Devi

Religious fanatacism gives way to believable soul-searching and the confusion that follows - Devi explores the fine line between religiosity and fantasy - or, what religion really means, especially within the patriarchal, rural culture the film depicts. Importantly, it never feels condescending, preachy, or obtuse - which anyone, even Ray, could fall prey to with this subject matter.

Moody, sensual, and sinister. Although it speaks out against fundamentalism (though not religion as a whole, I think), it does so in a compassionate way; those drunk on false spirituality are not evil, just lost. The indoor scenes and long closeups are beautiful to watch.

In some ways I wish more was done with the material, but what's here is fascinating. The ending is of the kind that will most likely never leave my mind.

Complexity arises from simplicity in Devi -- yet another great film from Satyajit Ray's early career. A woman's father-in-law has a dream where it's revealed to him that his daughter-in-law is the reincarnation of a goddess. The woman's husband -- a man who strives to be modern in his world view -- doesn't believe it. The woman herself doesn't know what to think. From this setup Ray creates a subtle and ambiguous film about the difference, or lack thereof, between spirituality and superstition.

Takes some time getting into, but well worth it. The finale is profound, deceptively simple as it disperses superstition only to reveal an underlying core that's not necessarily secular.

This is religious fanaticism handled in a way that Westerners could never do... in America, it would probably be a broad comedy, along the lines of Dogma and the like. In Devi it's done much gentler, with sensitivity and beauty. The musical score is outstanding.

It's obvious that there is plenty of text regarding these specific religious rituals during this specific time and place that may be lost to foreign eyes, but what remains clear is the tragedy of a woman held captive by mass fervor and patriarchal leverage, and the battle between cultural tradition and emerging modern sensibilities. Sharmila Tagore cuts a sad figure, sitting idle and utterly depleted, an image carved in clay.

SOMEONE PLEASE RESTORE THIS!!

90.00

Viewed March 25, 2018.

It was feasible to create much more drama with this plot (it was a very interesting and profound subject) but Ray chose not to. Idk, maybe it was the best choice. Because, this movie is already as dense as possible. Feels like a film from another planet, yet so worldly.

Star Rating: ★★★★1/2

Excellent and beautiful cinematography that mixes long shots and closeups to give us insight into the characters and situations and set the film's slightly mystical mood. Even with the less grounded subject matter, scene to scene the film has Ray's usual style of realism and it helps balance the film's tone with the fable like narrative. For the most part it's really great both as a story on it's own and as an exploration of various aspects of faith and freedom.

Very well-acted.

Excellent social satire from Ray.

I think about this film daily. It haunts my dreams.