now the dialogue started:-
dialogue started:
36D1MM:Iska Ilaj? 55D1MM:Accha Paro var 02D1MM:Suna hain kaki

ki umr kitni hogi? maa ne tumhari shadi ek
bahut bade khandan mein
taye kar di hain ....Apne
55D2 PR:Kiske var ki? pati ka naam janti ho?.....
55D3MM:Tere var ki aur
kiski?
55D4PR:Koi 23 24
baras....
36D2PR:To phir iska ilaj 55D5MM:Kya matlab? Cut to

Manorma kya tumne khud Maine Maine to suna hai PR
apna var pasand kiya tha? ki uski umr40 se bhi upar
hain? 02D2 PR:Devdas.....
36D3MM:Maine na to 55D6PR:Jaane kitno ki 02D3MM:Itna khuch

pasand kiya tha aur na umr 40 hua karti hain hone ke bad kya Dev
mujhe na pasand hain,lekin Manu didi main kya sabka tumse shadi karega??
behan tumne to khud apne hisaab rakhti hun,main
paoun par khulhadi maar janti hu to bas itna ke mere
li..... dulhe ki umr kya hain? vaar ke umr 23 24 ki hogi.
36D4 PR:Kiska dulha? 55D7MM:Aur naam kya 02D4PR:Phuch ke bata

hain? dungi.
36D5MM:Tumhara aur
kiska? MM left the chair and
stand up.
02D5MM:Kaki maa ne
phucha wo kya kam tha
,jo ab tum phuchoge kitna
apmaan hua unka wahan
par..
98
Cut to 55D8PR:Mera khaya piya 02D6PR:Par maa ka
PR sab khuch janti ho aur yeh apmaan Dev ne to nahi
nahi janti......... kiya na........?
Head to Shoulder Close up
36D6 PR:Yahi 20,22 baras.
36D7MM:Maine to suna 55D9MM:Tere maan ki MM come closer to PR

hain ki uski umr 40 baras ki baat maine kaise jaanu..... 02D7MM:To kya tum
hain.
Paro whispered in jaker Devdas se sindoor
Manorma’s ear camera. mangogi.
Turns on Deep Focus. Laaj nahi ayegi Paro?.
55D10PR:Ley sun pass aa
aur pass,Shri Devdas.
36D8PR:Hogi Manorm 55D11MM:Hut besharam Cut to

duniya mein hazaroun log zayada haasi mazaq ki PR
hain jinki unr 40 baras hain zarurat nahi, bata sidhe
magar mere pass hissab sidhe ki kya naam hain Chokar Close up of PR
nahi,mere dulha ki umr 20 unka?
22 baras hain aur main itna
hi janti hun. 02D9PR:Jo cheez apni ho
use mangne mein lajja
kaise ...tum to jhut mhut
ka sindoor lagati ho
Manu didi, pati kise kahte
hain yeh to tum janti hi
nahi.
36D9MM:Aur tumhare 20- PR left the place to threw

22 baras ke dulha ka naam the hair.
kya hain? 55D12PR:Bata to Diya.
36D10PR:Devdas MM also left the place and

standing with PR.
55D13MM: Lekin maine
to dadi se suna hain ki tera
bayah, Manikpur ke
zamidaar ke sath pakka ho
gaya hain..
36D11MM: Yeh tum kya 55D14PR:Pakka kaise ho

kahti ho? gaya hain bayah hoga to
mere sath hoga dadi ke
sath to hoga nahi....
36D12PR: Main Devdas se 55D15MM:Malum hota

phuch kar tumhe acchi tarah hain andar hi andar
samjha dungi. khichdi pak gayi hain,chup
99
chup ke pakka bando bast
ho gaya hain........
36D13MM:Kya phuchoge 55D16PR:Kachha pakka

ki wo tumse shadi karenge to abhi khuch nahi hua
ya nahi? hain.....
36D14PR:Haan yahi. 55D17MM:Tu kya kahti

hain Paro mere to khuch
samjh mein nahi ata.
36D15MM:Tum kya kah 55D18PR:To phir Devdas

rahi ho tum khud yeh baat se hi puch kar
phuchoge,tumhe laaj na batladungi....
ayegi???
Cut to
PR Head to Shoulder Close
Up.
36D15PR:mujhe tumse 55D19MM:Unse kya

kahte hue laaj na ayee phuchege ki tujhse bayah
Manorma..... karenge ki nahi?
Cut to
MM head to Shoulder Close
up
36D16MM:Main ek aurat 55D20PR:Aur nahi to

hun aur tumhari saheli hun kya?.
lekin wo ek gahirmard......
36D17PR:Ghairmard........ 55D21MM:Khuch to soch

murti kya khud he yeh
baat unse phuchege laaj na
lagegi??.............
36D18MM:Parvati kya tum 55D22PR:Isme laaj kahe

use yeh kahoge ki mujhe ki?
apne charnoun mein jagah
de do…
36D19PR:Haan....bilkul 55D23MM:Main thari

yahi baat.... aurat aur phir teri saheli
wo to mard hain.........
36D20MM:Agar usne 55D24PR:Tum saheli ho

thukra diya to aur apni ho to kya wo
paraye hain jo baat main
tumse kah sakti hun kya
unse nahi Manu didi tum
100
jhut muht ka hi sindoor
lagati ho aur yeh nahi janti
ki swami kise kahte
hain,wo mere swami hain
mere lajja sharam se pare
unke pass mere lajja
kaise....
36D21PR:To kya hoga Somebody called to

Manorma yeh main nahi Manorma.
janti. 55D25MM:Accha Paro
phir aungi.
3.2.1 Dialogues from the Hindi translation:
HTD1-To kya upaye hain?
HTD2-Upaye kya hain tumne kya apne dhule ko pasand karke shadi ki thi??
HTD3-Meri baat alag hain meri koi pasand na thi aur na pasand ki naubat nahi aye
lehaza mujhe to koi takleef hi nahi hain....lekin tumne to apne paroun par kulhadi mari
behan.
HTD4-Paru dhule ki umr kya hain?
HTD5-Kiske dhule ki?
HTD6-Tere?.
HTD7-Shayad unees.
HTD8-Abhi to suna maine chalees.
HTD9-Mano didi kitne logon ki umr chalees hain main kya sabka hisaab rakhti
hun,mere dhule ki umr unees bees ki hain,main itna janti hun.
HTD10-Naam kya hain bhala?
HTD11-Itne dino mein yeh bhi nahi malum
HTD12-Kaise malum ho??
HTD13-Nahi janti ho to kah dun,nahi janti, Shri Devdas.
HTD14-Rahne bhi de dillagi! kya naam hain abhi kah de phir janab se kah bhi nahi
payegi...
101
HTD15-Kah to diya....
HTD16-Agar uska naam Devdas hi hain to phir ro peet kar jaan kyun gawan rahi ro?
HTD17-Theek hain ab main roun pitungi nahi.
HTD18-Paru kaho mujhse saaf saaf behan!main bta khuch bhi nahi samjh saki.
HTD19-Kahne ko to sab kah gaye magar samjh mein to khak nahi aya re!
HTD20-Ayega bhi nahi!
HTD21-Paru jisse tujhe takleef hoti hain use apne ko bhi badi takleef hogi behan!tu
sukhi ho,yahi to apni aantrik pratnaha hain.Teri agar koi gupt baat hain aur mujhse wo
kahna nahi.
HTD22-Mazaq nahi karti didi jitna main janti hun utna tumhe bata diya,main janti hu
mere pati ka naam Devdas umr unees bees yahi to bataya tumhe.
HTD23-Lekin tere dadi se malum hua tera rishta kahin aur hua hain.
HTD25-Hua kya hain?dadi se to bayh nahi hoga,hoga mujhse,magar maine to nahi

suna.
HTD26-Wo sab sun chuki hun.
HTD27-Phir? Devdas tujhe.
HTD28-Kya mujhe?
HTD29-To phir swamvar hoga chip chip ke sab pakka kar rakkha hain.
HTD30-Asa abhi khuch nahi hua hain.
HTD31-Kya khuch kahti hain tu khuch samjh nahi pati.
HTD32-To Devdas se phuch kar tujhe samjha dungi.
HTD33-Kya phuchoge? ki wo bayh karega, ya nahi??
HTD34-Haan yahi.
HTD35-Kahti kya hain Paro tu khud use yeh phuchege?
HTD36-Isme gunah kya hain?
HTD37-Kya kah rahi hain? khud se?
HTD38-Haan khud hi warna mere ur se phuchega kaun?
102
HTD39-Sharm nahi ayegi?
HTD40-Sharm kaise? Tumhe batane mein sharm aye?
HTD41-Main thahri ladki aur tere saheli, lekin wo to mard hain Paru!
HTD42-Tum sakhi ho, aur apno ho aur ve kya paraye hain? jo baat tumse kah sakti
hu,wo unse kyun nahi kahi jaa sakti? Mano didi tum nahaq hi maathe pe sindur lagati
ho,pati kisse kahte hain yahi nahi janti.ve mere swami na hote to main is tarah se jaan
gawane ko na hoti,phir admi jab marne par amada ho jata hain to wo yeh thode hi
dekhne jata hain ki zahar kadwa hain ya meeta unke liye mujhe koi sharam nahi
HTD43-Unse kya kahoge?kahogi ki mujhe chadou mein sthan de dejiye?

HTD44-Haan ..yahi kahungi..
HTD45-Aur agar wo esthan na dein?
HTD46-Tab ki baat to main nahi janti didi...
Devdas 1936,1955 and 2002.
Table: 3.4: Showing the Comparative Dialogue Sets
Versions Hindi Translation of 1936 Film 1955 Film Version 2002 Film
(Column) the text Version Version
Segments
(Rows)
MM view HTD1,HTD3,HTD4, 36D1,36D4, 55D1,55D3,55D5,55 02D1,02D3,

on marriage HTD6, HTD8, 36D6, 36D8, D755D9,55D11,55D 02D5,02D7
HTD10, HTD12, 36D10, 36D12, 13, 55D15, 55D17,
HTD14, HTD16, 36D14, 36D16, 55D19, 55D21,
HTD18, HTD20, 36D18, 36D20 55D23, 55D25
HTD22, HTD24,
HTD27, HTD29,
HTD31, HTD33,
HTD35, HTD37,
HTD39, HTD41,
HTD44,HTD46
PR view on HTD2,HTD5,HTD7,H 36D2,36D5, 55D2,55D4,55D6,55 02D2,02D6

marriage TD9, HTD11, HTD13, 36D7, 36D9 D8,55D10,55D12,55
HTD15, HTD17, D14,55D16,55D24
HTD19, HTD22,
HTD23, HTD25,
HTD26, HTD28,
HTD30
103
PR HTD32,HTD34,HTD3 36D11,36D13,3 55D18,55D20,55D22 02D4,02D8
planning 6,HTD37,HTD40,HT 6D15,36D17,
D42,HTD43,HTD47
36D19,36D21
3.2.2 Few observation:
In the text discussion regarding PR’s marriage between PR an MM were very

descriptive and lengthy. Director have been chosen some dialogue section from the
text. In 55’s version Roy took a lengthy section from the book. In the book MM’s
referred PR’s grandmother, this incident found in 55’s vesion, in 02’s version referred
Kaki maa instead of Dadi. The book give the description about PR’s sadness. This
incident were absent in all three versions.
36’s Version:
In this version, situation resembles to the little part of the dialogue section,
grandmother name was absent in between the conversation.
55’s Version:
Comparatively, this scene is lengthy to other versions. Most of the dialogue

has been taken from the book without any alteration.
02’s Version:
In this version, script is different, took some dialogue from the text.
3.3 Segment: Mid Night Scene:
55D-Dialogues from 1955 film version.
02D- Dialogues from 2002 film version.
PR-Parvati
DD-Devdas
104
DEVDAS 1936 DEVDAS 1955 DEVDAS 2002
Fade In There was dark night, The scene began with

PR was lying on her the Close up of
In the night PR, was going to
bed, she woke up and
DD’s house. Camera has captured Diya,
covered herself with
PR from her back, as PR entered
shawl, open room then camera moved to
into DD’s house, suddenly watch
door, looked towards PR, who was lying on
man stood up, looked at her
the DD’s house from bed, suddenly, she got
and greeted .
terries. Dogs were up looked towards the
Cut to barking after a couple Diya. Then PR was
DD of seconds, she was standing before DD’s
moving towards the house, wrapped her by
Deep focus out DD’s house where shawl, full moon was at
Camera turned to DD’s room watchman was the sky.She start walking
door from where PR entered in reciting Ramayana. go to DD’s house,
the room. PR aroused DD from He stop for a while captured the scene from
his head side. Now the dialogue asked PR. Now the High Camera Angle,
started:- Dialogue started:- where guard was reciting
Ramayana, he spotted
PR and asked. Now the
dialogue started:-
36D1PR:Devdas.....Devdas...Dev 55D1Guard:Kaun? 02D1Guard:Kaun?

das
36D2DD:Kaun Parvati? 55D2PR:Main.... 02D2PR:Main..

After the PR’s Guard, saw her after the
response ,he recited question, PR went on her
again. PR went on her way, guard start reciting
way, some servants again.
were lying Outside Cut to DD
the house courtyard.
She entered into a Medium Close up
DD’room. Clock DD was sleeping.He
sound were audible. woke up as curtain
PR saw DD was touched to his face
sleeping,she was softly. He saw PR was
standing at his feet sitting in the room
side.PR softly corner.
touched DD’s feet.
He woke up. Cut to PR
Cut to Cut to
DD DD
Head to Shoulder Medium Close up.
105
Close up of 02D3-DD:Paro.
DD Cut to Choker Close up
of PR.
Tum theek to ho na...
Cut to DD
Head to Shoulder Close
up
Itni raat gaye andhere
mein?tumhe dar nahi
laga?
Cut to PR
Half
up. PR shawal, slipped
from her head.
36D3PR:Hann Parvati... 55D3DD:Are,Paro 02D4PR:Na....Na aj

tum? mujhe kisi se bhi dar
nahi lagta....
Cut to
Cut to
PR
DD
Head to Shoulder
Close Up Half head to Shoulder
Close up.
Cut to
DD Head to Shoulder 02D5-DD:Badnami...se
bhi nahi..?
Close up
DD looked at wall
clock.
Cut to
Wall clock
Time 2:05 AM
Cut to DD
Head to Shoulder
Close up
Itni raat gaye akele hi
aye ho?
36D4DD:Itni raat gaye.? aur 55D4PR:Haan... 02D6PR:Nahi....

bilkul akeli. PR come closer to DD
and touched DD’s hand.
Jis waqt tumhare pass
106
tumhare sath hoti hun to,
badnami ka bhi nahi..
36D5PR:Hann akeli... 55D5DD:Kya kah 02D7DD:Tum

rahi ho? Raste mein yahan...per kyun aayi
dar bhi nahi laga... ho?
Cut to Cut to
PR The back sitting position
of
DD and PR.With
thunder effect
Cut to PR Choker
Close up
36D6DD:Kya tumhe kisi ka darr 55D6PR:Mujhe bhut 02D8PR:Nadi sagar se

nahi..? uth se daar nahi milne kyun jati
lagta... hain?Suraj mukhi
hamesha hamesha suraj
Cut to
ki taraf kyun dekhta
DD rahta hain?Aur yeh Paro
apna swabhimaan...apne
kul ki maryada sab
khuch chod kar raat ke
es waqt, apne Dev ke
charnoun mein jagah
mangne kyun aati
hain?.Meanwhile, PR
was touching his thigh,
after that she kept her
head on DD’s lap.
En sare sawaloun ka
jawab ek hain Dev...
Cut to
DD’s Head to Shoulder
Close up.
36D7PR:Main bhutun se nahi 55D7DD:Are bhut se 02D9DD:Jawab to ek

darti Devdas... nahi par, admi se to hain per sawal bahut sare
daar lagta hain na... hain?
Cut to
PR
36D8DD:Hann.hann bhutun se 55D8PR:Shayad es 02D10PR:Koi sawal

nahi lekin insaan se to darti ho? waqt usse bhi nahi. nahi jab tak dono sath
hain..
107
36D9PR:Aaj...maloom hota hain 55D9DD:Ghar ke 02D11DD:Yahi to wo
main kisi se nahi darti... andar kaise ayi? Kisi log nahi chahte...
ne dekha? Deep Focus In
DD was holding a DD and PR
book.
36D10DD:Tum hamare ghar 55D10PR:Darbaan ne 02D12PR:Tum kya

mein dhakhil kaise hui?...tumhe dekha tha.. chahte ho?
kisi ne dekha to nahi?
36D11PR:Haan dekha darbaan 55D11DD:Baramde 02D13DD:Tumhari

ne... mein naukar chakar khushi.per Paro, babu ji
bhi the unki bhi nazar es rishte ko hamare
padi hogi..... nazroun se nahi
dekhenge.
PR kept her head on
DD’s chest.
36D12DD:Darbaan..ne?kya wo 55D12PR:Shayad 02D14PR:Hum unhe

pahchan gaya? padi ho... mana lenge..
36D13PR:Wo mujhe pahchanta 55D13DD:Tumne asa 02D15DD:Agar wo nahi

hain. kyun kiya Parvati? mane to...
Kal kya sharam se PR was softly touching
tumhara sir neeche DD’s cheek.
nahi hoga?
Cut to
PR
Head to Shoulder
Close up of PR
36D14DD:Yeh tum kya kah rahi 55D14PR:Zarur hota 02D16PR:Jahan Pyar

