#1102: RAY, Satyajit: Devi (1960)
RAY, Satyajit (India)
Director/Writers
Devi [1960]
Spine #1102
Blu-ray
Blu-ray
Master filmmaker Satyajit Ray explores the conflict between fanaticism and free will in Devi (The Goddess), issuing a subversively modern challenge to religious orthodoxy and patriarchal power structures. In the waning days of mid-nineteenth-century India’s feudal system, after his son (Soumitra Chatterjee) leaves for Kolkata to complete his studies, a wealthy rural landowner (Chhabi Biswas) is seized by the notion that his beloved daughter-in-law (a hauntingly sad-eyed Sharmila Tagore) is the reincarnation of the goddess Kali — a delusion that proves devastating to the young woman and those around her. The opulently stylized compositions and the chiaroscuro lighting by cinematographer Subrata Mitra heighten the entrancing expressionistic intensity of this domestic tragedy, making for an experience that is both sublime and shattering.
93 minutes
Black and White
Black and White
Monaural
in Bengali
in Bengali
1:37:1 aspect ratio
Criterion Release 2021
Director/Writers
Based on an idea by Rabindranath Tagore.
Screenplay adapted from the short story of the same title by Prabhat Kumar Mukhopadhyay.
Satyajit Ray was 39 when he wrote and directed Devi.
Screenplay adapted from the short story of the same title by Prabhat Kumar Mukhopadhyay.
Satyajit Ray was 39 when he wrote and directed Devi.
Other Ray films in the Collection:
The Film
Ray suggested that Western viewers should attempt to acquaint themselves with certain aspects of Hinduism, in order to better understand this film. I offer three Wikipedia articles which might assist in consummating such a goal ...
Devi
Shaktism
Sati
Devi
Shaktism
Sati
**
The Indian film-going public didn’t appreciate their ancient religion being put on a seemingly negative display here, and the film didn’t do well at the box office.
The Indian film-going public didn’t appreciate their ancient religion being put on a seemingly negative display here, and the film didn’t do well at the box office.
What Ray is putting on trial is crazy orthodoxy. It is not the worship of Devi that is the problem, it is the worship of a human being who is suddenly, and unwittingly, cast into the role.
Our modern society has many Devis — the latest pop star sensation (think of the scene where hundreds and hundreds of extras are lined up to see the Devi! Transfer that to Ticketmaster), the populist dictator, or the TV or film star who dare not sign an autograph for fear of being ripped apart by the crowd. Or maybe a Jim Jones.
It is the last half of the 19th century. Poor Doya is a shy 17-year-old newlywed (played by the 14-year-old Sharmila Tagore, her second of five films with Ray) married to Uma (Soumitra Chatterjee, third of 14!). Uma is trying to break away from his wealthy father, Kalinkinkar (literally, “devotee of Kali”) (Chhabi Biswas) — via Western-style education.
Ray perfectly captures the cultural divide with the character of the older son, Taraprasad (Purnendu Mukherjee) — an even bigger fool than the father — and his disbelieving wife, Harasundari (Karuna Banerjee).
A few memorable scenes:
- Father treats Doya like a goddess from the start. He praises her devotional attentions to his needs, and calls her “Ma.” She brings him his medicine and gives him a foot rub. The slightly creepy sensuality then shows up in his dream where he pictures her as the Goddess. Ray never hammers down the idea … but it is there, nonetheless …
- Uma is coming home from the theater with his friend, Bhudeb (Anil Chatterjee), who confides to Uma that he is likely to be disinherited because he is in love with a widow. (See the article on Sati, above. The practice was not completely banned until the time period of Devi.)
- The beggar (Mohammed Israil) whose child is dying, is singing a hymn (composed by Ray) as he stares and smiles at Devi with a look on his face that is familiar to anyone who has run into a cult follower — ignorant, stupid rapture.
Ray and his DP, Subrata Mitra, have created their usual dramatic and eye-opening cinematic tableaux. The subject material is, at times, difficult and uncomfortable. But the film is one of those worthwhile experiences that devolves from making oneself uncomfortable.
Film Rating (0-60):
The Booklet
Twelve-page wraparound featuring an essay by film critic Devika Girish.
Commentary
None.
Program
Featuring interviews with actors Tagore and Chatterjee recorded in 2013.
56
The ExtrasThe Booklet
Twelve-page wraparound featuring an essay by film critic Devika Girish.
“Ray’s adaptation (of the Mukhopadhyay) moves the story’s timeline forward by almost a century. By then, colonial rule was entrenched in India and festering a growing resistance. The Renaissance was well underway and had birthed the Brahmo Samaj, a monotheistic strand of Hinduism that advocated for liberal reforms to religious and social traditions. The Tagore and Ray families were both prominent within the Brahmo movement, which rejected Hindu customs such as idol worship, caste, and the burning of widows, and campaigned for women’s education and equality. Its adherents embraced the spirit of Western modernity and rationalism but emphasized its continuity — its ‘umbilical cord,’ as the critic Chidananda Das Gupta puts it — with ancient Indian tradition.”
Commentary
None.
Program
Featuring interviews with actors Tagore and Chatterjee recorded in 2013.
Tagore at 64 is still gorgeous. They both recall their work with Ray as fond memories.
Video essay
By film scholar Meheli Sen.
Good explanations of the complexities of the film’s material.
Extras Rating (0-40):
Video essay
By film scholar Meheli Sen.
Good explanations of the complexities of the film’s material.
Extras Rating (0-40):
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