 You see any of the Grammys? No, just on Twitter and stuff like that. Had some great moments. T-Swizzle and, but we, I do know, we had a Dost and a bunch of Indians win a Grammy. We did. Our very first Dost. Yes, our very first Dost. Our second Dost to win a Grammy, though, I think. Correct. They are Ramon. Yes. One one before, right? Yes, that is correct. And they don't, then they did a, he was there. You saw the photo of them together? Yeah. Very cool. They thanked us. It was nice. Yeah, it was. They didn't have to do that. No, in the speech, that's all they said was, we wouldn't be here if it wasn't for Rick and Corbin. And we just, we just, we know it's true. But yeah, yeah, yeah. We don't need to have the praise. We already know how great we are. Just no stop. Hey, we're back to our stupid reactions of Corbin. Rick. Thank you to everyone who supports on Patreon, follow us through to account, subscribe, like button. And if you don't understand sarcasm, you don't understand us. Yeah, can't, can't help you. If you took that seriously in the slightest, I have some land, I have some land to sell you in Florida. Yep. Today we're doing a movie review. And we'll go back to classic month. It's classic month. It's classic month where everything is black and white. Yeah. For the most part. Not all the time. Some stuff has been colorized. For the most part. Yeah. Colorized. Yeah. Not this one. But like Muglia Zoms. I'm glad. I wouldn't want to watch. Muglia Zoms is one of the rare colorizations I actually liked. I typically don't like the colorization of black and white. Anyways, but today we do a Bengali film from the 1960s, 60 to be particular, by a little unknown director called Satchajit Ray. Or Rai if you're a bongo, am I right? It's true. But this is our 100th Satchajit Rai film. I don't know what it is, but it's done. I think it's probably. If I'm not mistaken, this is our 19th Bengali film and I think 14 of them are Rai. How many does he have? That I don't know. That'd be pretty close. Yeah, I'm not sure how many he has. I don't think he did like multiple a year. He didn't, he didn't. He doesn't have a huge filmography. It's not on the hundreds. Okay. Anyways, but this one's called The Goddess or also Devi is how it was on the Criterion channel, which is how we found it. And which great quality. The Criterion channel, that's what they do. Great quality. You're familiar with them, right? Yeah. It's a great system they have and they've preserved a bunch of Satchit Rai's works. It was endearing because you could see, not kind of sad, but I'm so happy it was preserved because there's some spots where you can see in the frame on the right-hand side some of the degradation of the actual film, but they captured it. So it looks HD in spots, it's great. Anyways, but it didn't just come out. It came out in 1960, so it's gonna be 100 cents for a review, so if you haven't watched it, please go watch it on the United States. It's on the Criterion channel. If you speak Bengali, I think it's a bunch of other places. The only place I've found it with- It's probably on Hoitroy. I think it's on YouTube, but it's not a great quality. So- I can't imagine it's not on Hoitroy. Yeah. So if it, you can find it, go watch it, come back. It's an hour 30, like most of his films. A lot of his films aren't very long at all. Yeah. Please go watch it, come back, because it's gonna be a 100-cent spoiler review. Rick, your initial thoughts of Devi. What a shock, another Satya Jitrai film that we think is good. Surprise, surprise. Surprise, surprise! Surprise, surprise! Yeah, it's just, it's what you expect from a Satya Jitrai film. And it is one of those that, I think you can go into any Satya Jitrai film having never seen them, but I love the order in which we've seen his films, because I have an appreciation for what he does in this. How much he lets just be, silence, thinking. And the story, which it reminded me of so many films. You remember when we went and we saw us, and we came out of the theater and we all kind of agreed with one another. I don't know who said it first, but we said, the problem with this film is that the people who need to see it the most are never gonna understand it, never gonna really ever come and watch it. And I really felt like that's part of the messaging in this film, is it's the kind of film that is such, it has such symbolism and such a strong message, but it's done in such a cinematically intelligent way that most of the people who would watch this and appreciate it would probably be of the same worldview and mindset of a Satya Jitrai. Loved it. Yeah, and I saw somebody say that this is his most Hindu influenced film. Like that has the most Hinduism stuff in it. I mean, which obviously that's self-evident, obviously. Yeah, right. But I don't know, man, this might be my top three Satya Jitrai films. I liked it a lot. It's hard for me to put them in a, it is hard. It's really difficult. I really don't know how I would put them in my order of my top. And I might be forgetting some. And I know that like there's the top three that come to mind are The Big City is just, I agree, I adore The Big City. I think Hero is spectacular. And Opu is three films, is one film to me. This and The Stranger. The Stranger as well. Or probably the top four for me, I could probably go debate on others maybe that I'm just forgetting. And the short film, the very first thing I ever saw. Yeah. But this one was so unique because one, it was a little stylized. It