ho? agar main yeh na janti hota hain wahan parwa
Suddenly, DD left the bed to ki meri sari lajja tum nahi hoti hain Dev.
dhak loge...
close the door.
Cut to
Che...che...Parvati kal duniya ko
kaise muh dekha saoge, kal DD
sharam se tumhari garden uth
sakegi?
36D15PR:Kyun, nahi Devdas, 55D15DD:Main...leki 02D17DD:Jahan aag

main es gardan ko kabhi na utha n main bhi kaise muh hoti hain wahan dhua to
sakti agar yeh janti ki isko sahara dekhaunga? uthta hain na Paro..aur
dene wala majud nahi.... main nahi chahta ke
Clock Sound Stop.
hamare pariwar ke beech
main lage es aag ke
dhuye meiin hum dono
108
kho jayein...
36D16DD:Main....lekin main 55D16PR:Tum,tumha 02D18PR:Khona to har

duniya ko kaise muh dekhaunga? ra kya hain tum hal mein hain Dev, ya
thahre mard.. tumhare sath ya tumhare
Cut to
PR come to Deep baighar.
PR
focus In Thunder effect audible
Head to Shoulder Close up PR. and visible.
Aj nahi to kal, kal
nahi to parso log PR and DD both of them
tumhare kalank ki were sitting on the floor.
baat bhul jayenge...do Alarm was audible.
din baad kisi ko es 02D19-DD:Chalo tumhe
bat ka dhayan hi na ghar pahucha dun....
rah jayega.ki kab kis
raat ko Badnaseeb Cut to
Parvati tumhare PR
chrnoun pe sear
rakhne ke liye apna Head to Shoulder Close
sab khuch tuch samjh up.
kar aye thi....
36D17PR:Tum prusuh ho Devdas 55D17DD:Main 02D20PR:Sath chaloge

aj nahi to kal log tumhari baatoun tumhare kalank ki badnammi se dar nahi
ko bilkul bhul jayenge...aur yeh baat soch raha hun lagega...?
bhi bhul jayengi ki kab aur kis Paro... DD fixed PR shawl
raat bad naseeb Parvati ...tamam properly.DD touched PR
duniya ko thukra kar ,tumhare
shoulder to stand up .As
charnun mein jagah lene ke liye they moved DDF was
aye.. standing at the threshold
Cut to of DD’s room .Both of
them were shocked.
DD
Cut to
DDF
Deep Focus In
Cut to PR and DD
up
36D18DD:Lekin tumhari 55D18PR:Mere 02D21DDF:Duttkare...ja

badnami? kalank ki baat? mujh ne par to kutta bhi us
per koi kalank nahi chaukha per wapas nahi
hain..agar es baat ke aata.
liye mere ninda ho ki Cut to
main tumhare pass
chup kar ayi thi to PR and DD
yeh ninda mujhe na Jab din ke ujale mein
baat nahi baani to raat ka
109
lagegi.... sahara liya tune....
Cut to
DDF
Khule aam khotha kyun
nahi khol leti tum maa
beti.
PR start running
unconsciously, PR shawl
slipped from her
shoulder to floor.
Cut to DD
up
36D19PR:Mere badnami? 55D19DD:Are tu to 02D22DD:Asa

Devdas agar mere badnami isliye ro rahi hain Paro? mashwara to bazaar
hoti hain ki main tumse chup 55D20PR:Nadi mein mein khada hone wala
chup ke milne ke liye aye hun to kitna jal hain kya itne dall bhi apni beti ko nahi
mujhe eski parwa nahi. jal se bhi mera kalank deta babu ji...
na dhulega?...
36D20DD:Tum ro rahi ho 55D21DD:Tumhe asa 02D23DDF:Dev.....

Parvati? baat nahi karni Cut to
chaheye....main
tumhare liye sab DDF
khuch kar sakta Choker Close up
hun...lekin tum to
janti ho mere maa He yelled, and slapped
baap bilkul sahmat DD
nahi hain,agar unki Cut to PR
marzi ke khilaf, tumse
shadi karunga to tum As PR entered in the
kahan rahoge?.. house, her mother
stopped her.
Deep Focus convert
into Head to Shoulder
Close up of PR.
36D21PR:Devdas ...nadi mein 55D22PR:Tumare 02D24PRM:Paro...

itna pani hain kya mera kalank charnou mein mujhe Cut to
ko na dho sakega? yahan thodi se jagah
dedo mere dewta... PRM
Sound of wall clock
Alarm Sound Maine tujhe Diye ke sath
DD turned towards clock Devdas ke liye jalte hua
Again sound of clock
Cut to dekha hain...Paro...teri
were audible. chahat ki itni qimat hain
Half close up of wall clock only
110
which focussed on time at mere nazroun mein ki
2:00AM. agarphuch ke gayi hoti
Devdas ke pass to ek raat
Camera still focussed on wall
ke liye tere vashya banne
clock.
per bhi mujhe atraz na
Cut to complete Close up of hota..
Clock time 3:50 AM with sound. Cut to PR
DD and PR both of them are in
deep thought.
36D22DD:Kya mere siwa aur koi 55D23DD:Paro..chalo 02D25PR:Main to bass

chara nahi Paru? tumhe chod aaun.. phuchne gayi thi...
36D23-PR:Kya? 55D24-PR:Mere sath 02D26-PRM:Aur...jawab

chaloge? kya aya Paro bata...
Cut to
PR
up.
To akele to nahi gayi
thi..
Hamare ghar ke abru ko
apne sath seene se laga
kar gai thi,khud to wapas
aa gayi..
Cut to PR
Choker Close up
aur usse wahi chod aayi.
36D24DD:Mere waledain eske 55D25DD:Kya harj

khilaf hain suna tum janti ho? hain?Agar tum aa
sakti ho?to kya main
nahi ja
sakta?Badnami hoga
na?Accha hain shayad
uuse se hum dono ke
liye koi rasta nikal
aye.....
36D25PR:Mujhe khuch bhi janne 55D26PR:Tab

ki zarurat nahi... chalo....
PR wrapped her by
shawl went along
with DD.
111
36D26DD:To kya main unki
udhur hukmi karun....?
36D27PR:Kya harj hain?
36D28DD:To phir tum rahoge

kahan?
36D2PR:Tumhare charno mein...
36D30DD:Chalo tumhe ghar

chod aaun.
36D31PR:Tum mere sath

chaloge?
36D32DD:Hun.tumhare sath
chalunga ....shayad duniya es
waqt mujhe tumhare sath
dekhkar....hamesha ke liye
tumhare sath rahne ki ijazat
dede...chalo..
DD hold PR back.
Fade out.
HTD1-Kaun?
HTD2-Main...hun..
HTD3-Dev bhiya...
HTD4-Hun....
HTD5-Dev Bhiya...
HTD6- Are paro...
HTD7-Hann main..
HTD8-Itni raat ko?
HTD9-Itni raat ko akele hi aye ho?
HTD10-Hann
HTD11-Kya kah rahi ho?Raste mein dar nahi laga?
112
HTD12-Bhut se mujhe koi khass dar nahi lagta...
HTD13-Bhut se na sahi, per admi ka to dar hain ?Kyun aye ho?
HTD14-Is smay shayad mujhe dar bhi nahi...
HTD15-Yahan tak kaise aye ?Tumhe kisi ne dekha to nahi?
HTD16-Darbaan ne dekha hain...
HTD17-Darbaan ne dekha hain ..aur kisi ne?
HTD18- Kisi ne pahchana hain tumhe?
HTD19-Sabhi to mujhe jante hain,kisi ne pahchan bhi liya ho shayad
HTD20-To tumne asa kyun kiya Paru?
HTD21-Yeh tum kaise samjhoge?
HTD22-Itni rat ko?che che?Kal shakal kaise dekhaoge?
HTD23-Wo mujhme himmat hain...
HTD24-Che! ab tum nanhi bacchi nahi ho?es tarah sef tumhe yahan aane mein tumhe
zara bhi sharam nahi aye?
HTD25-Bilkul...Nahi..
HTD26-Kal shram ke mare sear nahi jhuk jayega tumhara?
HTD27-Beshak sear jhuk jata ...basharte ki main neshchint rup se yeh na janti ki ttum
mere sari lajj sharam ko dhak loge.
HTD28-Main...magar main hi kya apna muh dekha sakunga?...
HTD29-Tum! Tumhara kya Dev bhiya? tum purush ho? aj nahi to kal log tumhare
kalank ki baat bilkul bhul jayenge do din ke baad koi yad nahi rakhega...ki kab bad
naseeb Parvati apne kul ki parwa na karke tumhare charnoun per matha tekne aye thi.
HTD30-Paru main aur tum?
HTD31-Mere kalank ki kah rahe ho? Nahi kalank nahi main chup kar tumhare pass
ayi thi agar eski neenda ho to mujhe neenda na chu payegi.
HTD32-Ro rahi ho?
113
HTD33-Dev bhiya...Nadi mein pani kitna hain? utne pani mein hi kya mera kalank
nahi dubega?
HTD34-Parvati!
HTD35-Mujhe yahan thodi se jagah do...Dev bhiya..
HTD36-Iske siwaye kya koi dusra upaye nahi Paru?
HTD37-Paru?
HTD38-Kaho?
HTD39-Maa baap ko to katte na manzoor hain suna hain tumne.
HTD40-Haan suna hain
HTD41-To phir asa kyun?
HTD42-Main khuch nahi jaana chahti, Dev bhiya.
HTD 43-Paru..maa baap ki batoun se bahar ho jaoun?
HTD 44-Harj kya hain?ho jao.
HTD 45-Phir tum rahoge kahan ?
HTD 46-Tumhare charnouu mein.
HTD47-Chalo tumhe ghar pahucha dun...
HTD48-Mere sath chaloge...?
HTD49-Harj kya hain?badnaami ho to shayad koi rasta nikal aye?
HTD50-To chalo.
Devdas 1936,1955 and 2002.
114
Table 3.6: Showing the Comparative Dialogue Set
Versions (columns) Hindi 1936 film 1955 film 2002 film

translation of version version version
Segments (Rows)
the text
Conversation HTD1,HTD2 None 55D1,55D2 02D1,02D2

between PR and
watchman
Conversation HTD3,HTD4, 36D1,36D2, 55D3,55D4, 02D1,02D2,02

between DD and PR HTD5,HTD6, 55D5,55D6, D3, 02D4,
36D3,36D4,
HTD7,HTD8, 55D7,55D8, 02D5,02D6,
HTD9,HTD10, 36D5,36D6 55D9,55D10, 02D7,02D8,
HTD11,HTD12, 36D7,36D8 55D11,55D12, 02D9, 02D10,
HTD13,HTD14, 55D13,55D14 02D11, 02D12,
HTD15,HTD16, ,36D9,36D10,3 55D15,55D16 02D13, 02D14,
HTD17,HTD18, 6D11,36D12,36 55D17,55D18 02D15, 02D16,
HTD19,HTD20, D13,36D14,36 55D19,55D20 02D17,02D18,
HTD21,HTD22, D15,36D16,36 55D21,55D22 02D19, 02D20
HTD23,HTD24, D17,36D18,36 55D23,55D24
HTD25,HTD26, D19,36D20,36 55D25,55D26
HTD27,HTD28, D2136D22,36D
HTD29,HTD30, 2336D24,36D2
HTD31,HTD32, 5,36D26,36D27
HTD33,HTD34, ,36D28,36D29,
HTD35,HTD36, 36D30,36D31,3
HTD37,HTD38, 6D32
HTD39,HTD40,
HTD41,HTD42,
HTD43,HTD44,
HTD45,HTD46,
HTD47,HTD48,
HTD49,HTD50
Conversation None None None 02D21

between PR and
DDF
Conversation None None None 02D22,02D23

between DD and
DDF
Conversation None None None 02D24,02D25,

between PRM and
02D26
PR
In the book, the time has been given 1:00 AM. In the films 36’s version and
55’s version 2:00 AM has been shown. In the book there is description about Book, in
115
36’s DD kept book on his chest, in 55 version DD hold the book. In the book there is
description about how PR stroked the lamp, and sat down at his feet side. This
incidents were absent in the films. In the book ,PR touched DD’s feet than called
Dev Bhiya, at the first call DD respond ‘hun’ with closed eyes. At the second call, he
woke up straightand start rubbing his eyes. This incident was not present in the films.
In 36’s version, PR did not touch DD to woke up, she only called as Devdas three
times at his head side. In 1955 version as PR touched DD’s feet, he suddenly woke
up. In 02 version this incident is absent.
1936’s Version:-
In this version PR came straight away to DD’s house, where watchman saw
and greeted her without saying a single word. Camera took close up of wall clock
two times at 2:AM and 3:50 AM. In the book there is description about PR’s
condition, where PR laid her head on DD’s feet. This incident was absent in this film.
1955’s Version:
In this version, the sound of alarm and sound of clock were giving a powerful
effect on this scene. Approximate, entire scene held with the sound of running clock.
Camera captured close up of wall clock only one time at 2:05AM,at the second time
alarm rang four times, which describe the time i.e. 4:00AM.
02’s Version:
The script is different but content is same. The scene began with the close up
of Diya. Camera focussed on DD’s house along with the moon. As PR entered into
DD’s room she did not say anything ,curtain softly touched DD then he woke up.
Dialogues were different metaphorical expression were used. Thunder effect has been
given twice. Background music is more likely to clock sound. Two times alarm were
audible. Here the situation is different DDF saw PR in DD’s room. When PR returned
PRM saw her, interrogated about the visit.
3.4 Segment: Conversation with Father
Abbreviation-36D-Dialouges from 1936 film version.
55D-Dialouges from 1955 film version.
116
HTD- Dialogues from the Hindi translation of the text
DDF-Devdas father
DDM-Devdas mother
DD-Devdas
DDB-Devdas Brother
DDBH-Devdas brother’s wife
Scene began with Long Scene began with Situation is absolutely

Shot. Medium Shot. DD was different here, DD’s
Where DD was standing like sitting on chair, his father saw PR in DD’s
culprit ,before his family mother was standing next room and he misbehaved
members in room setting. to him. Now the dialogue to PR. Scene began with
started:- the Medium Shot,where
Now the dialogue started :-
DD’s father turned to
55D1DDM:Neech kul ka
36D1DDF:Tum hamesha took up the PR’s shawal
rishta hain...na tere bhiya
mere liye bayse azar from the floor.Now the
manege na pita tu kyun
rahe...tumne mere naak dialogue started:-
chotise baat ke liye bhed
mein. Daam kar rakha
hain,main tumhari kartut sun ke chatte ko kyun chedta 02D1DDB:Janne dijiye
hain.... na babu ji..itni choti se
chukka hun.
Camera moves into Deep baat ka itna bada tamasha
Cut to kya banana waise.Paro ki
Focus
DDM es shawal ka kya karna
Converts into Head to hain?
36D2DDM:Devdas...mujhe Shoulder Close Up of
es baat ka bahut afsoos hai. Cut to
DD
Mujhe tumse yeh umeed DDF
nahi thi.
Deep focus into
Up.
DDF was looking into
Camera
02D2-DDF:Kah do esse
jakar lauta aye...yeh rishta
nahi ho sakta.....
117
Cut to
DD Half Close up
55D2DD:Tumhare liye 02D3DD:Main asa nahi

choti se baat ha na..... karunga....
DDF Turned
Reverse Angle Shot
Started.
02D4-DDF:Tum bhul
rahe ho ....tum kiske sath
baat kar rahe ho?
Cut to
DD
up.
DD was continuously
pressing his cheeks.
02D5-DD:Ek sear phire
zamindaar ke sath...jo
dusre ke ghar ke beti
kothe pe bethane ke baat
karta hain.
Cut to Cut to Cut to

