‘Deva’ Review: Rosshan Andrrews Remakes His Own ‘Mumbai Police,’ with Lackluster Results

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A police officer suffering from memory loss re-examining a case he had previously solved before his head injury left him unable to remember the killer’s identity. This film features an unexpected and daring twist that will leave you breathless. Additionally, a powerful performance by Prithviraj Sukumaran portrays a complex character that allows viewers to overlook potential flaws in representation. These elements are what make Rosshan Andrrews‘ 2013 film “Mumbai Police” truly exceptional.

Twelve years after its initial release, the same director has adapted the original story created by Bobby-Sanjay for Hindi viewers. However, this remake lacks the original’s potency. The film Deva, unfortunately, feels like a weak and overworked rehash.

The major issue lies in the fact that the writers of the remake – Hussain Dalal and Abbas Dalal, along with Arshad Syed and Sumit Arora – have broadened and altered the storyline to cater to the fame of the main actor.

Shahid Kapoor showcases his versatile acting skills in various films like “Kaminey,” “Haider,” “Udta Punjab,” and “Kabir Singh.” In this film, he masterfully transitions between the two personas of police officer Dev Ambre. One character is arrogant, quick-tempered, battling daddy issues, alcohol addiction, and on the edge due to his volatile nature; picture Kabir as a Mumbai cop. The other version of Dev, following an accident, becomes more subdued, less boastful, and more receptive. Kapoor excels in portraying both characters with conviction.

As a devoted fan, I can’t help but feel a tad disappointed that the script seems to prioritize an unnecessary romantic subplot just because he’s a leading star. In a brief and almost unnoticeable cameo, Pooja Hegde portrays Diya, a journalist. The action sequences are numerous, emphasizing his leading man prowess. The song “Bhasad Macha,” with the lively translation of “create a ruckus,” showcases an excessive display of swag, particularly in its choreography. While Kapoor is a skilled dancer, this number appears disconnected from the storyline.

In addition to other factors, cigarettes often take center stage. Dev seems almost inseparable from them, and his smoking habit adds to the toxic aura of his character. Interestingly, Sukumaran’s character in Mumbai Police, ACP Antony Moses, also portrayed hyper-masculinity, but his aggressive demeanor had a purpose behind it.

To put it simply, I find Andrew’s approach in the remake to be more cautious compared to the original. In the first film, there was a scene where a junior female officer scolded Anthony for his abusive behavior towards a woman, but this confrontation is absent in the remake. Instead, the remake portrays Dev as a character who pushes boundaries, with his reckless actions somehow being perceived as a twisted form of heroism. For instance, there’s a scene where Diya acknowledges that Dev’s methods might be incorrect, but she doesn’t consider him wrong overall. This is demonstrated in a scene where Dev uses force to get information from a man by pushing his elbow into a bullet wound in the man’s arm.

However, the most disappointing aspect is that the ending has been altered, significantly reducing its impact. In the film Deva, the climax is appropriately dark, yet the writers provide Dev with a contrived backstory to explain everything we’ve witnessed. The story tries to tackle issues like class and generational abuse, but it seems only partially committed.

In a more favorable light, Pavail Gulatie and Pravessh Rana offer solid assistance to Kapoor’s intense performance. Notably, Jakes Bejoy’s background music and the skillful portrayal of Mumbai, particularly during action scenes, by director Andrews and cinematographer Amit Roy, are standout elements.

Certain sequences exhibit rough digital representations of the city’s iconic sites, yet Andrews skillfully weaves his narrative through bustling roads and narrow alleys filled with crowds and vehicles. They capitalize on Mumbai’s rainy seasons to craft glossy streets and an atmosphere of melancholy. Some of their aerial shots, such as the one depicting two local trains moving in opposite directions, are breathtakingly beautiful.

In a nod to one of Amitabh Bachchan’s most memorable characters, Vijay from the movie “Deewaar”, a life-sized mural stands towering near Deva’s residence. Reminiscent of a tunnel, a significant scene unfolds where Vijay and Ravi engage in a conversation that includes the timeless phrase, “Mere paas maa hai” or “I have my mother.

Similar to Vijay, Dev exhibits traits of the “Angry Young Man.” While Kapoor delivers an excellent performance, he doesn’t bring the depth that Sukumaran does to Vijay’s character, as the script for the film Deva lacks the nuances and complexity that would allow such a portrayal.

Dev is like the “Angry Young Man,” but Kapoor doesn’t add the same depth as Sukumaran did with Vijay’s character, because the story for the film Deva isn’t as complex and detailed.

If you haven’t watched “Mumbai Police”, then “Deva” could serve as an alternative whodunit. However, those who are fans of the original will likely find this version lacking in comparison.

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2025-02-05 05:55