the terrorist

This film about a young woman, Malli, is very mysterious and contemplative. The story, though fiction, is based on situations that could indeed occur in present day. Even more, the plot centered on the character development of Malli, not on the actual suicide-mission that she was to complete. I have noticed a huge difference between the glamorized “western” films that America loves and this type of film. The film consists of symbolism, in-depth meaning, intense characters, etc, compared to pizzazz and glam that I am used to watching. I was intrigued by the character, Malli, who steadily changed before our eyes. She is three years my junior, volunteers for a mission in which she will not return; a mission that will bring an honor and prestige to her name, but will cost her life and future lives that may come from her.
I realize that being so young she has likely grown completely surrounded by secrecy, gun-fire and death. Such a life seemingly warrants a hardened, guarded person, desensitized by the travesties that surround someone like Malli. Yet, I am surprised by her ability to trust. She trusts Lotus with her life as he guides her to the ferry. Possibly this ability derives from her time with the wounded rebel whom she begins to care for very deeply; which is interesting that in such skeptical times she is able to do so.
Though there is definitely an unclear timeline as to when all of the events occurred, the sum of all of the events seems to be what changes Malli in the final scenes. As the film progresses from the opening scenes where Malli murders two people, one being a rebel, to her being selected for the mission. While the rest of the film consists of her travels and preparation to complete her mission, most of her changing occurs during this time.

I think that while Malli seems like a hardened soldier, that after she meets the soldier, she starts to soften, or rather, her need to be so guarded is not present. That aspect that would have been part of her life had she been a student or anything besides a soldier. From that point, she goes undercover as a student and becomes part of this family; she takes on another life, one of normality. This is where I saw the biggest changes; the wheels begin to turn more rapidly, as Malli realizes that this could be a possibility for her. The possibilities continue as Vasu suggests that she is pregnant. Malli doesn’t think of her life alone, but of someone who may be growing inside her. Whether she is pregnant or not, the point being is that is another aspect of life that she will miss if she successfully completes her mission.
The filming captured the beauty of the landscape, a landscape that suggests freedom and ignorance of the conflict that is present. Also, I was captivated by the flashbacks that seemed to be connected with Malli and water, either when she was showering or sitting by the river, or even staring out at the rain. Possibly as a reminder that life continues, just as the water cycles or runs down a river. Either way, the imagery was beautiful and allowed viewers to understand that the moments to follow were to be contemplated, just as Malli was doing.
I found the ending to be perfect, maybe predictable, but definitely leaves much to the imagination. As I was further thinking about the ending, I realized that to have pressed the detonator would have been the easier solution, but to live, that was indeed the difficult choice to make. For I think that to live, she lives with the haunting memories that are her life, but also, it is likely that the organization for which she was enlisted will likely not allow her to live after what she knows. Just as she murdered the rebel in the first scenes, she too now is a rebel, a traitor and will likely be treated the same way.

Devi Review

Devi (the goddess) directed by Satyajit Ray is centered on family, divinity and above all- tradition. The patriarch of the family believes a night-vision and places his daughter-in-law in a temple believing her to be the goddess Kali. The family each deals with this revelation differently. Each individual not only must decide if she is in fact a reincarnation, but more importantly each must come to terms with their own faith and beliefs.
The father, widowed and pious, depends upon the assistance of his daughter-in-law, Doya. Not only does the father become a symbol of tradition, but so does Doya as she willingly accepts her role as daughter and caregiver. However Uma, Doya’s husband, is quite different from his wife and father. He is an educated man, with aspirations of much more than praying to the gods. He, in a sense, becomes a symbol of westernization, of the future, of change. After the father’s great vision the balance between tradition and change is tipped, as father and son tug-of-war for one woman.

Doya is placed as a living statue of Kali-incarnate and not only do others have to struggle to determine her divinity, but she as well must make up her own mind. When first the father came to kneel at her feet she writhed against the wall, literally scratching into the walls, yet as various believers come to kneel at her feet she can only look on, unwilling to do more than neutrally watch. She continues to watch as people, young and old, are healed while she does nothing.
Yet, divinity is not meant for mere mortals, as is shown with Doya’s insanity at the weight and burden of divinity. It is not until her nephew is placed in her arms does the reality of this faux-divinity come to a head. She can only maintain such antics until she is placed with the reality of death. It is only at the end when Doya escapes to the fields, do viewers take a breath. A breath of relief of her freedom, but of bitter relief such literal freedom came at the expense of her sanity.
All the while Uma is grappling for her freedom. He not only has to go against his father’s faith and vision, but also convince his wife that she is not a goddess. Though he was raised with the same concept of deity, he has chosen a different belief, a “learning of a different kind.” He refuses to have his wife believe and accept the role which has been placed upon her as a divine being. Yet, as so many revolutionaries have found, change is not easily installed in the minds of traditionalist. His pleas and actions are hardly heard. Yet, they speak volumes to the cause of change.

Watching this as a Western female in the 21st century, I found myself struggling to maintain myself while I watched her. I felt such pity at the position in which she was placed, but even more I was a bit saddened that she could not simply say, “Enough is enough.” Yet, that is not my culture and it is simply my ignorant nature. The film’s plot and cinematography were a complex interplay of symbols, cultural traditions and faith. It truly is “learning of a different kind.”