was a little, you didn't know where it was going at first as well. Yeah, so slow. It lets you kind of like piece it together and find out along with the people in the film of what's going on. Or do you know what's going on? What do you think is going on? Yeah. Are they right? Right. Or is he right? Right. And I like that, the unweaving of it and all that. I was like, oh yeah. And I think she actually the reincarnation of Jeff? And I think she had maybe a page of dialogue in the whole film. And that's Scythe's mom, right? Yeah. Yeah, Scythe's mom. Yep. Great actress, man. Man, is she good? Yeah. We've seen so many times. Everything we've seen so is Sumitra. I mean, we've seen both of them quite a bit now. Her and this, man, the framings that Satchit Rai gave her was so good. She was just like, she had so many shots. I was like, oh, yeah, that's a, she had like almost evilness at times. Innocence, like she, she gave, and I think obviously that was on purpose. Yeah. You're trying to figure out what is happening. Yeah. And I loved it. Yeah. The unweaving of it was so intriguing to me. And she did a phenomenal job. Might be my favorite performance of hers. And she has like four pieces of dialogue. Yeah. She doesn't need to speak. Her face says everything. Yeah, it was, she was so good. She's wonderful. Yeah. Her, I basically just talk about her right now. Her whole character, and we'll talk about the end and the messaging and everything, obviously, because that's the biggest part of the film. Oh yeah, that is the biggest part of the film. But yeah, she did such a great job because she gave such innocence in the beginning. And then once everything went down and she was just kind of hiding her face, and then you're like, at first you're like, oh, this poor woman, she's been put into this situation of a religious extremist on a woman that without her consent or even asking or that kind of stuff. Rye does stuff that was like, wait, is she? Is she Debbie? Cause like, or is she like pretending to be Debbie? But then obviously her as a human, then ask questions like, what if, I don't think I am, but what if I am? How do I know? But I thought her performance of all that was absolutely brilliant. I believed it 100%. I did too. And I thought the writing contributed to that as well because why does the little boy want to hear the story about the witch? You know? Yeah. It does. It really, is she as innocent as she appears? But, and again, that's her role. It's not the predominant message of the film, but it makes her a far more interesting character, which is typical of, I don't know how much of that is built from Satyajit Rye's screenplay versus how much of it is in the original material he adapted. My suspicion is it's predominant in the original material. So it's just a well-written short story. Yeah. And Sumitra also did a really good job as he does in, it must be one of Satyajit Rye's muses. Yeah. He just loves to use them. Well, like most filmmakers, we talk about it all the time. You work with the same people over and over again because of the level of trust. You develop a second language where you don't even need to say something because the other person knows what they're gonna do and it's why you pair actors up together all the times because the chemistry and the amount of time you're gonna spend together, you just know what you're gonna get in the end and it's very clear the comfort level that these guys have with each other in this film. And he played kind of the role of the audience in this. Very much. Of like coming in, you're like, what, are you stupid? Right. Like, no, you killed this kid because you all that kind of stuff. And so he was kind of speaking for the audience at least until the very end and then that's up for debate, or maybe not, of what's going on there. But I thought he played that really well. We saw him in the music room, right? That's where we saw him. I believe that's correct. Was he, was it the music room or was it the stranger as well? It might have been both. He was definitely in the music room. He was in the music room. I don't know if he was in the stranger, but he did a very good job, 100% believed him as the kind of overly religious father who influences everybody and kind of speaks for the whole family. If he says something that goes, I thought he did a very good job. I did too. And as did, I thought everybody did a good job. I felt the mother of the boy was also did a solid job. And the messaging obviously is a story about, I wrote this down, it's clearly a story about the absurd contradictions of patriarchal society deifying matriarchs, yet simultaneously defining them and what they can do or can't do as the guy's happiness grows in obliviousness to the woman's unhappiness and the suffocating and blinding power of superstition. It's interesting because it does feel very much and I can understand why someone would say it's his most quote unquote Hindu film because that is the subject matter that he's talking about. But I see this as- You might have multiple messages. No different than most of his films, which is an observation of society as through the lens that he sees society and the things that are troubling to him in society and make no sense according to reason and logic and why are these things the way they are? But the end definitely, and obviously if you are familiar with the story, maybe you know exactly, but it leads you to believe something more was going on. Like was she actually a witch, a demon? Or