DDB DDB DDF
36D3DDB:Is nalaqy se aur 55D3DDB:Main phuchta 55D6DDF:Shareef
kya ummed ho sakti hain hun.asa sawal karne ki gharane ke ladkiyan raat
yeh sare khandan ki naak teri himmat kaise ke 2 baje padosi ke ladke
dobo kar hi chaen lega.... padi..tumhe ghar ki izzat ke kamre se nahi nikalti
kul ki maryada ka koi hain.Dev.
khayal nahi hain.
Deep Focus Turns to
Cut to
Head to Shoulder Close DD
up of
Head to Shoulder
DD
Close up
Cut to 02D7DD:Kitna majboor

hoga uska pyar....aur use
DDF
majboor ap logon ne kiya
55D4DDF:Khamosh band hain....
kar bakwas....agar es bare
mein ek bhi lafz kaha to 02D8DDF:Bas,main
main kabhi tere shakal tumhari koi bahas nahi
118
nahi dekhunga..... suna chahta......
Deep focus 02D9DD:Main bhi apse
baat nahi karna chahta....
Turns to
Medium Close up of DD.
02D10DDF:Faisla ho
chuka hain...Case is
dismissed.
As DDF moved DD stop-

ped him.
02D11DD:I object.
DDF turned and hold
DD’s hand tightly.
02D12DDF:Don’t you
realise...hamara kul unse
kai guna ucha hain...
Cut to
DD
Choker Closse up
02D13DD:I object,phir
bhi khate to ap roti hi
hain.
02D14DDF:Hamara
maan martaba..
Cut to
DD’s
Choker Close up
Uhda itna uncha hain
....our family status.
Cut to
DDF
Angrezi sarkar tak
hamari...khabar pahuchti
hain..
Cut to
DD’s
Choker Close up
02D15DD:Per rahte to ap
119
zameen per hain...na?
Cut to
DDF
02D16-DDF:Asmaan
mein udte panchi aur pani
mein tarte machli ke
beech mein kabhi koi
rishta nahi ho sakta...
Cut to
DD
Choker Close up.
02D17DD:Asmaan mein
base bhagwan aur zameen
pe base insaan ke beech to
rishta dekha hain na
apne?
02D18DDF:How dare
you?
Cut to
DD
Choker Close up
DD stopped his father
02D19-DD:Sh......
Cut to
DDF
Choker Close up.
02D20DD:I said..I
object..
DD moved, took shawl
back from his DDBH.
3.4.1 Dialogues Of Hindi Translation:
HTD-1: Tumne sada mujhe pareshaan kiya hain....jab tak zinda rahunga pareshaan
hota rahunga tumhare muh se ase baat sunkar tajjub hone ka koi karan nahi.
120
HTD-2:Main es pachde mein nahi padta jo dil me aye tum aur tumhari maa mil kar
karoo.
HTD-3:Bete apne naseeb mein yeh bhi likha tha.
Table 3.8: Showing the comparative Dialogue Sets
Version(Columns) Hindi 1936 1955 Film 2002 film

translation Film Version Version
Segments(Rows)
of the text Version
Interruption of None None None 02D1

DDB
Conversation with HTD3 36D2 55D1,55D2 None

DDM
Conversation with None 36D3 55D3 None

DDB
Conversation with HTD1,HTD2 36D1 55D4 02D2,02D3,02D3,

DDF 02D4,02D5,02D6,
02D7,02D8,02D9,
02D10,02D11,02D12
02D13,02D14,02D15,
02D16,02D17,02D18,
02D19,02D20
In book very short conversation took place between DD and DDF. But the
attitude of DDM was unpredictable in the book. It was very difficult to say whether
she is in a favour of DD or against.
36’s Version:
In this version, the attitude of DDF was same. DDB was present in this scene
but not present in the book. DD was scolded by everyone. He did not say a single
word. In the film the dialogue of DD regarding his marriage was not present, but the
audience speculated by the attitude of other character. Even nobody uttered a single
word regarding his marriage. Entire dialogue was in indirect way.
121
55’s Version:
In this version, everyone scolded DD separately. Here situation is little bit

similar with 36’s version. At the level of visualization, the scene is as directed as
audience can understand the situation completely. Roy did not show, DD’s asking
event but the entire situation can explain the DD’s question. Simply, he replied to his
mother only.
02’s Version:
In this version,script is different. DDF saw PR in DD’s room when PR was

returning from DD’s house. As PR, reached to her house her mother start asking a
question to PR. Discussion between DD and DDF converted into debate. DDF
continuously insulting PR and her family. DD was trying to save PR, her family and
his love. DDBH was playing a negative role in the film which was absent in the book
and previous ones.
3.5 Segment: Devdas Left for Calcutta
Abbreviation-36D-Dialouges from 1936 film version.
DDM-Devdas mother
DD-Devdas
DDB-Devdas Brother
DDBH-Devdas brother’s wife
DMD- Dharam Das
122
Dissolve from the After the rejection episode, DD At the same night, DD
previous scene, DD came into room to wore coat, was leaving the house,
turned face towards took his laggage and moved. his brother and kaki maa
DMD, who was DDM came and asked him. was trying to stop her.
standing next to him Now the dialogue started:- DD was in offensive
.Now the dialogue mood, he did not ready
started:- to listen anybody.
Now the dialogue
started:-
Seen start with the Pan
Shot.
36D1DD:Dharamdas.... 55D1DDM:Deva ......kahan ja 02D1:DDB:Ruk jao,ruk

raha hain beta? jao Dev sab khuch theek
ho jayega.,main babu jee
ke sath baat karunga per
tum haweli chod kar mat
jao.
36D2DMD:Devdas yeh 55D2DD:Calcutte ja raha hun 02D2DD:Nahi bhiya.

sab tumhari bhalaye ke maa.
liye kaha ja raha
hain.waledeain ki
farmabardari baccho ka 55D3DDM:Are sun to sahi... 02D3DDB:Nahi bhiya.
farz hain. Cut to DD
DD was coming down from the 02D4DD:Are kya
stair case bachpana laga rakha
hain Dev....babu ji ke
choti se baat per.
Devdas....Devdas...
02D5DD:Tumhare liye
choti se hogi mere liye
DD wiped his tear nahi hain. jahan saase
bhi phuch ke leni pade
nahi chaheye mujhe ase
Cut to zindagi.
DDM
Called to DD as 02D6KakiMaa:Ruk jao

Devdas...Devdas Dev...meri baat suno
Dev...
Cut to Ruk jao beta...
123
DDF
Cut to 02D7DD:Chodiye kaki
maa hat jayee.
DD
DD sat on horse cart ,whipped.
Cut to
DDM
Deva.
55D4DDM:Dharamdas...Devdas
Calcutte ja raha hain.jaja bhag
use le ke aa kahna maa bula rahi
hain.
36D3DD:Waledain.... 55D5DMD:Deva laut aao maa ji 02D8Kaki Maa:Dev

farmabardari acha bual rahi,are Devdas.oh ruko...Dev
daharmdas chalo Deva...sun.
calcatte chalo.... Cross cutting started 02D9-DDB:Meri baat
Cut to PR heard DD’s name. suno,Roko use
Bridging shot in Spontaneously, came out from Kumud,meri baat suno
Extreme Long shot. room, saw DD was going by Dev.
horse cart, DMD was calling. DDBH stop her husband
Suddenly, she came outside the when he was coming
house. DD left, in front of her. down from stair case
Cut to PR with DD to stop him.
Head to shoulder
Close Up As DD come down from
Then camera moved to Focus stair case,DMD was
trying to stop him.
Out.
She wiped her tears, moved 02D10DMD:Ruk jao
Dev...tum kahin nahi
inside the house.
jaoge..choti malkinsab
baat kar rahi hain sab
theek ho jayega.,Dev.
02D11DD:Nahi Dharam
Da tufaan ka guzar jana
hi...accha hain agar
thaher gaya to baut
nuqsaan ho jayega..hat
jaye ap.
02D12DMD:Mere baat
suno Dev.
DMD called to DDM as
124
Choti Malkin.
Cross Cutting started
02D13PRM:Dev ja raha
hain Paro.Aj tere sath
sath uske bhi imtehaan
ki ghadi hain.
Meanwhile she
quenched the lamp.
Aj yeh bhi dekh le, ke
use pyar ki parwa hain
ya pariwar ke,wo tujhe
apne sath leke jata hain
ya chod ke chala jata
hain.aur agar nahi lekar
jata to aj ke baad wahi
hoga jo teri maa ki
marzi hogi.
Cut to
DD
DD kept his suitcase in
horse cart.
02D14DMD:Meri baat
suno Dev.Main tumhe
nahi jane dunga.Dev ruk
jao.
DDM Came
02D15DDM:Dharamdas
ruko use.
02D16DD:Hat jao
Daharam Da.
Cut to
PR close up
02D17DDM:Dharam
Das rook use....
DD whipped ,after horse
sound and wheel
movement...
Cut to
PR
PR start running toward
the gate.
125
Pan shot started
Cut to PRM
Head to Shoulder
Close up
Cut to PR
With High Camera
Angle
Cut to DD’s
Moving horse cart
Cut to
PR
The face of PR was not
clear because of dust.
HTD-1 Devdas....use din boriya bistar samet kar kalkatte chala gaya.
The given table presents the comparision among the dialogue from Devdas
1936,1955 and 2002.
Version (column) 1936 film 1955 film 2002 film version

Segment (Rows) version version
DD conversation with 36D1,36D2,36 55D5 02D10,02D11, 0212,

DMD D3 02D14, 02D16
DD Conversation with None None 02D1,02D2,02D3,

brother and other 02D4,02D5,02D6,
member 02D7,02D8,02D9
DD Conversation with None 55D1,55D2,55D3 None

DDM
Conversation between None None 02D13

PRM and PR
Conversation between None 55D4,55D5 02D15,02D17

DDM and DMD.
126
In the book a single sentence explain the situation. Noting is present except a
sentence.
36’s Version:
In this version, DMD was trying to clear all the point of view of his parents.
As DD took the name of Calcutta, bridging shot was started. The running train has
been shown. DD asked DMD to come Calcutta along with him.
55’s Version:
In this version, DD’s mother asked him the reason for his preparation .A
glimpse of his father has been shown. Only DD’s mother was trying to stop him.
DMD came when DD moved from his house. DMD start calling DD, but he did not
respond even he did not notice PR ,who was standing before her house for DD.
02’s Version:
In this version, DDB and a new character Kaki maa were trying to stop DD.
DDB stop her husband to stop DD. Bhansali has been highlighted this character in
negative role. Earlier versions did not show DDB face. In this version there is a
dialogue section between PR and PRM,which is absent in book and earlier version.
3.6 Segment: Letter Scene
PR-Parvati
DD-Devdas
127
This is the Pull back Scene began with the hand Scene began with the back
shot, began with the Close up of DD. He was close up of DD. He was
Long shot, DD was holding a pen to write sitting on chair, writing
sitting on chair in something. and reading a letter.He
room. Camera moved was smoking.
Cut to
towards DD than
Head to shoulder close up of 02D1DD:Paro..us rat jaise
turned into a Close up sochne ki shakti hi khatam
of letter. DD ho gayi thi...tarazu ke
Cut to Cut to tooch pe khada tha
mein...tumhe khush
Close up Close up of dekhna chahta hu to babu
of Letter DD’s hand ji ko dhuki karta hun...aur
PR was reading a yeh to tum bhi nahi
As DD removed the paper from chahoge na Paro..
letter. letter pad.
36D1DD:Parvati main Slightly camera was
Clock Sound Began moving towards,DD’s
apne khandaan ki
rasmo riwaj ko Start - back close up to Pull back
tumhari muhabbat ke shot.
55D1DD:Parvati main jab se
liye qurbaan nahi kar yahan... aya hun mujhe sirf Nadi sagar se milne kyun
sakta majbur hun, tumhara hi khayal satata raha jati hain?
isliye tum mujhe bhul hain...mere maa baap mein se Close up of
jane ki koshish kisi ki bhi yeh kwahish nahi ke
karo.Jaisa ki maine ki. hum dono ka bhayah ho.Mujhe Pen
Parmatma tumhe koi rasta samjh nahi ata,agar Ash try
khush rakhe tumhara tumhe sukhi karna ka jatan
Devdas. karta hun to maa baap ko dukh Table clock
Cut to PR pahuchata hain..aur main yeh Paper wait
kabhi soch bhi nahi sakta.
Head to shoulder Candler
Cut to
Book
Close up DD
Letter with DD’s hand
Head to shoulder from DD’s back with High
Close up Camera Angle.
Uss raat tum apna sab khuch Suraj mukhi hamesha suraj
tarak karke mere yahan chali ki taraf kyun dekhta hain?
aye,es baat ke khayal se mujhe Alarm Sound
kitna dukh ho raha hain, lekin
Cut to
main yeh baat main tumhe bata
dena chahta hun Paro aur yeh DD
mere maan mein kabhi nahi Eyes Close up
aya ki main tumhe chahta hun.
Except eyes, DD covered
Alarm Sound his face by letter
128
Cut to table clock at 4:00AM En prashoun ka uttar
dhundne ke badlke kyun
DD stopped the alarm.
na hum es prashan ko hi
Mujhe dukh hain to yahi ke khatam kar dein.
mere,liye kya kasht
uthaoge,Koshish karke tum DD folded the letter.
mujhe bhul jana bhagwan se Cut to
mere prathana hain ki tumhe DD
eesme kamyabi ho.
Fade out of
Cut to DD
Fade in DD stopped alarm
DD Cut to PR
DD was sitting on the chair and PR was reading letter.
holding a letter. DD came out Camera was moving
the room and called Madav to towards PR.
drop the letter into post box.
Yahi soch lo ki hamare
beech pyar kabhi tha hi
nahi...hamare becch jo
khuch hua wo ek ladakpan
tha.Aj se tum mere liye
wahi padosi ki ladki aur
main tumhara dost Dev..
Someone calling to PR aye
paro jaldi se tayyar hokar
neeche aa ja tere susral
wale aye hain....
Cut to
Letter
Which was burning.
Song started (na 55D2DD:Madav....

aya...na aya maan ka 55D3Madav:ji
meet umariya beet
gayi sari....na aya 55D4DD:Yeh chitti to dal aao
mann ka meet) zara.
PR tore the letter, 55D5Madav:Bahut accha ji...

stood there for a while DD came inside the room,stood
gave money to a on window,than
person who was
singing song. PR Turn his face towards Camera.
moved. DD was arguing with his
129
conscience...
55D6DD:Yeh tumne kya kiya
Devdas ? Parvati, apne maan
apne lajja ko chod kar tumhare
paroun mein jagah mangne
chali ayi,aur tum usse kahe
sune baighar hi yahan bhaga
kar chale aye?
55D7DD:Main majboor tha

mere mata pita nahi chahte.
55D8DD:Haan lekin ltna bada
jhut kaise bol diya tumne,kaise
likh diya ki tum usse pyar nahi
karte?
55D9DD:Iske siwa aur koi
rasta bhi to nahi tha.
55D10DD:Magar tum to jante
ho. Paro, kitne hateli kitna
abhimaani ladki hain...socha
bhi hain tumhari chitti pad ke
kya hal hua hoga...
PR voice attack
Nadi mein kitna jal hain kya
itne jal se bhi mera kalank na
hatega.
DD start calling Madav very
loudly.
55D11DD:Madav....Madav..M
adav
55D12Madav:ji aya.
55D13DD:Jo chitti maine
tumhe di thi wo kahan hain?
55D14Madav:Wo abhi abhi
main post office mein chod ke
aaya.
DD entered into room
Cut to
CL
55D15CL:Are Devdas jana
nahi hain.
55D16DD:Jaane ka hi
130
bandobast kar raha hun..
55D17CL:Sara ghar baar apne
sath le chaloge.
55D18DD:Aur kispe chod ke
jaunga.
55D19CL:Are bhale admi
hamare bhi to saman yahi per
pada rahta hain hum kisper
chod ke jate hain.
55D20DD:Chunibabu ab main
yahan kabhi nahi aunga...
55D21CL:He....he...he...”hum
jiske naaz uthate hain itna bhi
hamara kar na sake wo bistar
hamare rakh na sake thoda sa
kiraya hamare bhar na sake”
aj to ase chale chalo kal agar
samjh mein aye to bistara bhi
apne sath le chalna.
55D22DD:Chunibabu main
ghar ja raha hun.
55D23CL:Phir laotege kab?
55D24DD:Ab..main yahan
kabhi nahi aunga...agar mujhe
maloom hota ki mere yahan
ane se, mujhe apna sab khuch
khona padega to main yahan
kabhi nahi aata.
55D25CL:Are bhiya, tumne
kahan kya kho diya hain?
55D26DD:Phir kabhi mile to

