"Devi" is one of Satyajit Ray's most compact films. At 93 minutes, it is his shortest feature, and the story is one of his simplest to describe. In the 1830's young woman, Doya, lives in a mansion with her father and extended family. Her husband works far away, but plans to have Doya move with him soon. On day Doya's father drops to her feet and proclaims that she is the reincarnation of the Goddess Kali. At first Doya is skeptical, but when a sick boy seems to be cured in her presence, she too comes to believe that she is the Goddess. Despite her husbands attempt to take her away from the house, she stays. When she is not able to cure a second sick boy, her nephew, she cannot handle the pressure, and despite her husband's pleas, runs away into the mist.
Yet despite the seeming simplicity of the story line, "Devi" is a complex work. Aesthetically, Ray is able to use the space in an incredibly evocative manner. In the beginning of the film the interiors of the mansion are shot in a relatively open manner, and there seems to be a lot of space to move around. As the film progresses, the shots get tighter and there seems to be less space. This contrasts with all the exterior sequences, which are shot using a greater degree of long shots. Yet, this is not a simplistic visual statement by Ray that suggests that the indoor are confining while the outdoors represents freedom. In fact the outdoors too is confining, for along with the open space come oppressive mists and clouds, as well as the tendency to have the characters draped in shadow. It's as if Ray is saying there is nowhere for these characters to go, no escape from their fate.
At the end of the film, when Doya runs away, she is enshrouded in mist, leaving it ambiguous as to what will happen to her, and certainly suggesting that she has not found escape. Although in most plot summaries it is stated that Doya dies in the end, that did not seem to be case with the print that I saw. Perhaps the other writers were thinking of the original story. In any case, by having Doya run away into the mists, Ray makes a more powerful statement than if he were to have her simply die. By dying, we know that although this was the tragic result of her father pressuring her into believing she was the Goddess, she has found some release. By having Doya running away into the mist, Ray creates a much more chilling conclusion, for we know that Doya might never be able to undo the damage that has been done.
Yet despite the seeming simplicity of the story line, "Devi" is a complex work. Aesthetically, Ray is able to use the space in an incredibly evocative manner. In the beginning of the film the interiors of the mansion are shot in a relatively open manner, and there seems to be a lot of space to move around. As the film progresses, the shots get tighter and there seems to be less space. This contrasts with all the exterior sequences, which are shot using a greater degree of long shots. Yet, this is not a simplistic visual statement by Ray that suggests that the indoor are confining while the outdoors represents freedom. In fact the outdoors too is confining, for along with the open space come oppressive mists and clouds, as well as the tendency to have the characters draped in shadow. It's as if Ray is saying there is nowhere for these characters to go, no escape from their fate.
At the end of the film, when Doya runs away, she is enshrouded in mist, leaving it ambiguous as to what will happen to her, and certainly suggesting that she has not found escape. Although in most plot summaries it is stated that Doya dies in the end, that did not seem to be case with the print that I saw. Perhaps the other writers were thinking of the original story. In any case, by having Doya run away into the mists, Ray makes a more powerful statement than if he were to have her simply die. By dying, we know that although this was the tragic result of her father pressuring her into believing she was the Goddess, she has found some release. By having Doya running away into the mist, Ray creates a much more chilling conclusion, for we know that Doya might never be able to undo the damage that has been done.