Devi

Devi / The Goddess (1960) : Brief Review -

A Satyajit Ray Classic on Superstition and Religious Dogmatism. Master Ray had to make that one woman oriented film with fictionalized mindset of society and i think this story of blind devotion and incarnation stuff was a perfect fit for it. Devi was Ray's 6th film after Appu Trilogy, Jalsaghar and Parasha Patthar and eventually it was far different with the content. A young woman is deemed as a goddess when her father-in-law, a rich feudal land-lord, has a dream envisioning her as an avatar of Kali. This leads a devotional rampage in the village and the woman finds herself caught in the crowd which she didn't want and then after the rituals stays very lonely remembering her earlier happy life. Sharmila Tagore in the lead role portrays the character with utter finesse. Those long shots have been framed by her expression without any cuts which shows how dedicated and immersed she was into the character. Soumitra Chatterjee as her husband has sort of supporting role if we go with the screen space but whatever scenes he has, he does it comfortably. Karuna Banerjee came as a complete surprise for me because the role was very sidelined and i didn't expect her to do so well with less potential of the character. I loved her in Pather Panchali so i never doubted her acting skills and she did not disappoint but moreover surpassed my expectations. The supporting cast too does well with everyone having important scenes. Devi has Satyajit Ray marking all over. From framework to storytelling to pauses and scene cutting everything has Ray's artistic touch to it. The climax is more subtle than what it looks and i am sure Satyajit Ray's Fans will understand it. However, the mass audience would never reach to the bottom of it. Overall, another Ray Classic but this time with an Important Subject like Superstition in rural areas.

RATING - 8/10*

By - #samthebestest.

After watching Satyajit Ray's The Apu Trilogy (1955-1959), which are now my favourite films of all time, I was looking forward to watching Devi, the next film Ray directed after The Apu Trilogy. Although I couldn't feel the same kind of emotional connection with the characters in Devi that I felt in The Apu Trilogy, this film was thought-provoking and very intriguing to watch.

Devi dealt with a serious issue in Bengali society at the time in a mature manner and Ray's direction and cinematography for this film was just as superb as The Apu Trilogy. It starred Soumitra Chatterjee and Sharmila Tagore once again as a married couple, like in Apur Sansar (the final part of The Apu Trilogy). However, whereas it was Soumitra who played the lead role in Apur Sansar, this time it's Sharmila who plays the lead role in Devi. Her performance was very subtle for the first half but her delusional performance towards the end was very convincing. Overall, I'd highly recommend this movie to any Satyajit Ray fan.

8/10

Being a Bengali, I had the privilege to read the original story by Prabhat Kumar from which the screenplay was adapted, and the story had a concrete conclusion with a deep impact where Ray finished it with surrealism and abstraction. Mostly he avoided the actual ending to bypass the social stigma which prevailed at that time. Also the story provides a very intimate adoration between the lead couple which was also avoided for probably the same reason.

Apart from that it possesses all the characteristics of Ray's direction with thrilling music, cinematography and screenplay. Definitely a must watch.

'Devi' is so good I went out and bought the whole 'Apu Trilogy.' Which was expensive, and I'm poor. 'Devi' is so good that I've watched it enough times to be able to mouth along to it in Bengali, and I don't speak Bengali. "Khoka khotay?" "Aaaa... cheko ta." (I'm now learning Bengali because I love this movie so much!)

There is such an intricate web of relationships between the characters, that it reminds me of Macbeth. The story is very specifically about the Indian culture (it's revealing investigation into Hinduism could have happened nowhere else) but its tale of strife between generations is something anyone can understand and feel.

If you would like to talk about this film, please email me! "Namoskar." (I'm pretty sure that means 'goodbye!')

This film was made in 1960. This is interesting because it is highly doubtful that the same film could be made in India today, in spite of India's massive film industry. The film does a great depiction of the crisis faced by people struggling to be modern yet encumbered with the traditional systems and the specter of having been colonized.

The younger son is ready to walk away from the bondage of traditional and as he sees, the superstition of the traditional life. Of course, he is reaping the benefit of life as a high caste. His young wife becomes the Devi - the embodiment of the goddess. This film also works well for its psychological content for the way we see the father project his desires onto those around him, and the choices faced by each character. In light of the fundamentalism worldwide - Christian, Muslim & Hindu - it is hard to image that this film could be made today in India since it leans to a skeptical view of Darsan and the goddess.