bataunga hann yeh rupya lo aur
jiska jo mere zimme hain wo
chukta kar dena,aur baqi sab
naukarun mein baat dena.
Devdas Left
Cut to
Bridging shot
Train was running.DD arrived
and gave suitcase to his house
guard.
131
55D27DD:Yeh lo kishan main
ata hun, accha
55D28Kishan:Achha huzur.
DD was standing before the
house of PR under the shade of
tree.
Cut to
PRF
55D29PRF:Kiski chitti thi?
55D30Postman:Parvati Devi ki
chitthi thi unhe dedi...
Cut to DD
Medium close up
Cut to
PR
Head to Shoulder Close up.
PR read letter and thinking
about DD’s sentence “yeh mere
maan mein kabhi nahi aya ki
main tumhe chahta hun”
PR heard everything,which
was happening in her house
55D31PRF:Maa.Manikpur se
Paro ke sasural wale ashirwad
dene aye hain.
PR grandmother start calling
her.
55D32Paro...Paro....are oh
Paro...
PR tore and threw the letter.
HTD1-LETTER:Dun din tak tumhari hi baat sochta raha hun...mata pita kisi ki bhi
eccha nahi hain ki hum logon ka vivah ho...tumhe sukhi karna ho to un logon ko itna
bada aghat pahuchana hoga..jo mere bas ka nahi...phir unki khilaf main nahi ja
sakta..,so esse mein sara khuch khol kar likh raha hun.Tumhara kul neecha hain,beti
bechwa ke ghar ke ladki ko lana Maa ko bilkul pasand nahi..aur ghar ke bhagal ke
rishtedari bhiunke vichar mein ghalat hain..
132
Pita ji ki baat ka to tumhe pata hi hain,us traat ki bat sochkar behad kashat ho raha
hain.Kyunki, tumhare jaise swabhimani ladki kis ghari vedna se wo kam kar sakti
thi..yeh main janta hun.Ak bat aur tumhe main bahut hi pyar karta tha ,asa kabhi mere
maan mein na hua ..Aj bhi hirday se main tumhare liye asadharan pida ka anubhav
main nahi kar pa raha hun...mahaz ese ka mujhe bada dukh raha hain...ke mere liye
tum dhukh uthoge...koshish karke tum mujhe bhul jana...aur main hirday se ashirwad
deta hun ki tum sukhi raho.Devdas.
HTD2-Jag rahe ho kya bhai Devdas?
HTD3-Hann jag raha hun...tum abhi hi laut aye?
HTD4-Devdas zara darwaza kholege?
HTD5-Khunga kyun?
HTD6-Tambhaqu ka thekana hain..
HTD7-Hain...
HTD8-Ab tak jag kaise rahe ho?
HTD9-Roz roz kya neend ati hain...
HTD10-Nahi ati...
HTD11-Devdas tum ghar se jab se aye ho tumhara mann nahi theek lagta hain khuch
kalesh hain tumhe?
HTD12-Jee thek nahi hain kyun?
HTD13-Accha Chunni babu tumhare jee mein koi kalaesh nahi hain?
HTD14-Nahi.
HTD15-Jewal mein kabhi kalesh nahi aya?
HTD16-Akhir yeh sawal kyun?
HTD17-Sunne ko bada jeechahta hain
HTD18-To aur kisi din sunana hain..
HTD19-Accha,tum puri raat kahan rahte ho?
HTD20-Yeh,kya tumhe malum nahi?
HTD21-Malum hain..magar theek malum nahi..
133
HTD22-Theek theek esse janne ke liye mere jaise hona paida...kal rat chal;oge mere
sath?
HTD23-Suna hain wahan bada anand milta hain?maan mein koi takleef nahi
rahti...sach hein?
HTD24-Bilkul sach..
HTD25-Asa hain to le chalna chalunga....
HTD26-Kyun...bhai Devdas chalna nahi hain?
HTD27-Kahan?beshak chalna hain..
HTD28- Phir yeh sab kya kar rahe ho?
HTD29-Jaane ke tayyari kar raha hun...
HTD30-Ghar bar bator kar wahan le chalna hain kya?
HTD31-Akhir rakh kiske pass jaoun?
HTD32-Apna saman main kiske pass rakh kar jata hun?sab to yahi pada rahta hain...
HTD33-Chunibabau aj main ghar ja raha hun...
HTD34-Are yeh kya kab lautoge?
HTD35-Ab main wapas nahi lautunga...
HTD36-Yeh rupaye lelo mujhper jo baqi baqaya hain wo chukkta kar dena,khuch
baach jaye to mess ke naukar naukaraneyoun ko baat dena...Main ab kabhi laut kar
kalkatte nahi aunga.
HTD37-Chunni...Shiskha,vidhaya,daan unnati jo khuch bhi hain sab such ke liye hain,

chahe jaise bhi vichar karoapna such badana hain siwaye eske aur khuch nahi.
HTD38-Tum kya ab padoge nahi?
HTD39-Nahi es padne likhe ki wajah se mera kafi nuqsaan hua hain...pahle janta hota
hota ki itna gawan kar meri itni se padae likhaye hogi to main zindagi mein kabhi
kalkatte ke surat na dekhta.
HTD40-Akhir tumhe hua kya hain?
HTD41-Agar phir mulaqat hui to sab bataunga...
HTD42-Ase bhigi billi qism ke logon ko pahchanha kathin hain.
134
HTD43-Kyun kalej mein phir chutti ho gayi?
HTD44-Haann
HTD45-Garmi abhi waise hi hain isliye phir se chutti ho gayi...
HTD46-Jab aa hi gaye ho beta to Paro ki shadi tak ruk jana...
HTD47-Accha.
Devdas 1936,1955 and 2002.
3.12: Showing the Comparative Dialogue Sets
Versions Hindi 1936 film 1955 film 2002 film

(columns) translation of version version version
Segments (Rows) the text
Letter Descriptive Present Present Present
DD’s Conscience Descriptive None 55D7,55D8, None
55D955D10
Conversation HTD2,HTD3, None 55D15,55D16, None
Between DD and HTD4,HT5, 55D17,55D18,
CL HTD6HTD7, 55D19,55D20
HTD8,HTD9 55D21,55D22
HTD10,HTD11 55D23,55D24,
HTD12,HTD13 55D25,55D26
HTD14,HTD15
HTD16,HTD17
HTD18,HTD19
HTD20,HTD21
HTD22,HTD23
HTD24,HTD25
HTD26,HTD27
HTD28,HTD29
HTD30,HTD31
HTD32,HTD33
HTD34,HTD35
HTD36,HTD37
HTD38,HTD39
HTD40,HTD41
HTD42
Conversation HTD43,HTD44 None None None
Between DD and
DDM
135
Conversation HTD45 None None None
between DDM and
DDF
Conversation HTD46,HTD47 None None None
Between DD and
PRM
Conversation None None 55D27,55D28 None
between DD and
watchman
In the book ,there is description of DD’s condition where his conscience gets
horribly pricked, to think about PR after getting letter. In the book there is physical
description about day,and conversation between CL and DD thoroughly.The book
has been given the view of CL about DD.The book presented DD as a college
student.In the book there is description about DD’s arrival at home,and his parents
attitude to saw him there.PRM invited DD for PR marriage.These incidents partially
resembles to 55’s version.In the book the letter was reading by PR,absent.
36’s Version:
In this version, DD was writing a letter in one cut,in the form of close up PR
was reading letter. The song explain philosophical condition of PR. All the incident
were absent, which were present in the book.
55’s Version:
In this version, situation was approximately same.The condition of DD is

present. Conversation with CL is present. In this version DD gave a letter to servant
called as Madav to dropped the letter. In the book DD dropped letter by himself.
Bridging shot has been used.
02’s Version:
In this version, the scene was resembling to 36’s version,DD’s reading

transform in the form of letter which was read by PR.
3.7 Segment:-River Scene
Abbreviation-36D-Dialouges from 1936 film version
136
PR-Parvati
DD-Devdas
PRM- Parvati’s Mother
OL- Old Lady
MM-Manorma
Table 3.13: Showing Screenplay/Script of the Scene
Scene began with the The scene began with Long Entire set is different here.
Long Shot, where PR Shot, DD was sitting near The plot converted from
was coming to fetch river with fishing rod in fetching water to wedding
water in brass pot hitched hand. Waiting for PR.She day of PR’s, where PRM
on her waist. Camera was coming with Picher to and her friend Manorma
moved towards DD, fetch. adorned the bride. Scene
where he was looking began with the Long Shot
Cut to
and start calling to her. .Back Close Up of PR
Deep focus on PR.DD DD front look of PRM and
came with stick ,stand Head to Shoulder Close up MM. Now the dialogue
next to her. Now started:-
dialogue started:- Cut to
PR
PR ignored him to go for
water.
Cut to DD
Continuously, DD observing
her.She fetched the Picher
and moved. DD stop her.
Now the dialogue started:-
36D1DD:Main aa gaya? 55D1DD:Thar Paro?Main aa 02D1PRM:Dekh to

Manorama aj to jaise
137
gaya hun? chand zameen per utar aya
hain Paro ke rup mein.
36D2PR:Kiss liye? 55D2PR:Kyun? 02D2MM:Aj agar Devdas

yaha hota to dekhta ki
usne kya khoya hain....
36D3DD:Kya uss din ki 55D3DD:Uss rat ki baat 02D3PRM:Bade acche

baat yaad hain Parvati? tujhe yaad nahi...kya bhag paye hain hamare
Paro ne ase roshni wali
barat chali hain Manik pur
se..
Subject Camera Angle
36D4PR:Haan...Yad hain 55D4PR:Haan wo chitti bhi 02D4MM:Apne kab dekhi

magar un bataon se jo tumne likhi thi.... kaki maa?Ap nahi janti
fayda. hamare yahan dulhan ki
maa barat nahi
dekhti.....he he he...
36D5DD:Mujhe maaf 55D5DD:Mujhe maaf kar do 02D5PRM:Hann...dekh to

karo Parvati...main us Paro maine jaldi mein likh yeh kahte hain maa ki
waqt nahi samjhta tha... diya tha.na jaane mujhe kya nazar lag jati hain,aur
ho gaya tha sochne ki taqat janto ho Manorma aj ke
bhi nahi thi mujhme.... baad koi Paro ko Paro
nahi kahega.
Cut to DD
Sirf ...Parvati...
36D6PR:Jaane do chodo 55D6PR:Chup raho main wo 02D6DD:Kaki...Maa,Paro

un bataon ko.... sab suna nahi chahti.... hain?
Reverse Angle
Shot
36D7DD:Parvati main 55D7DD:Suno parvati jaise 02D7PRM:Barat aane

jaise ho sake apne kaise bhi hoga main apne wali hain mill lo....chalo
waledain ko razi kar mata pita ko razi kar lunga. Manorma.
lunga.Sirf tum.
36D8PR:Apne waledein 55D8PR:Tumhare mata pita 02D8DD:Main aa gaya

ko razamand kar hain aur mere nahi hain,unke hun Paro.
loge.mere bhi to razi hone na hone aur na
waledain hain unki bhi to hone ki zarurat nahi hain..
razamandi nihayat zaruri
hain..
36D9DD:Beshak!magar 55D9DD:Kyun nahi hain 02D9PR:Kyun?

wo to eske khilaf lekin unhe to es baat se
138
nahi.....hain inkaar nahi hain na..
36D10PR:Tum kaise kah 5510PR:Bilkul inkaar hain 02D10DD:Main hamesha

sakte ho ki wo iske khilaf jaane do mujhe rasta hamesha ke liye tumhare
nahi hain? chodo.... pass aa gaya hun...
Cut to DD Cut to
Head to Shoulder Close up PR
of DD Choker Close up of PR
36D11DD:Nahi 5511DD:Paro kya mujhe 02D11PR:Jab barat

Paro..nahi,wo bilkul eske bilkul bhul gayi ho? chaukhat tak aa gayi tab...
khilaf nahi hain..main Cut to
unhe acchi tarah se janta
hun sirf tum. DD
36D12PR:Sirf main 5512PR:Tum jaise chachal 02D12DD:Na na Paro...

tumhare sath chee.. chit admi per mujhe koi Cut to PR
vishwas nahi mere mata pita
mere mangal kamna karte Head to Shoulder Close
hain, unhone jo kiya mere up
bhale ke liye kiya hain, tum Abhi bhi waqt hain.....
chodo.
Cut to DD
Head to Shoulder close up
Mein jaise bhi hoga apne
mata pita ko mana lunga
mein kah dunga unse.
PR
interuppted
36D13DD:Parvati kya 5513DD:Itna ....ahankaar.. 02D13PR:Tumhare mata

tum mujhe bilkul bhul pita hain...
Cut to
gayi ho? Cut to
PR
Cut to PR PR
Head to Shoulder Close Head to Shoulder Close
up up
Of PR To mere nahi tumhare
pariwar ki izzat hain to
hamari nahi.
PR head to shoulder close
Up
Convert into
Choker closeup
Tumhare mata pita
139
zamindaar to mere khuch
bhi nahi...
Cut to DD
Chahe jitna bhi neech kul
ke log ho hum beti bechne
wale...par kabhi kisi ko
dhokha nahi dete...
36D14PR:Bhul kyun 5514PR:Kyun na ho,tum 02D14DD:Maine tumhe

jaungi bachpan se jiske ahankaar kar sakte ho main dhoka nahi diya hain Paro.
sath pervarish payi hain nahi kar sakte ...tumme rup
aur jisse hamesha darti hain gunn nahi mujhme rup
rahi hun...use kaise bhul bhi hain aur gunn bhi
sakti hun...Kya tum hain...tum log bade admi ho
mujhe darane ke liye aye to mere mata pita bhi bheek
ho Devdas?.. nahi mangte..
Cut to DD Cut to DD
Head to shoulder Head to Shoulder
Close up of DD Close up of DD
36D15DD:To kya itni 5515-DD:Paro... 02D15PR:Phir kyun chod

muddt tum mujhse sirf kar gaye the? aur wo chitti
Cut to PR
dati rahi ho Parvati?aur ?
khuch nahi? Head to shoulder close up
of PR
36D16PR:Nahi ...aur 5516PR:Tum soch rahe hoge 02D16DD:Paro tum to

khuch nahi... ki mere badnami karoge janti ho ki tumhara Dev
...kar lo koi bhi kaam soch samjh
kar nahi karta hain....wo
Cut to
mere na samjhi thi ...
DD
Cut to
PR
Choker Close up
36D17DD:Tum sach kah 5517DD:Main tumhari 02D17PR:He....he...ase

rahi ho Parvati? badnami karunga ....wo kaise na samjhi ki jab
kaise? chacha aa karkangan
pehna gaye...jab chaha ki
chitti likh di ki hamare
beech pyar nahi..na
samjhi..jab chaha aakar
khade ho gaye...Paro main
hamesha ......
140
Somebody called PR to
inform that Barart has
been arrived...
Paro... barat aa gayi hain
teri...
36D18PR:Hann.sach kah 5518PR:Uss raat main 02D18PR:Hamare jane ka

rahi hun...tum per zara tumhare pass akele gayi thi waqt aa chukka hain...
bharosa nahi hain...jisse na yeh baat char kut pahela Cut to
meri shadi ho rahi hain do....tumhare mann ko
wo dhaanwan hain shanty mil jayegi... DD
budhimaan hain...mere
maa baap ko mere khushi
ka khayal hain,wo mera
hath tum jaise nikaame
ke hath mein nahi den
sakte...
36D19DD:Itna gurur... 55D19DD:Suno...Parvati,yeh 02D19DD:Main es shadi

rup tumhara itna accha nahi ko nahi manata.
hain...
Cut to
PR Chokar Close up
Use ahankaar bahut bad jata
hain...
Cut to
Head to shoulder close up
Janti ho na chand pe bhi rup
sewaya hain...esse liye uske
chere pe dhag hain aao 02D20-PR:Kya farq padta
tumhare chere pe asa hi ek hain jab...main manti
dhaga bana dun.... hun..
DD hit PR by fishing rod on
her forehead
Cut to
PR
Fell on ground
36D20PR:Kyun 5520PR:Devdas... 02D21DD:Agar asa hain

nahi?tum ghurur kar to main ja ke sabke samne
Cut to DD
sakte ho main nahi kar kah dunga ..
sakti tumhare pass surat DD crushed,his fishing rod
Cut to PR
hain serat nahi mere pass into tiny bits and threw the
suirat bhi hain aur seerat pieces on the ground.DD PR interupped
bhi hain ..tum bade admi tore off strip of cotton from
ho lekin mera baap bhi to his kurta and took water
141
bhikari nahi aur chand from PR’s pitcher and start
roz baad main bhi daulat to bandaged..
mand kahlaungi...tum
soch rahe ho ki tum
mujhe barbaad kar sakte
ho..han kar sakte ho jaiye
jo din mein aye kijeye.... 02D22 PR:Raat ke du baje
tumhare kamre mein
...tumse akele milne aye
thi...badnami pahlana
chahte ho.
Cut to
DD
36D21DD:Tumhe 55D21PR:Yeh tumne ...kya 02D23DD:Main

barbaad kar sakta hun kiya Devdas? Pahlaunga badnami ..main
kaise? tum asa soch bhi kaise
sakte ho..Paro
Agar phir se tumne ase
baat kahi ....
PR interrupted
36D22PR:Mujhpar jhuti 55D22DD:Daro nahi 02D24PR:Kya karoge

tohmat laga sakte Paro,yeh zakham to jald hi maroge mujhe..bachpan se
ho,mujhe ruswa kar sakte bhar jayega sirf ek dhag rah lekar aj tak apna adhikar
ho... jayega.agar kabhi koi phuche samjhta aye ho mujheper.
to jhut muth koi bat kah dena aur jab maine apna
nahi to sach hi bata dena. adhikar maanga to muh
phear liya.
36D23DD:Ruswa??... 55D23PR:Lekin Devdas? 02D25DD:Bas....bas

