After the success of Pather Panchali, Satyajit Ray—who had never intended to make a sequel to the film—was encouraged to take the story of Apurba ‘Apu’ Ray forward, a story that emerged in Aparajito.
This instalment of the story of Apu begins a few years after the last scene of Pather Panchali. Apu (now Pinaki Sen Gupta) has now moved to Banaras, with his priest father Hori (Kanu Bannerjee) and mother Sarbojaya (Karuna Bannerjee). Hori goes to the riverside every day to deliver sermons to a group of Bengalis, most of them widows. He makes enough money for the little family to be just about comfortable, no more.
When I posted on Twitter about the person who’d advised me to not ‘waste my time’ watching ‘silly Indian films’, a Twitter follower pointed out that Satyajit Ray was also Indian. And I had to concur: Ray, in fact, was the first person who came to my mind as a refutation of that ‘silly Indian films’ generalization. His films are works of art. Occasionally ‘silly’ (Goopy Gyne Baagha Byne fits there), but that silliness is on genius level. It takes brains and creativity to be silly in the way Ray was with that film.
But Devi, ‘The Goddess‘, is nothing like that. There is no silliness here, unless you interpret toxic superstition as silliness.