Paro...
Itna ghurur achha nahi...
Cut to PR
36D24-PR:Haan yahi 55D24DD:Khuch nahi Paro 02D26PR:Kyun na karun

mauqa hain mujhe es akhri judai ke din yad ghurur...tumhare pass hain
badnam karne ka us din rakhne ke liye. Sirf ek hi kya Dev...sirf rup aur
main raat ko akeli nishaan bana diya hain taki daulat. Mere pass gun bhi
tumhare yahan aye chand ka mukhta agar kabhi hain rup bhi hain,aur aj ke
thi,,jao yeh khabar logon ayene mein dekho to. baad daulat bhi.
mein phaelo mere ruswai Cut to Subjective Camera
hogi aur tumhara kaleja capture
tanda hoga. PR
Choker Close up
Cut to DD Shayad tumhe mere yaad aa
jayein...main murkh mere PR
tera shayad janam janam ka Aj se tumhari hamari
142
yahi rishta hain.per tum ese barabri hogi Dev, agar log
bhul jao.Paro tum to janti hi tumhe zamindaar kahenge
ho main naadan ho soch to main bhi thakuraein
samjh kar ko bhi baat nahi sunkar itraungi.
kar sakta.
DD
Stood up
Tumne Accha hi kiya Paro
shayad mere sath rah kar tum
kabhi sukh na pati...
Camera captured DD,from
very Close Half Head to
Shoulder ,and at the High
Camera Angle capture PR
Who was sitting on ground...
Cut to
DD
Cut to
Sky in which half moon
Cover under cloud. Two
birds were flying.
Cut to
Back Half Close up of DD
and
Full back Close up of PR
As DD turned
DD came and turn PR’s
Cut to face by his hand.
Deep Focus In
Head to shoulder Close up of 02D27-DD:Itna
DD gurur....Itna ghuru to
DD was looking upward. chand ko bhi nahi hain...
Cut to PR
Choker Close up
36D25DD:Tum per jhuti 02D28PR:Kaise karta wo

tohmat laga kar apna ghurur...us pe dhag jo
kaleja thanda hain..
karunga?.mein? suno DD took necklace from
Parvati… PR hand. And hit her by
DD snached and threw necklace.
her Pitcher.
143
Zayada khubsurti acchi Cut to PR
nahi hain esse insaan Fell on the floor, kept her
magroor ho jata hain, hand on her forehead.
dekho to chand pe bhi
daagh hain aao tumhare Cut to
chere pe bhi ek daagh ka DD
hona zaruri hain.
DD hit PR on her
forehead by stick.
36D26PR:uh.... 02D29PR:Yeh tumne kya

kiya Dev?
36D27DD:Che.....ro mat 02D30DD:Us chand ki

Parvati aj akhri mulaqat tarah tumhare chere pe
ke waqt apni nishaniye daagh laga diya...yahi
daagh tumhare chere pe hamare pyar ki nishani
diye jata hun.kabhi yeh hain.Paro.
khubsurat chehra ayene
mein dekhogi to.
DD broke the pearl
Cut to PR necklace.
Fell on the ground. Camera moved to Dutch
As PR saw her blood on tilt.
her fingers,she said- DD kept PR’s head on his
hand, touched injured
part. DD scattered the
blood from forehead to
hair, in the presence of
moon.
Cut to
PR close up
With DD’s hand
36D28PR:Yeh tumne
kya kiya Devdas? Kal
meri shadi hain.
Cut to
Focus out.
Camera captured picture
from particular distance.
Cut to
Focus in
Head to Shoulder
144
Close up of
DD and PR.
36D29PR:Naraz ho gaye
Devdas.kya mujhe maaf
nahi kar sakte ho?
36D30DD:Maaf..Devdas
tumse kabhi naraz nahi
ho sakta Paru...kya tum
mujhe maaf kar sakti ho?
Cut to
36D31OL:Jawan- jawan
ladki do din baad shadi
ho jayegi tumne kyun
jaane diya?kya tum
sathiya gayi ho? koi
sunaga to kya kahega?
36D32PRM:Sunega kaun
agar tum kisi se kahti na
phiro.
36D33OL:Sabse kahte
phirna hi mera kaam
hain.Nand Lal ke yahan
itna bada kissa ho gaya
maine tumhare siwa aur
bhi kisis se kaha...hain...
36D34PM:Kipi...
36D35OL:Kya hain?
36D36PM:Dekh to
Cut to PR
36D37PM:Haie...haie
yeh ghazab hua...yeh
chut kaise lagi?
36D38PR:Gir padi thi

pathar se chut lag gayi
thi...
145
HTD-1: Paro sun jao...
HTD-2:Dev...bhiya mujhse khuch kahan tha?...
HTD-3:Hun batho...
HTD-4:Suno
HTD-5:Main aa gaya...Paro...
HTD-6:Kyun?
HTD-7:Tumne likha tha yad nahi?
HTD-8: Nahi...
HTD-9: Paru us raat ki baat yaad nahi aati?
HTD-10:Ati hain magar uska kya fayda?..
HTD-11:Mujhe...maaf kar do Paru tab main itna nahi samjhta tha...
HTD-12:Chup..raho wo batein mujhe bhuli nahi lagti...
HTD-13:Jaise bhi ho maine apne mata pita ko razi kar lunga,kewal tum...
HTD-14:Tumhare mata pita hain ...mere nahi?unki rai ke zarurat nahi
HTD-15:Kyun nahi Paru?Magar unki ashahmati nahi hain kewal tum...
HTD-16:Kaise jana ki unki asahmati nahi hain....bilkul asahmat hain...
HTD-17:Nahi Paru nahi ....unki zara bhi asahmati nahi hain...kewal tum...
HTD-18:Sirf main tumhare sath chee..!
HTD-19:Parvati mujhe bhul gayi ho?
HTD-20: Nahi bhulne kyun lagi? bachpan se tumhe dekti aye hun ....hosh aane tak
darti aye hun isliye kya tum mujhe daar dekhane aye ho?Lekin mujhe hi kya tum nahi
pahchante?
HTD-21:Mujhse sada darti hi aye ho aur khuch nahi?
HTD-22:Nahi aur khuch nahi..
HTD-23:Sach kah rahi ho?
146
HTD-24:Hann...sach kah rahi hun tumme meri khuch bhi astha nahi Main jinke pass
ja rahi hun wo dhaanwan hain bhudhimaan hain, shant aur sthir hain,dharmik hain
mere mata pita mera bhala chahte hain isiliye ve tum jaise sagyan, chanchalchit,
drudaadmi, ke hathon muje hargiz na saupenge mujhe jaane do.
HTD-25:Itna ahankar!
HTD-26:Kyun na ho..tum kar sakte ho main nahi..kar sakti...tumhare pass rup

hain...gunn nahi mere pass rup bhi hain aur gunn bhi..tum bade admi ho magar mere
mata pita bhi bheek nahi magte phirte,phir eske baad main bhi kisi prakar tumse heen
nahi rahungi pta hain?tum sochte ho ki tum mujhe nuqsaan pahuchaoge.zayada na
sahi thoda bahut to pahucha sakte ho...main janti hun...khair pahuchana es waqt mera
rasta chodo.
HTD-27:Nuqsaan kaise pahuchaunga?
HTD-28:Baadnaam karke ,karo jakar.
HTD-29:Main baadnaam karunga.?
HTD-30:Jao..aur mein mere naam kalank laga do ki uss raat main akele tumhare pass
gayi thi....tamam gaoun mein phela do wo baat...badi santwana milegi maan ko.
HTD-31:Jhuta kalank laga ke mein santwana paunga....suno Parvati itna ruup bhi
rakhna theek nahi...dekhti nahi chand itna khubsurat hain phir bhi usme kalank ka
kala teeka hain...kamal kaisa safed hota hain isliye uspe kala bhawra baitha rahta
hain...aao tumhare per bhi kalank ki khuch nishani de dun...
HTD-32:Dev Bhiya....yeh kya kiya?
HTD-33:Khuch khass nahi zara sa kat gaya hain...bas...
HTD-34:Dev Bhiya....
HTD-35:Dar kya hain Paru yeh chout jald hi theek ho jayegi, sirf daagh rah
jayega.kabhi koi phuche tojhut kah dena ya sach sach btakar apna kalank ap hi zahir
karna.
HTD-36:Are meri Maa
HTD-37:Chee waise nahi karte,Paru chand ke tukde sa muh kabhi -kabhi ayene mein
dekhogi.
147
HTD-38:Dev Bhiya...
HTD-39:Kya hain re Paru... kisi se kahan nahi
HTD-40:Che.tu kya ghair hain Paru? yaad nahi sharat karne per bachpan mein kitni
baar tere kaan mal diye the.
HTD-41:Mujhe maaf karo.
HTD-42:Yeh mujhe kahna nahi padega.sach hi bata kya tu mujhe bilkul bhul gayi
Paru? Main kab tum per khafa hua tha? kab tujhe maaf nahi kiya?
HTD-43:Dev bhiya....
HTD-44:Parvati...tum to janti ho main zayada bol nahi sakta..khub soch samjh kar
kaam bhi nahi kar sakta...jab jo jee mein ata hain wahi karta hun..tumne accha hi kiya
mere pass to tum sukhi na rahti...Lekin tumhare Dev bhiya ko aseem such awash
milta.
Devdas 1936,1955 and 2002.
Version Hindi translation 1936 film 1955 film 2002 film

(column) of the text version version version
Segment
(Rows)

between 02D3,02D4
MM and
02D5
PRM
Conversation HTD1,HTD2,HT 36D1,36D2,36D3 55D1,55D2,55D3,55 02D8,02D9,02D1

between DD D3,HTD4,HTD5, ,36D4,36D5,36D D4,55D5,55D6,55D7, 0,02D11,02D12,
and PR HTD6,HTD7,HT 6,36D7,36D8,36 55D8,55D9,55D10,5 02D13,02D14,02
D8,HTD9HTD10, D9,36D10,36D11 5D11,55D12,55D13, D15,02D16,02D1
HTD11,HTD12H ,36D12,36D13,36 55D14,55D15,55D16 7,02D18,02D19,
TD13,HTD14,HT D14,36D15,36D1 ,55D17,55D18,55D1 02D20,02D21,02
D15HTD16,HTD 6,36D17,36D18,3 9,55D20,5521,55D22 D22,02D23,02D2
17,HTD18,HTD1 6D19,36D20,36D ,55D23,55D24 4,02D25,02D26,
9,HTD20,HTD21 21,36D22,36D23, 02D27,02D28,02
HTD22,HTD23H 36D24,36D25,36 D29,02D30
TD24, HTD25, D26,36D27,36D2
HTD26,HTD27, 8,36D29,36D30,
HTD28HTD29,
HTD30,HTD31
HTD32,HTD33,H
TD34HTD35,HT
148
D36,HTD37HTD
38,HTD39,HTD4
0HTD41,HTD42,
HTD43,HTD44
Conversation None 36D31,36D32,36 None None

between OL D33,36D34,36D3
and PRM 5,36D36

between DD
and PRM
Conversation None 36D37,36D38 None None

between PR
and PRM
In the book, there are physical description of after noon. The situation from
book to films are same different at cinematic technique. In 1936 version, the plot is
different, the conversation took place between PR and DD on the way of river not at
the site of the river. In 1955 the incident placed at the site of the river. In 2002
complete set is change. The incident took place on PR’s wedding day in her house
instead of river site. After hitting PR, DD was trying to leave but PR was start crying,
so DD came back, so this incident was not present in three films.
36’s Version:
In this version, the conversation between DD and PR took place before the
main set, which has been discussed in the book. In this version PR was going to fetch
water, meanwhile DD called her. In this version the banded event was not present.DD
was trying to escape from the place. This is the addition event of it ,which is not
present in book and the later versions. In this version PRM was wondering with a old
lady, nearby the set where they saw PR get injured. At tha same set PRM asked the
reason for her injury.
55’s Version:
In 1955, plot ,set dialogue and were same.
149
02’s Version:
This version is different from the previous ones. Scene occurred on before PR
wedding time,Where PRM and MM were adorning PR. Dialogues were changed with
The fishing rod converted into Pearl necklace .In the book when sDD hit the PR, he
banded. In 36 version this incident was absent,55 version was present. In 02 version,
after hitting PR, DD scattered blood from forehead to hair before the moon.
Indirectly DD fulfill the custom of wedding, where a groom put sindoor into bride
hair.
3.8 Segment: Brothel house Scene1
Abbreviation
HTD-Dialouge from the Hindi translation of the text
CM-Chandramukhi
CL-Chunilal
DD-Devdas
CC-Courtesan customer
Table 3.15: Showing the Screenplay /Script of the Scene
DEVDAS 1936 DEVDAS 1955 DEVDAS 2002
Dissolve from horse cart to Conversation took place in Discussion on regarding

CM’s house, meanwhile the house where CL and DD’s sadness took place
CL asking the reason of DD lived in Calcutta. DD in CL’s house in a
DD’s sadness suddenly introgated about where CL metaphorical way, where
DD interrogated about CL visited. CL explained DD DD asked the reason of
happiness and place where not to go there but with the CL happiness, place
he visited every night. DD wish of DD both of them where he visited every
considered that place only came to brothel house. Roy night. CL explained for
for pleasure where people used a cross cutting here. the same. Horse carriage
150
forget every mourn PR’s father asked her to crossed the courtesean
episodes of their life for enter into the palanquin, in street.DD’s attitude
that DD join CL. As DD parallel set CL asked DD to marked the idea of their
reached to brothel house came outside the horse cart presence.
get hesitated to keep step for brothel. DD astonished Extreme long shot turned
on upstair case. CL turned after scrutinizing the life of to
and hold DD’s hand to go brothel i.e. drunkers, sound
inside the brothel house. of songs. As DD reched Voice over.
When DD reached inside suddenly a drunker came Now the dialogue started:-
the CM’s cabin, prostitute unintentionally to hit him.
stop dancing, everyone CL hold DD’s hand to kept
gazed to DD.Now the a step on upstair case. CL
dialogue started. Scene was familiar with everyone,
began with the Long Shot. he start talking a girl who
was standing outside the
prostitute cabin, meanwhile
drunker came and touched
DD’s shoulder. DD saw
him very surprisingly. At
the end of the conversation,
again CL hold DD’s hand
to enter inside the cabin. 02D1-DD:Yeh kya
CM was dancing, all the Chunibabu,yeh ap mujhe
customers were enjoying. kahan le aye?
DD was in very offensive
mood within a couple of
minutes DD addressed CL.
Long shot Scene. Now the
dialogue started:
36D1DD:Chunilal tum 55D1DD:Yeh kis manhus 02D2CL:Is ilaqe ko

mujhe ase behuda jagah jagah le aye ho.... khushiyou ka ghat kahte
kyun le aye? hain.
CM stop dancing.
Close up Cut to
Of everyone CM
Ghin aa rahi hain mujhe.
Cut to DD
Head to Shoulder
Close up of DD
Cut to CM
Head to Shoulder
Close up of CM
Cut to
151
Courtesan Customers,
They were asking about
DD.
36D2CL:He,he,he...wo aa 55D2CC1:Yeh kaun hain? 02D3DD:Mujhe to yeh

gaye.. shamshan ghat nazar ata
hain.
Talked to a courtesan
customer indirectly to
leave the cabin.
36D3CC:Kaun? 55D3CC2:Kabab mein 02D4CL:Ha...ha..ha apna

haddi. apna nazariyan hain
bondhu koi ese gham ki
qabar kahta hain to koi
khushiyoun ki tijori, ab ap
us elaqe mein ho Dev
babu jahan raat mein din
hota hain.
CL was inside the
courtesan cabin and talked
to the courtesan head. CL
was talking about DD to
courtesan.
36D4CL:Bhai wahi jo 55D4CC1:Hey....hey...hey 02D5CL:Tamanacha...bhe

tumse kaha tha? ji..dekho hum kisse laye
Cut to
hain mahfil mein....
CL and DD
02D6Coutesean head-
To balance the situation, Kisse laye ho apne sath?
CL recite the couplet for
CM.
36D5CC:Kab? 55D5CL:Hay Hay tum 02D7CL:Hamare mitr

kyun ruk gayi “Tum ruki hain, London mein sath
kya dil hamara ruk gaya pada karte the....are kahan
,gham ke mare asma bhi kho gaye Dev babu aao
jhuk gaya”. nayeh bhi to hamari ek
DD wanted to leave the mahfil hainaao bandhu are
place, CL hold his hand and aao.
said. Cut to
55D6CL:Ae, Devdas tum DD
kahan chale....ghabrane ki Head to Shoulder Close
kya baat hain batheo. up of
CL came to sit next to tabla DD
player, said.
Cut to
Hann to shuru jao ustad.
Aromatic Smoke then
Song started “aage tere
152
marzi oh more saiya aage CM
tere marzi oh balma.” Cut to
After the song everyone Subjective Camera Angle.
gave money to CM. CL
whispered to a courtesean CM hold a perfumed
coustomer, as per wish of bottle in one hand ,and
CL he called everyone to took a drop of it into
leave. Everyone left the another hand’s finger tip,
cabin, except one because put it on her neck.
of intoxication he confused Meanwhile, she looked at
to choose the right mirror where DD’s image
direction, entered inside the reflected.
cabin. CL helped him to go Cut to
outside the courtesean
cabin. Arometic Smoke then
Head to Shoulder
Close up of
DD
When CM turned to look
DD,she turned her hair to
back,suddenly,mirror
broke by hair force. In the
pices of mirror DD’s
image reflected. CM back
image reflected above
DD’s image.After
greet,CM said
36D6CL:Dekha bhul gaya. 55D7CL:Ap kahan chaley? 02D8CM:Chandramukhi.
36D7CC:He,hehehe. 55D8CC:Ji main bahar ja 02D9DD:Apke ghar ka

rah hun. aena hamari surat na dekh
saka nuqsan ho gaya apka.
36D8CL:Accha aao bahar 55D9CL:Bahar idhar se 02D10CM:Har dukh aane

aao. jaeye. wali such ki chitthi hoti
hain Dev babu,aur har
nuqsaan hone wale fayeda
ka ishara
Cut to CL
02D11-CL:Wah
Chandramukhi wah aj to
apki baatein bhi
angdaeyan le rahi
hain,wah wah wah..
Another courtesan came
to give kole to CM.
153
36D9CC:Haan.bahar 55D10CC:Kyun? idhar 02D12Other
kyun? darwaza nahi hain? courtesean:Yeh kajal ka
teeka bhi laga lijeye Apa
kahin ajnabi ki nazar na
lag jaye..he he..
36D10CL:Btata hun 55D11CL:Nahi idhar nahi 02D13CM:He....he...he

tumko. hain. he..
36D11CC:Samajh gaya 55D12CC:Hann to chalo. 02D14DD:He....he...he...

chalo bhai jaise ja ke marzi
sai.
As CC left the cabin DD
CC gazed at DD from wanted to leave, by making
Head to toe....then said an excuse again. CL forced
DD to sit in the cabin.
36D12CC:Khub,baqul 55D13CL:Tum ruko main 02D15CM:Badi hansi aa

shaqse khub maze cigarette leke ata hun. rahi hain apko...
mein......he,he,hehehe. CL pantomimed CM to talk Cut to
Pulled CL with stick and DD. Sound of song
said. DD
frequently audible(ghazab
to yeh hain ki abtak unhe Head to Shoulder Close
khabar bhi nahi) up of DD
Cut to
DD
of
DD
Cut to
CM
of
CM
CM came and sat next to
DD. She was tyring to
come closer to DD.
Suddenly, DD left the
place.
36D13CC:Aur bhai 55D14DD:Kaisebatamez 02D16DD:Han..jab

Chunilal.wallah. tumhara ladki hain? bazaar mein bathne wali
bhi dam ghanimat… aurat nazar na lage isliye
Cut to
kajal ka teeka lagati
Called to every customer CM hain...jabki wo chahti hain
154
Aao bhai rafuchakkar ho Head to Shoulder Close up sabki nazar usper teeki
jayein. of rahein.
Back close up of DD CM
All the courtesean and Little bit High Camera CM shaken the perfumed
coustmer left the cabin.... Angle bottle,took a drop
perfume on finger tip,put
CL took a deep breath and Cut to
it on DD’s neck side and
said.... DD said
36D14CL:Bala Tali.... 55D15DD:Rupaye leti ho 02D17CM:Yun nazar ki

na? baat ki aur dil chura gaye
GOD RIDDANCE
hum to samjhe the but ap
Cut to
In Long Shot Camera to dhadkan suna gaye...
properly capture to every CM
character. Camera Head to shoulder close up
captured DD’s entire body, of
then in the same manner
camera moved towards the CM
character for Deep focus.
DD was sitting on the
carpet with CL and
CM.CL was giggling.
36D15DD:Zaleel tawaif. 55D16CM:Apke charno ki 02D18CL:Hun..dekha

After this reaction CL was dhul jab mere ghar. Dev babu humne kaha tha
na ki cha se
trying to pretend Cut to
chandramukhi hain,ch se
something.. DD chamatkar bhi.
Head to Shouder Close up
36D16CL:Hann dekha, 55D17DD:Charno ki baat 02D19CM:Cha se

main bhul hi aya. main nahi karta, rupaye ki baat Chunibabu bhi to hote
abhi ata hun. karta hun,rupaye leti ho na. hain.
CL left the room and CM
bumped up to DD. As CM moved
unintentionally her duppta
droped on DD’s shoulder,
DD touched duppta and
left.
36D17DD:Tum rupiya 55D18CM:Ji,leti kyun nahi 02D20CL:uffff..hun aye

chahati ho? na lun to hamara kaise.. cha se chamatkar,cha se
Chandramukhi dekha
DD interupped
bana gayi na wo cha se
kya kahte hain...cha se
cha se, ha ha ha ha........
155
Start song “kahe ched
muhe..garwa kahe ched
ched muhe....”
After Song
Cut to
DD
Close up
Cut to
CL
36D18CM:Yeh meri 55D19DD:uhh..Bas ..bas ab 02D21CL:Wah bhalo

khush nasabi hain ki ap main aur sunna nahi chahta. bhalo...Kahan jar he ho
mere yahan tashreef laye? DD threw the wallet on the bandho?Abhi to ja se
floor, left the courtesean jawan hui hain mahfil..aur
ap ja se ja rahe ho...
cabin.
Cut to
In lividity.
DD
Cut to
From Back Head to
DD’s wallet
Shoulder
CM, picked up the wallet
Close up of
from the floor. DD took
down the stair way. CL DD with Half face
arrived and called him but
he did not respond.Other
girls who were peering
from balconoy mocked
upon CL,moved to CM
cabin.
36D19DD:Tashreef 55D20CL:Chala gaya 02D22DD:Mujse bahut

ashreef chodo,tum rupiya Devdas? badi ghalti ho gayi hain
chahti ho na? Chunibabu, mujhe Paro
ko wo chitti nahi likhni
chaheye thi.main Paro ke
pass jana chahta hun..
36D20CM:Rupeya na loun 55D21CM:Hun Chunibabu Cut to CL

to guzara kaise ho? yeh dekho, yeh unhe lauta 02D23CL:Are kaun Pa se
dena. Paro are ruko ruko hum
bhi aate hain Pa se pan
kha ke..
Cut to CM
36D21DD:Mujhe tashreeh 55D22CL:Main kyun lauta 02D24CM:Yun mahfil se

ki zarurat nahi... dun wo apni marzi se de jaana beadabe hoti hain.
156
DD threw his wallet gaya hain na.
towards CM and moved.
36D22CM:Kya ap ja 55D23CM:Apni marzi se 02D25DD:Aur yun mahfil

rahein hain? nahi hum rupaye leti haan mein mardoun ke samne
na isliyenaraz hokar de nacchna besharmi.
Cut to
gaye hain.Chunibabau tum
Outside the brothel house mujhpar ek ahsaan karoge?
where CL was busy with CM touched to stop DD.
drunkers. DD removed her hand.
Cut to DD Close up
Cut to CM
Close up
36D23CL:Kyun kaha 55D24CL:Kya? 02D26DD:Tum aurat ho

chale? Chandramukhi pahchano
Apne ap ko,aurat ma hoti
hain, behan hoti hain,patni
hoti hain,dost hoti hain
aur jab wo khuch nahi
hoti to Tawaif hoti
hain....tum khuch aur ban
sakti ho Chandramukhi..
DD gave wallet to CM.
36D24DD:Ghar.. 55D25CM:Unhe phir kisi Hamare beech guzare

din yahan la sakte ho? waqt ki qimat le lo.
DD left.
Cointinously, CM eyes
follow him. CL called
DD.
36D25CL:Itni jaldi magar 55D26CL:Magar wo ase 02D27CL:Are Are

bheye zara thahar jao jagan par kabhi aya nahi bandhu,Are dekha,humne
,main jaunga aur fauran hain aur main samjhta hun R se rukne ko kaha wo to
laut aunga. ki wo ayega bhi nahi magar R se rawana ho gaye.
tum bulana kyun chahti ho? Adreesed to CM.
36D26DD:Hun....tum baad Cut to 02D28CL:Kahan kho

mein aana... gaye ho?
CM
CL entered inside the Head to Shoulder Close up
brothel house. Camera of
focused on drunkers,who
were fighting with each CM
other and capturued a back 55D27-CM:Yunhi......unhe
close up of CL on upstair phir ek baar dekhna chahti
case. Drunkers were
157
uttering words like:Bhag hun...
gaya,gaya.....both of them Cut to
fallen outside the brothel
house. CL
Cut to Head to shoulder close up
of CL
CM’s house where CL was
peeping from the 55D28CL:Hey...hey....gidki
balconoy. CM was khakar pyar ho gaya hain....
propped with door side
holding a DD’s wallet in
deep thought. As CL
entered into the room CM
enquired about DD.
36D27CM:Apke dost 55D29CM:Tum nahi jante 02D29CM:Kitni beqarari

chale gaye? Chunibabu..yeh pahle admi hain un ankuon mein?
hain jo bina matlabpaise
dekar chala gaya hain.nahi
samjhe.
36D28CL:Haan.....chala 55D30CL:Samjhta hun 02D30CL:Kahin unki

gaya.. noto ka lalach karne wali aankoun ke beqarari ne
Again CL trying to go koi aur hain tum tumhara qarar to nahi lut
nahi....magar asli baat kya liya.
inside the cabin.CM
hain?
interupped to pointing out Cut to
the wallet. CM blushed and reply. CM Close up
36D29CM:Yehdekho..agar 55D31CM:Kya phuchte ho 02D31CM:Kya tawaif ko

munasib samjho to yeh khuch mouh sa ho gaya dil nahi hota,kya use
unhe lauta do.. hain. muhabbat karne ka
adhikar nahi hota,
Chunibabu.
Reverse Shot.
36D30CL:Bhy,wah wah... 55D32CL:Bas panch 02D32CL:Beshak hota

meenat mein....... “Lage hain..jahan da se dil hota
Aye khushi se wo tumhe
more naina unse...” hain wahan da se dilbar
de gaya hain rakh lo...
bhi to hota hain.
CL moved into the cabin
removed his shoes,aside
the pillow and sit,CM
came to sit nearby CL.CL
took a liquour bottle turn
liquour into a glass
meanwhile CM introgated
about DD again...
36D31CM:Accha,Chunni 55D33CM:Mazaq chodo 02D33CM:To ek ahsaan
158
kya unke dimagh mein unhe zaroor lana...laoge na. karoge humper?
khuch futoor hain..
36D32CL:Bilkulnahi, 55D34CL:Kya maloom?... 02D34CL:Kaho?

chand roz se khuch
pareshaan sa nazar ata
hain.
CL was making a drink
also.
36D33-CM:Tum khuch
jante ho wo kyun
pareshaan hain hain?
36D34CL: Yeh to main 55D35CM:Tumhe mere sir 02D35CM:Sirf ek baar

nahi janta..lekin ho sakta ke qasam . unhe phir se yahan le
hain ki uske makan se koi aaoge?
ase waise khabar aye ho.
CL was start drinking and
CM was rotating DD’s
wallet.
36D35CM:To phir tum 55D36CL:Yeh baat hain to 02D36CL:Hun...wada to

unhe yahan kyun le aye? zaroor koshish karunga nahi karta...magar koshish
hun. karunga sirf tumhare liye.
36D36CL:Bhae yeh tumne

acchi kahi kya wo koi
dhud pita baccha tha jise
main zabardasti yahan utha
laya...
36D37CM:Achha chunni
ek kaam karoge?
36D38CL:Kya?
36D39CM: Unhe Ek baar

phir yahan la sakte ho?
36D40CL:Uhun....yeh
shayad na ho sake ....esliye
na to wo kabhi ase jagah
gaya hain...aur na ab
shayad yahan ave...
36D41CM:Chunni jis
tarah bhi ho sake unh ek
bar yahan zarur lao...
159
36D42CL:Bhai wah wah,
wo ghudkiyan dein tum
muhabbat karo....
36D43CM:Kyun na ho
dekho na wok is tarah se
daulat uda rahe hain...
36D44CL:Uhun...tum ase
aurat nahi ho,banti kyun
hosach sach batao...
36D4CM:Sach phucho to
unse khuch uns ho gaya
hain...
36D46CL:Itni jaidi bukhar

chad gaya hai.
36D47CM:Mazaq chod do
jis tarah ho sake unhe eek
baar zarur lao...
36D48CL:Accha koshish
ki jayegi.
36D49CM:Koshish
woshish nahi tumhe mere
sear ke qasam unhe ek
martaba zaroor lao...
36D50CL:Baap se baap
launga ab ek martaba kya
hazar martaba launga,sau
martaba launga, bees
martaba launga.
3.8.1 Dialogues from Hindi Translation:
HTD1-Chunibabu kis narak mein leaye ho?
HTD2-Chalo chalo andar chalo...
HTD3-Kaise asabhay aur dekhne mein kitni badhhi...
HTD4-Tum rupaye leti ho?
HTD5-Apke qadmou ki dhul jab padi to?
160
HTD6-Qadmoun ki dhul jaane do rupaye leti ho na?
HTD7-Leti hun na bina liye apna dhanda kaise chale?
HTD8-Rahne bhi do...main utna bhi nahi sunna chahta...
HTD9-Kahan chal diye?
HTD10-Dere per..
HTD11-Ase bhi kya ?
HTD12-Chalo main bhi calun...
HTD13-Chalo
HTD14-Zara ruko main upar hokar aun....
HTD15-Apke dost chale gaye?
HTD16-Haan...
HTD17-Yeh dekhiye,sahi samajheye to ese jakar lauta dijiye....
HTD18-Wo apni marzi se de gaya hain...main kyun le jaoun.
HTD19-Marzi se nahi diya hain chuki hum rupaye liya karti hain , isliye ghusse mein
aakar de gaye hain,accha yeh to bataye Chunni babu yeh pagal to nahi hain.
HTD20-Hargiz nahi,lekin idhar kae dino se shayad uska jee accha nahi hain.
HTD21-Jee kyun accha nahi hain pta hain khuch?
HTD22-So to malum nahi ghar mein khuch khatpat hui hain shayad.
HTD23-Phir unhe kyun le aye ap?
HTD24-Main nahi lana chahata tha. ap hi zabardast aya.
HTD25-Zabardasti aye the sajh bhuj kar.
HTD26-Beshak sab khuch to janta hain,main phusla kar thode hi laya....
HTD27-Chunibabu ek ehsan karoge mujhper ?
HTD28-Kya?
HTD29- Apke yeh dost kahan rahte hain?
HTD 30-Mere sath hi rahte hain.
161
HTD31-Phir kisi din unhe la sakoge?
HTD32-Shayad na ho sake,wo pahle bhi kabhi ase jagan nahi aya ab phir shayad na
aye,lekin kyun yeh to kaho?
HTD33-Jise bhi ho Chunnibabu phuslakar ek baar unhe layein...
HTD34-Dant sunkar pyar aa gaya kya?
HTD35-Bina dekhe hi note de jate hain yeh nahi samjhte,yeh nahi samjhe..
HTD36-Uh note vote ke baat nahi hai...waise aurat nahi ho tum.
HTD37-Sach hi khuch lagav ho gaya hain...
HTD38-Paanch minat mein
HTD39-Haan ji, theek ho jaye to ek din layega...phir ek baar dekhungi...layega na...
HTD40-Kya pta?
HTD41-Mere sear ke qasam.
HTD42-Accha prayatn karunga.
Devdas 1936,1955 and 2002.
Versions Hindi translation 1936 film 1955 film 2002 film

(coloums) of the text version version version
Segments
(Rows)
Dressed Description None None None

up for
brothel
house
Introducti None None None 02D5,02D6,

on of DD 02D7
DD HTD9,HTD10, 36D1,36D23, 55D1,55D6, 02D1,02D2,

Conversati HTD11,HTD12, 36D24, 36D25, 55D14, 02D3, 02D4,
on with HTD13,HTD14 36D26, 02D22, 02D23
CL
162
Other None 36D1, 55D2, 55D3, 02D12,02D13
conversati 36D2,36D3, 55D4, 55D8,
on in 36D4, 36D5, 55D9,5510,55
brothel 36D7, 36D8, 11,5512,
36D9, 36D10, 55D13
36D11, 36D12,
36D13
DD HTD3,HTD4, 36D17,36D18, 55D14,55D15 02D8,02D9,

Conversati HTD5,HTD6, 36D19,36D20, ,55D16, 02D10,02D1,
HTD7,HTD8 36D21,36D22 55D17, 02D15, 02D16,
on with
55D18, 02D17, 02D24,
CM
55D19 02D25, 02D26
Huqqa Description None None Partially

episode shown.
CL HTD15,HTD16, 36D27,36D28, 55D20,55D21 02D27, 02D28,

Conversati HTD17,HTD18, 36D29,36D30, ,55D22,55D2 02D29, 02D30,
on with HTD19,HTD20, 36D31,36D32, 3,55D24,55D 02D31. 02D32.
CM HTD21,HTD22, 36D33,36D34, 25,55D26,55 02D33, 02D34
HTD23,HTD24, 36D35,36D36, D27,55D28,5
HTD25,HTD26, 36D37,36D38, 5D29,55D30,
HTD27,HTD28, 36D39,36D40, 55D31,55D32
HTD29,HTD30, 36D41,36D42, ,55D33,55D3
HTD31,HTD32, 36D43,36D44, 4,55D35,55D
HTD33,HTD34, 36D45,36D46, 36
HTD35,HTD36, 36D47,36D48,
HTD37,HTD38, 36D49,36D50
HTD39,HTD40,
HTD41,HTD42
In the book, there are description of preparation for brothel house. Description
of time and buggy are also present. In 1936 the discussion regarding brothel house
took place on buggy. In 1955 buggy came to stop before CM’ house. CL asked DD to
come out the buggy. In 2002 the running horse carriage shown where the protagonist
and his companion act in voice over shot. The description of huqqa are present in the
book absent in 36 version and in 55 version.
Partially, shown in 02 version. CL left the cabin because of situation, which

present differently in 36 version,55 version and absent in 02. DD took out the note
from his pocket this incident is replaced by DD’s wallet in three film versions. CM
asked question to DD Are you leaving?This question was present in 36 version absent
163
in 55 version drastically changed in 02. In book,there is a description where CL has
been seen DD on stairs and conversation took place between them,this incident
present in 36 version. In 55 version CL seen DD,but conversation did not occur. CL
called DD without responding he went straight away. In 02 this incident was not
present.The discussion regarding,DD wallet and note, took place in book and in 36
version and in 55 version not in 02 version. In the book and in 36 version and 55
version, CM hesitated to speak about love with DD to CL. In Bhansali’s version CM
bodly said about the philosophy of love.
36’s Version:
In this version the real situation of brothel house has been shown. Song is
absent in this scene. The conversation between DD and CL were present, before the
house of CM when DD was leaving the brothel. This event were present only in this
version and book. To give the real look of brothel director focused on the other
activities which was done by other members, i.e. Drunkards were fighting with
each other, customers and other prostitute. Before the brothel two drinkers were
fighting with each other, CL forced them to leave. This incident is only present in this
version not in book, later ones.
55’s Version:
In this version, cross cutting is used here as PR’s father asked her to enter in to
palanquin. CL asked DD to come out the buggy. Song and performance of CM was
present here, CL forced DD to sit and watch the performance of CM. DD left brother
house without informing to CL. This version is different from the 36 version.
02’s Version:
In this version, the script is different. Bhansali has been shown the beautiful
view of brothel street, with river and lighting. Buggy changed into horse carriage .In
earlier films the dialogue has been uttered in brothel but in this version the dialogue in
the form of voice over. In the brothel house, CL introduced DD to the head of the
courtesan who was sitting with the group of girls. This incident was not present in the
book and in the previous ones. In this scene, Bhansali has been shown a new face later
he done the role of villain in film .Attitude of Bhansali’s CM was different to previous
ones. The first meeting of DD and CM was presented in metaphorical way.CM saw
DD’s image in mirror as she turned to look DD directly, the mirror has been broken
164
by her hair. The reflection of DD beneath the reflection of CM’s hair. The treatment
of CM was different by DD here. CL did not leave the brothel house as he did in
previous ones and in the book. Marriage possession was present here suddenly DD
nostalgic by PR wanted to leave the brothel. Discussion regarding PR between DD
and CL were done in brothel only in this version. When DD left brothel for PR
continuously CM eyes were following him.
3.9 Segment: Bullock Cart Scene
Abbreviation-36D-Dialouges from 1936 film version
DD-Devdas
The given table presents the camerawork of the film Devdas 1936,1955 and 2002,
along with the description.
Dissolve from passing DD slowly, in feverish Through a passing window

train to bullock cart’s movement was coming of a train; journey started in
driver. He was smoking down from the platform’s a horse carriage with a
hukka, sitting in common staircase. heavy speed. Environment
villager’s posture. DD was almost dark. Two
Cut to
enters in the frame and simultaneous cut made from
driver stands up. Close up of two opposite directions.
DD Sound of whip is coming.
Cut to
Then in the same manner
DD went towards the cart.
Cut to
36D1Driver: gari chahiye 55D1Gariwale:...o bhai 02D1DD:Aachuka hai

huzoor? gariwale...Driver was keyaa.
sleeping in the cart. 02D2Driver:-E babu...abhi
abhi to baithe ho tum...keyaa
ho gaya hai tumhe.
165
36D2DD:Haan. Keya 55D2DD:um... Memory attack starts. In the
tum Govindpur mein Rai 55D3DD:uuh...Manikpur bluish light, almost
saab ki makan tak mimicking the doomed
pauncha sakte ho? chaloge? sequence of the Gothic
horror films, DD’s
grandmother.
02D:Devdas...aae aamar
sona...aae...
02D4 -bye...
36D3-Driver:Kyun 55D4Driver:Manikpur? His father

nahi...aaiye. 55D5DD:Haan. 02D5:Sara din woh Paro ke
saath gaon mein
55D6Driver: Wo to yahan
awaragardi...aab ek palke
se bahot duur hai
liye is haveli mein tum nehi
babuji...aur raasta bhi
rahoge.DD’S mother and
baraa kharab hai...main to
servent.
is aand here raat mein
nehin jaunga. 02D6 -meri bacche.
02D7-mera baat
suno...dev...main
tumhe nehin jane dunga...
02D8-Rukjao Deva...
02D9Dharamdas...roko
use..maat janedo...rukh jao
Dev..
Intercepted by the fastspeed
of the horsecarriage, horse’
neigh and sounds of whip.
36D4 DD-Kab Cut to An adolescent girl’s voice

pohuchenge? came from behind the horse
DD Close up
carriage. She was calling
55D7-Raat ko yahan so DD’s name.
jaiye...subha le chalunga. 02D10DD:Zara tez chalao
bhai...waqt bahot kam hai.
02D11Driver:Haan...babuji..
Sound of whip.
An unnoticed music in
background.
DD’s soliloque
02D12:Babuji ne kahan
gaon chor do.Sabne
166
kaha..Paro ko chor do...Paro
ne kahan sharab chordo...aaj
tumne kahe dian hume chod
do ek din ayega jab wo
kahega dunia hi chod do.
36D5 Driver-Aaaa...do 55D8DD:Mere paas itnaa

deen...haan haan do din waqt
nehin hai bhai.
lagenge.
Cut to
DD turns slowly towards 55D9Driver:Ji…

camera and says: Driver answered in
36D6DD:Do din...keya half sleep. DD comes and
mein do din aur zinda rah sits by the side of the
sakunga? driver and tells.
36D7Driver:Keya kaha 55D10DD: Dekho...mujhe

aapne ? wahaan jana hi hai...main
tumhe bahot se paise
dunga...mujhe wahaan le
chalo.
36D8 DD:Kuch 55D11Driver:Aaiya aaiye

nahin...chalo. aaiye
DD tells to the driver. babuji
Driver ...baithiye...kochoyaan
smokes the huqqa once wake
more up...baithiye...aaiye...
and gives it to DD. 55D12DD :Huun.
55D13 Driver:Baithiye.
Cut to
Cart started to move. A
lantern lit up under the
cart.
Music starts
Cut to
Close up of the lantern
and
its movement.
Cut to
167
Close up DD
55D14DD:Aur kitni der
hai bhai
gariwale?
36D9-Driver:Zara mein 55D15Driver:Babuji abhi

bael le abhi to
aaun...umm ehh ehh aahh aap gari mein baithe
ahh hai...abhi to bahoot dur
ehh...driver turns back jana
and hai...aahaa
goes out of the frame. chal...aaha...aahaa...
A tribal rhythmic
Fade In instrument
mimicked the pounded
heart
mingled with a sound of a
wind instrument.
Fade Out Superimposed
shot of DD’s.
Journey and Memories.In
one point DD closes his
eyes. It seems he wakes
up in his memory; an
adolescent voice calling
his name.
55D16:Devdas...Devdas...
55D17:Paro...chutti hote
hi wapas chala aunga.
A horse came from the
opposite direction. From
the cart young DD was
telling something to Paro.
Paro looks towards the
cart.
Adult Paro and DD,
sudden
Shyness of Paro.
55D18Kitni badi ho gayii
hai tu.
Memory ended it seems.
168
Driver was patting the
Fade Out bullock, DD closes his

Driver was singing a eyes
song. again.
(Typical mundane song Cut to
of a common man).
Cart was moving towards
Bullock cart was running
distance.
amidst of nature. It was
supposedly night time. Cut to
The song was about the DD ‘s eyes were closed.
beloved home and its
proximity, about the Second attack of Memory
lover’s mind and about Someone called
the darkness and all Devdas...DD
difficulties in the path in
three different cuts.In answered huun...this time
between the song DD it
asks driver from inside was DD’s mother,
the cart.
55D19:Devdas...Devdas...
Deva kahan ja raha hai
beta...
56D20:Kalkatte ja rahan
hun
ma...
55D21:Devdas...
Chandramukhi...she greets
him
36D10DD:Are... 55D22:Ab phir kab milna

gariwale... hoga.
again Paro came.
55D23:Thori jaga dedo
mujhe devdas...(?)
DD was getting
36D11Driver:Kya mujhse Suffocated,that heart
kah rahe hai huzoor..
pounding rhythm changes
at some point. It was now
a vivid rhythm, very much
organic indeed.
Camera pans from front 55D24DD:Are bhai yeh

of the cart to the back raasta
where DD was coughing
169
vehemently, crossing keya kabhi khatam nehin
lightened part of the hoga?
frame through shadow to
again in light. 55D25-Hoga
huzoor...zarur
khatm hoga...
Cut to
Cart moved in distance.
Camera taken the shot
from backside for a long
36D12 DD-Haan bhaiyaa time.
ab aur Cut to
kitnaa rasta baaki Close up of
hai...?keya
the lantern
yeh kabhi khatm na
hoga? Cut to
DD lied down inside the
cart.
Suddenly that uncanny
36D13Driver:Hizoor ab Sound of Sehnai can be

zada nehi...sirf heard from distance.
Chay kos hai. Cut to
A marriage procession
was passing by.
36D14Driver:Chay
kos...bhai zara Cut to
jaldi karo...mere pash aur 36D11Driver:Kaya
zada mujhse kah rahe?
waqt nahin hai... hai huzoor...
36D15Driver:Bahot DD’s face in close up with
aaccha floating light and shadow.
hozoor...jaah...dih...duh... He closes his eyes again
duh...
Driver resumes his song
which is shown in four
cuts. The song tells about
the philosophy of life. In
fourth cut cart goes out of
frame. It was a fairly long
Shot
Fade Out
170
HTD1-Keya hatipota chal sakte hai?
HTD2- Nehi babu rasta aacha nehin hai. Ghode ki gadi aise kichar paani mein udhar
nehi ja sakegi.
HTD3- Kaya palki mil sakti hai?
HTD4-Nahi...
HTD5- Babuji ek belgari thik kar de?
HTD6- Kab pohuchunga?
HTD7- Rasta aacha nehin hai...isse shayad do din lag jayege.
HTD8- Gadiwan aur kitna chalna hoga?
HTD9-Babu abhi aat das kos aur chalna hai...
HTD10-Jaldi se chalo...tumhe aacha inaam milega..
HTD11-Jaldi chalo bahut sa rupia inam dunga.
HTD12-Are abhi kitni dur ha?kaya yeh raste khatam nahi hoga?
HTD13-Abhi cha kos hai.
HTD14-Zara jaldi chalo...aab samay nehin hai...
HTD15-Babu aap kuch ann jal nehin karenge?
HTD16- Nehi...badi payas lagi hai...thora pani de sakte ho?
HTD17-Aur kitni dur?
HTD18- Do kos aur hai...raat ko das baje pohuchenge.
HTD19-Bhagwan...
HTD20- Babu kaisi tabiyat hai?
Devdas 1936,1955 and 2002.
171

(coloums) of the text version version version
Segments
(Rows)
Hiring the HTD1,HTD2, 36D1,36D2, 55D1,55D2,55D3, None

bullock Cart HTD3,HTD4, 36D3, 36D4, 55D4,55D5,55D6,
HTD5,HTD6, 36D5,36D6, 55D7,55D8,55D9,
HTD7 36D7,36D8, 55D10.55D11,
36D9 55D12,55D13
During the HTD8,HTD9, 36D10, 55D14,55D15, 02D1, 02D2,

HTD10,HTD11 36D11, 55D24,55D25 02D10,
Journey
,HTD12,HTD13, 36D12, 02D11
HTD4,HTD17, 36D13,
HTD18,HTD19, 36D14,
HTD20 36D15
Refreshment HTD15,HTD16 None None None
Memory None (Descriptive, None 55D16,55D17, 02D3, 02D4,

Attack not in dialogue) 55D18, 55D19, 02D5,02D6,
55D20,55D21, 02D7,02D8,
55D22,55D23 02D9
Soliloque of None None None 02D12

DD
3.9.2 Few Observations:
In the book, there are physical description of a whole two day and one night
journey. At first DD asked for a horse pulled car, then palki. At the end he got the
option of bullock cart. In the road the driver took lunch, DD took some water, DD
showed the driver the 100 rupee note; all these incidentsare absent in the film version.
Attack of memory is present in the book but not so intensely like the 55’version. It is
absent in 36’s version.The marriage procession which is present in 55’s version,are
absent in other two film version along with the book. The metaphor of the lantern
which is present in the song lyric` of the 36’s film version and as a prop in 55’s film
version as visual metaphor is absent in the novel and 02’s film version subsequently.
172
36’s Version:
This version is the one, which differs from the book most. Here the attack of
memory is completely absent from the sequence. Instead, the whole sequence is
created around the driver’s song and its philosophy. Apparently (literally) it tells
about Devdas’ situation, that he is on a long journey to meet his beloved. Even though
the road is tough and he is worn out of the travelling, Devdas has to carry on.
However, the whole lyric can be treated as a metaphor of life as a journey where the
beloved is Death/ Moksha and the driver is the guide of the journey. It is to be noted
that this is the version where the sequence is shot on the back drop of nature the
most.We mostly have long shots where the physical movement of the cart from frame
right to frame left has been taken in real time. We almost do not have tight close ups.
As if in front of the vastness of nature and life, one’s own memory does not matter
much.
55’s Version:
In Bimal Roy’s version visual elements play a more important role. The whole
sequence is dark to represent the night journey as well as the ominous inner turmoil of
Devdas. The only source of light is the lantern hung under the cart which comes back
time and again in close shot or in long shot. Likewise, meeting Paro is the only hope
in Devdas’ waning life. We see the same light and shadow trick playing on Devdas’
face, which symbolizes the uncertainty of the whole journey in terms of its end
whether, Devdas will be able to meet Paro before his life, ends. Here we encounter the
memory attack vividly. It is to be noted that close ups of Devdas covers most of the
sequence. A fantastic visual representation of memory is shown with two super-
imposed shots. It is the scene where child Devdas leaves for Kolkata in a horse
carriage and Paro follows him for a while calling his name over and over again. The
direction of this carriage and the cart that Devdas boards currently are opposite. The
movement of the camera from child Paro’s close shot suggests separation; the
moments that Devdas remembers are the moments of separations; respectively from
Chandramukhi, Paro and from his own mother. There is not a single so called happy
memory was shown here. Devdas remembers when he first meets a grown up Paro
and comments how she has matured. This one memory signifies a lot; Paro’s reaction
to his comment signifies that the innocent friendly relation is over now; their
childhood days are gone forever. This suggests a separation of another level. A
173
striking difference between the book and the film is the memory of Chandramukhi. In
the book in the same episode we get a description of Chandramukhi as somebody who
has committed sin. However, in the film we do not get this comment while Devdas
was reminiscing. Music plays an important role here. In the beginning of the sequence
a tribal rhythmic music starts accompanying with a wind instrument, most likely flute.
As the scene enfolds the pace of the rhythm becomes more prominent and structured.
In the end it almost becomes carnivalesque when the music comes to its crescendo;
we may, conclude that the journey was also a journey of memory, a carnival of
Devdas’ memory.
02’ Version:
In SLB’s version the whole sequence becomes a lot faster as the mode of
transportation changes from bullock cart to horse carriage. Accordingly, changes the
pace of the cuts. SLB introduces the sound of whiplash as a symbol of memory
attacks. At times Devdas looks behind the carriage as if the past is chasing him
relentlessly. The inner turmoil breaks thus breaks the barrier of reality and Devdas
looks more like a haunted person rather than a person merely tormented by his past.
The language plays an important role here as the script differs a lot from the original
book. Music does have much role as an element here in this sequence.
3.10 Segment: Death Scene
PR-Parvati
MH-Mohan/Mahendra.
PRH- Parvati’s Husband
174
Inception from The first rays of sun Scene began with the high
primitive morning, Paro flaunted the terminal camera angle, daylight revealed
was in the room with a movement of DD’s life, the condition of DD,who was
lady, when lady left the a man observed DD. dying out side the house of PR,
room, Paro looked out Cut to one by one people gathered
of the window. there. PR saw the crowd and
DD Close up asked maid about DD, she
Morning Scene
Then Cart bullock driver replied in her own way PR
Cut to came with the police moved for morning prayer.
Parvati’s Room man ,and explained the Cross Cutting started
entire situation of DD.
Cut to
One by one people Doctor declared DD was in last
Assemblage gathered on the ground moment of his life. Restive PR
People gather to PR notice the crowd and did not concentrate in Prayer.
indentify, the person asked the reason to her Close up
who lay outside the maid, she answered and
of DD
house of Zamindaar PR moved for prayer.
Through high camera angle,
counting his last breath. Cross Cutting started turns to low camera angle.
Everyone wanted to
Cut to Through blurred sight DD
knew about the dying
looked upon the faces of
man. Paro also heard DD Close up
gathered people, and calling
about the man too, DD looked out at the his beloved name continuously,
asked her steward with blur faces of visitors, by the order of her mother in
an excuse he called her called PR. She felt and law restive PR left the Pooja or
husband’s son named as replied in anxious mood. prayer. PR notice the word
Mohan, start with A maid asked her Talsonapur which taken by her
Medium shot. condition because of maid in between the discussion
restlessness she left of DD’s condition, PR turned
prayer came forward for towards the maid and asked
rest. As she reached on about the name, she replied
up staircase two servant Mahendra Babu knew
were talking about a everything. PR asked her to call
person who was dying MH. Again maid was busy in
outside the house of another work. PR yelled on
Zmindaar came from maid. She called MH. In
Talsonapur. As she parallel shot, holy water was
heard, PR started to pouring to DD’s mouth. Close
interrogate, but they up of pouring diya by PR,then
were unable to say turn to head and shoulder close
anything.He said that up of PR.
Mohan babu knew the
real position. Now MH came to PR. Now the
dialogue started:-
Dialogue started:-
175
36D1PR:Mohan, kaun 55D1PR:Mahendra… 02D1MH:Kya baat hain choti
mar gaya hain? maa...apne humme bulaya?
bahar kaun mera hain..
36D2MH:Devdas... 55D2MH:Thek thek to 02D2PR:Hann...wo ah bahar

Cut to pata nahi....chala maa admi kaun pada hain?
lekin shak hota hain ki
PR ap ke gaoun ka koi
36D3PR:Kaun? Devdas Mukherjee mara
hain ... 02D3MH:Apke hi gaun ka
koi....Devdas Mukherjee..
36D4MH:Devdas... Cut to 02D4PR:Kaun?

Close up of PR 02D5MH:Devdas
Mukherjee.....
55D3-PR:Kaun?...
36D5PR:Kaise malum 55D4MH:Apke gaoun ka 02D6PR:Kaise jana tumne?

hua? koi Devdas.....
Camera moved towards 02D7-MH:Jeb se dou chittiyan
the Deep focus of PR.
mili hain ek kisi Dijdas ki ....
36D6MH:Jeb se du khat 55D5PR:Kaise jana? 02D8PR:Haan unke bade bhai

mile...ek Ramdas ka 55D6MH:Jeb mein do ka naam hain....
likha hua tha.. chittiyan thi...ek Dejdas
Mukherjee ki ... 02D9MH:Aur kisi Kaushalya
ki.....
36D7PR:Haan...wo 55D7PR:Hann.....unke 02D10PR:Haan.haan unki maa

bhai hain.... bade bhai.... ka naam hain..
Turn toward the Swish Swish Pan shot started 02D11MH:Hath pe naam bhi
Pan gudha hua tha....
36D8MH:Dusra Kashi 55D8MH:Dursi Kashi se 02D12PR:Mele mein gudwaya

se Harimati Devi ka... Harimati Devi ki... tha barish aa gayi thi adura
hoga...
36D9PR:Hann wo maa 55D9PR:Han...Han...unk 02D13MH:Tuta hua motiye ka

hain.... i maa.. haar bhi mila tha...
36D10MH:Hath.....per 55D10-MH:Hath mein 02D14PR:Hann wo to mujhe

naam likha hua tha... neelam ki aanghuthi thi.. yahan
Pointing to her forehead mark
36D11PR:Hann..... wo 55D11PR:Hann taya ji 02D15PR:Deva.....

Kalkatte mein likhwaya na di thi,main jati hun... PR start running
176
tha.. 02D16MH:Chotimaa...kahan ja
rahi ho choti maa abtak use le
gaye honge...
36D12MH:Ek....Nelle 55D12MH:Ap kahan ja Cut to

rang ki anguthi thi.. rahi hain?abtak use le PR close up
gaye
honge,ma...ma...ma.. PR yelled
Tracking Shot started 02D17PR:Mahendra....
PR start crying and running
Tracking Shot started
36D13PR:Main .....jati 55D13YH:Ma.....Ma ji 02D18MH:Choti maa

hu....main jati hun.... rukuiye...rukeiye choti
maa,rukeye choti maa...
PR break the Chandelier while
running.
36D14MH:Kahan? 55D14MH:Ma.....ma... 02D19YH:Choti maa rukeye

Kya hua choti maa...
Cut to
PRH
02D20PRH:Kya ho raha hain
iss hawili mein kaisa shor hain
yeh?Kya hua Mahendra?
Cut to MH
He was following PR.
36D15PR:Devdas ...ke 55D15PRH:Kya hua 02D21MH:Maa bahar kisi

pass.. Mahendra? Devdas se milne ja rahi hain..
36D16MH:Mataji use 55D16MH:Choti ma.... 02D22PRH:Pagal ho gayi hain

chandal.. wo rooko usse..Parvati...
Parvati...ruk jao.......dekho yeh
haweli ki chaukhat paar na
karne paye....
36D17PR:Nahi....Nahi.. 55D17PRH:Roko....roko Memory attacks on DD. A

. pagal ho gayi hain kya? young PR was convert into
adolescent PR Deva oh
Mohan tum nahi jante
Deva.....
usne kaha tha Ki main
zarur aunga..... YH also following her .
36D18YD:Ap kahan ja 55D18PRH:Choti 02D23YH:Choti maa ,choti

rahi hain? bahu.... maa,ruk jaeye..Mahendra maa
177
55D19-PR:Devdas..... ko rook...
36D19MH:Devdas... ke 55D20MH:Ma....ma.... 02D24MH:Choti ....ma ruk jao

pass babu ji ne bahar jaane ko mana
kiya hain...
MH forced PR to Stop.
Suddenly two maids came and
trying to stop PR, one of them
having a pot which is fetched
of red colour. Between these
episodes, unintentionally PR hit
the pot by his hand, so it fell
on the floor. PR’s sari border
and her feet wet with red
colour.PR left the print of feet
during running towards DD.
36D20YD:Haan ....yeh 55D21PRH:Mahendra 02D25PR:Ah....ah...

kya... rok,rok use...
Cut to MH 02D26MH:Choti maa ...rukh
jaye choti maa...
36D21PRH:Kahan?.. 55D22PRH:Darwaza 02D27YH:Ma....ma...

band kar do .....band kar 02D28PR:Ah....ah...
do phatak..
Cut to
DD close up
DD was seeing PR was running
to came outside the Hawile...
High Camera Angle Shot.
36D22MH:Devdas....ke 55D23PR:Devdas..... 02D29PR:Deva......Deva....

pass Deva......
36D23PRH:Yeh tum PR kept her head on the Cut to

kya kah rahe ho...? back of closed gate. PRH
Cut to 02D30PRH:Darbaan haweli ke
PR start running DD’s body sare darwaze band kar do......
Tracking Shot started. Cut to
Funeral pyre of DD
Song started
Mitwa......mitwa...
36D24PRH: Kya tum 02D31PR:Deva.....Deva.....
178
sab pagal ho gaye Deva.....Deva....Deva......Deva..
ho?...Roko...use Roko... .
Everyone was shouting The blurred sight of DD seeing
....roko....roko.. the struggle of PR to meet him.
Tracking shot turn PR was running to came out
towards the Slight from the house. PR about to
Dutch Tilt. reached. As she kept her palm
on the gate, the camera focused
on her finger which were
spotted red colour.
Low camera angle focussed on
Main gate.
Suddenly main gate closed ,as
gate closed, DD has taken his
last breath.
36D25PR:Devdas..... 02D32DD:Ah.....Paro...
Suddenly...the gate (Last breath)
closed.PR kept her head Cut to
on the back of the
closed gate. Diya
Cut to Cut to
Funeral Pyre of Devdas. Depressed PR was sitting on
the floor and kept his hand on
gate.
Cut to
DD’s
Dead Body
As DD died people left his
body.
Cut to
Dead DD’s
Face
Cut to PR
Cut to
DD’s close up, camera turn to
take close up of DD’s hand,
Where tattooed.Denanya...
179
3.10.1 Dialogues from the Hindi Translation:
HTD1-Tumhare gaun ka Devdas mukherjee...
HTD2-Dev bhiya ,tumne kaise jana...
HTD3-Jeb mein dou citthiyan thi ek diji das ne likhi the....
HTD4- Haan unke bade bhai hain..
HTD5-Aur dusri Kashi se Harimati Devi ne likhi thi....
HTD6-Hann unki maa hain....
HTD7-Hath mein naam gudha hua tha..
HTD8-Hann shuru mein kalkatte gaye the likhwaya tha...
HTD9-Nelle nag ke anguthi ...
HTD10-Janeu ke samaye bade chacha ne di thi...Main jati hun...
HTD11-Maa kahan chali.....
HTD12-Dev bhiya ke pass
HTD13-Ve to ab nahi....dom utha le gaye...
HTD14-Nahi re nahi .....wo roti hui daudi..
HTD15-Pagal to nahi ho gayi ho gayi ho?..Maa kahan jaogi?
HTD16-Mahendra kya tumne pagal samjha hain?chodo rasta chod do....
HTD17-Wo kahan jaa rahi hain?
HTD18-Choti maa.....
HTD19-Kyun?Kahan ja rahi hain?
HTD20-Devdas ko dekhne.....
HTD21-Tum sab pagal ho gaye ho kya ?Pakad pakad pakad la usse..
Devdas 1936,1955 and 2002.
180

(columns) of the text version version version
Segments
(Rows)
Morning scene Present Shown Shown Shown
Description of Complete None Shown Shown

DD description of DD
Condition of Descriptive Not Shown Shown Shown

DD
From one Descriptive Shown Shown Shown

individual to
crowd
Conversation Descriptive None Shown Shown

between
servants
Conversation HTD1,HTD2, 36D1,36D2, 55D1,55D2, 02D1,02D2,

between PR HTD3,HTD4, ,36D3,36D4, 55D3,55D4, 02D3, 02D4,
and MH HTD5,HTD6, 36D5,36D6, 55D5,55D6, 02D5,02D6,
HTD7,HTD8, 36D7,36D8, 55D7,55D8, 02D7,02D8,
HTD9 HTD10 36D9,36D10, 55D9, 55D10, 02D9, 02D10,
36D11,36D12, 55D11, 55D12 02D11, 02D12,
36D13,36D14, 02D13, 02D14,
36D15,36D16, 02D15, 02D16,
36D17 02D17
PR running HTD11, HTD12, 36D18,36D19, 55D13,55D14 02D18, 02D19,

scene HTD13, HTD14, 36D20,36D21, 55D15,55D16 02D20, 02D21,
HTD15, HTD16, 36D22,36D23 55D17,55D18, 02D22, 02D23,
HTD17, HTD18, 36D24,36D25 55D19,55D20, 02D24, 02D25,
HTD19, HTD20 55D21,55D22, 02D26, 02D27,
555D23,55D24 02D28 ,02D29,
02D30, 02D31
Memory None None None Present

Attack
DD’s dead Descriptive None Present Present

body
Funeral Pyre Present Present Present None
Explanation Present None None None

PR’s condition
After DD’s
Death
181
In the book, there are explicit description of DD and his belonging. PRH
heard the news of dying person and gave the order to called doctor. The last two
episodes were absent in three films, doctor was present in 2002 film only not in 1936
and 1955. In the book, in this particular scene the important episodes done through
PRH, which was absent in three films. The DD’s death took place before PR and MH
conversation which present in 55 version.
The book discussed the description of DD’s disease that was not present in
any films, in 55 versions the bullock cart driver talked about the DD’s condition very
lightly to constable. Debate took place for DD’s funeral because of caste; nobody was
ready to touch even. This event was absent in the films, content of letters were not
present in films. The book discussed the presence of PRH at death spot, but absent in
three films, only MH has been shown implicitly in 36 version and 55 version,
explicitly in 2002 film .In the book the conversation regarding DD’s corpse among
MH, PRH and policeman took place which were not present in any adaptation .In the
book when MH heard the name of Talsonapur, he gave the idea if PR take a look ,his
father scolded him, this incident was absent in the films. Debate took place Over the
funeral of DD’s body, nobody even wanted to touch it so the pyre burner came and
took away the body. Pyre burner did not do their job properly, they left the half
burned DD’s cadaver, which has been taken by wild animals, the description of DD’s
belonging in respect of price and custody were explained in the book. These incidents
were absent in the film. PR went to the house as PRH, saw her asked the matter to
MH, then placed the order to fetch her in. In the film PR did not come outside the
house, PRH was also in the in the house.
The three of the director used main gate metaphorically, which were not
present in the book. In 55 version film had shown the condition of PR, she fainted as
door closed. MH and maid took her inside the house. This incident was not present
in 2002 film and 1936 film. Book discussed the next day condition of PR, which was
not present in any films.
36’s Version:
This version is one which differs from the book most. In this scene director
did not show DD. Shown only the crowd under the tree which gave the idea that
182
something serious had done here. Doctor was not present in this scene, show the
constable face who identified DD. Maid conversation was converted into steward,
eventually after the conversation of MH she replied very softly to everyone,even MH
too. In the film the funeral of DD with funeral pyre has been shown .The song has
metaphorically explain the philosophy of death.
55’s version:
In this version, the death sermon dropped a deep effect on audience.

(Trutsai..namah trutsai nama...ja devi nama) the condition of DD has been shown
clearly. The doctor and PRH presence were absent at death spot. Cross cutting used
here, PR felt continuously somebody calling her name. Roy coordinated, DD’s body
covered with shroud and fainted body of PR, outside the door dead body has been
taken by Funeral pyre and inside the house the fainted body of PR taken by MH and
maid. This event is present in the book, and Roy’s version. At the end song started
(Mitwa....Mitwa)....which signifies the lover.
02’s Version:
In SLB’s, version the entire sequence used as cinematic tool to give an impact
on audience i.e: background music, earth lam(diya),chandelier ,white pearl necklace,
forehead mark of PR ,the pot of red color ,red feet print on floor, color on finger, main
gate. These things metaphorically used in film, this particular scene combined all the
metaphorical tool which has been used in the film. Doctor event is present here.
Tracking shot gave the pathetic impact on audience. Memory attack was present here.
In the book and two previous Hindi version, DD did not see PR, but in SLB version
through the blurred sight DD saw the effort of PR, she was running to come outside
the house, to show the increased the cinematic impact as PR reached towards gate
suddenly it was closed. As gate closed DD has taken last breath. PR was sitting on the
floor. The funeral and funeral pyre was absent in this version. Camera focused on DD
close up than moved towards the DD’s tattoo Close up.
183

Devdas

Enviado por

Dados do documento

Descrição original:

Direitos autorais

Formatos disponíveis

Compartilhar este documento

Compartilhar ou incorporar documento

Opções de compartilhamento

Você considera este documento útil?

Este conteúdo é inapropriado?

Direitos autorais:

Formatos disponíveis

Devdas

Enviado por

Direitos autorais:

Formatos disponíveis

Chapter - 3

Film Semiotics of Devdas

THE FILM SEMIOTICS OF DEVDAS

The proposition of this chapter, is that “Film semiotics” has established

At the first phase, the dominant theoretical model, feeded by Saussurean

The term FILM LANGUAGE frequently used by in the work of earliest

Vachel Lindsay, who used metaphors in their work known as poet-critic.

Russian Formalists, who established the correspondence between film and

In Poetics of the Cinema, the Formalists de-emphasize the slavish extension of

This chapter discussed the analyses of film DEVDAS. These analyses

3.1.1 Segment: First Meeting Scene

From Arrival of Devdas to Departure from Parvati’s house.

36D-Dialouge from 1936 version of Devdas.

55D-Dialouge from 1955 version of Devdas.

02D-Dialouge from 2002 version of Devdas.

HTD- Dialogues from the Hindi translation of the text.

PRM- Parvati’s mother.

PRG- Parvati’s Grand mother.

Table 3.1: Showing the Screenplay/Script of the Scene

Devdas 1936 DEVDAS 1955 DEVDAS 2002

When DD was coming to Almost darkness has Devdas came from

36D2DD: Haan. 55D2PRM:Shaherki 02D3PRM:Devdas!Kame

36D3PR:Yeh sab kya hain? 55D3DD:Chachi... 02D4DD:Paro kahan

36D4DD:Kya yeh lebas 55D5PRG:Haan...Are 02D5PRM:Are abhi abhi

55D6PRG:Tumhari to 02D13PR:Jhut das saal

55D8PRG:Paro.... 02D13DD:Ab khuch

3.1.2 Dialogues of Hindi Translation:

HTD-1 Aao beta aao ....

HTD-2 Paro kahan hain chachi?

HTD-3 Shayad upar ke kamre mein hain...

Table 3.2: Showing the Comparative Dialogue Sets

Versions (Column) Hindi 1936 film 1955 film 2002 film

DD’s Conversation HTD1,HTD2, None 55D3,55D4, 02D4,02D5,02

Discussion on DD None None 55D1,55D2 None

Discussion on DD None None 55D19,55D20, None

Conversation HTD4,HTD5, 36D1, 55D13,55D14, 02D8,02D9,

3.1.3 Few Observation:

3.2 Segment: Chatting Scene:

Abbreviation- 36D- Dialogues from 1936 film version

55D-Dialogues from 1955 film version

02D- Dialogues from 2002 film version

HTD- Dialogues from the Hindi translation of the text.

Devdas 1936 Devdas 1955 Devdas 2002

36D1MM:Iska Ilaj? 55D1MM:Accha Paro var 02D1MM:Suna hain kaki

36D2PR:To phir iska ilaj 55D5MM:Kya matlab? Cut to

36D3MM:Maine na to 55D6PR:Jaane kitno ki 02D3MM:Itna khuch

36D4 PR:Kiska dulha? 55D7MM:Aur naam kya 02D4PR:Phuch ke bata

36D7MM:Maine to suna 55D9MM:Tere maan ki MM come closer to PR

36D8PR:Hogi Manorm 55D11MM:Hut besharam Cut to

36D9MM:Aur tumhare 20- PR left the place to threw

36D10PR:Devdas MM also left the place and

36D11MM: Yeh tum kya 55D14PR:Pakka kaise ho

36D12PR: Main Devdas se 55D15MM:Malum hota

36D13MM:Kya phuchoge 55D16PR:Kachha pakka

36D14PR:Haan yahi. 55D17MM:Tu kya kahti

36D15MM:Tum kya kah 55D18PR:To phir Devdas

36D15PR:mujhe tumse 55D19MM:Unse kya

36D16MM:Main ek aurat 55D20PR:Aur nahi to

36D17PR:Ghairmard........ 55D21MM:Khuch to soch

36D18MM:Parvati kya tum 55D22PR:Isme laaj kahe

36D19PR:Haan....bilkul 55D23MM:Main thari

36D20MM:Agar usne 55D24PR:Tum saheli ho

36D21PR:To kya hoga Somebody called to