was she pushed to the edge? Yeah, as well. And it might have been, because it almost felt, she, her look at the end when he came in, she was all disheveled, obviously. Yeah, you could tell the minute you looked at her, she's off. Like Vidya at the end of the ox game. Yes. So I didn't know if it was like playing on that same character, if that's part of the story. Right. And like that person's a deceiver. In other words, is this who she's always been? Yeah, and she was deceiving everybody, believes you probably. Or was this who she was pushed to become? Yeah, who knows? I don't know. If maybe it's you guys know because it's part of Hindu mythology, lore, stories, I don't know. But that was when it left it open like that, I was like, oh, I like that. And the fact that the kid died, you know I love it when there's not happy stories. And I was like, oh, is she actually gonna save her? Is she dead? And then it was she died. I was like, oh. Yeah, and it's very likely there's a lot of stuff in this that we wouldn't get. And even Andrani, I mean, she's seen the film, we didn't watch it together because she's seen the film. But there's so much about Hinduism and the goddesses and the relationship between Durga and Kali and Lakshmi. And it is, you absolutely could spend a doctoral program of study and barely scratch the surface on the depths of what that all means and the different avatars of different things. And I'm sure there's a bunch of stuff that just went over our head. And it was even the Satya Rai put, it felt like a little horror in there. And he probably could have delved a little more into the horror element of it. Like you could have made this movie with a different edit, a horror, I think. Yeah, you could have made this scary. I don't know how much it would have been divergent from the original material. But I think if you don't know film, a film can be changed into six different films in the editing room, just by editing. And score. And score up, yeah. But it's quite fun to actually, if you haven't seen stuff on YouTube of films that were turned into, I love the trailer for The Shining is a comedy. Oh yeah. That's so good. But yeah, so I love those little elements. And so I think my favorite Rai films are the ones that I feel like are his most out of the box. Maybe not this big city, because I don't know the ones out of the box in terms of his. But obviously the hero definitely is. And that one stylized a lot. This one I feel like is decently mixing genres a little bit, which I really appreciated. It was a really intriguing story. Yeah, and he's such an interesting filmmaker because as I really contemplate his films, he has two strengths that are similar but different. And the strengths are on the one hand, like the Opu trilogy, it seems so autobiographical for him in terms of his background, his life, his being Bengali, his being Indian, where he came from and what he became and just sharing of himself, right? Not sharing a view, but just sharing of himself. He's a director who does that, but he also was a director who has extremely strong messages he wants to convey with his cinema. And there's a lot of directors who will be very strong on message, but not very transparent with self. And then there's the other kind that are very transparent with self, but don't have a particular message for society. And he's the director that has a one-two punch. He does both of them with incredible power. Yeah, he does. I'm so glad we had a heavily restored version. Yeah, me too. It helps. I love the cinematography in this and the shot choices. Like some of the close-ups just on her where she was like this. And he didn't explain what it meant, but you just saw glare. And that's why I think she was like a demon or something that was deceiving people into believing she was Debbie. That's my initial, I think overall. Obviously, I think the overall messaging is too about relationships and all that kind of stuff. But I think the story itself was actually about... How did the mother die? That, you know, because remember this, he's the dad is a widow. How did... Oh, well, I didn't think about that. Did she die because of something she did to put herself in this position and that her ultimate goal is because she wants to make sure that... I mean, is she the destroyer? Is she the one who brings death? I think destroyer is Shiva. Well, there's a couple of them that have that. Well, Durga, for example, does bring war. And again, we are beyond... We are not even novices in this regard. And again, that's where I think there's a ton of symbolism and stuff that those of you who would know this would be able to point out and say, oh, yeah, this is that. This is that. You missed that and appreciate it when you stupid babies do that for us. It was cool to see Durga Pooja on the video and the fireworks and some of the VFX that he did. And the submersion. Yeah. Yeah. It was really cool to see. Shocker, another good, such a Rai film. Everything we've ever, you know, heard about him from the very beginning and he is everything deserving of the Oscar he got and not just Indian. He's one of the greatest filmmakers of all time. Yeah, yeah. Without question. Without question. Anyways, let us know what the next Satchit Rai film should be. Let us know what the next Bengali film is. Yeah, not just, obviously, Satchit Rai. There's a hundred Bengali films plus every year. We would like to please recommend us some good ones. I have no idea if they ever come here. I know. Honestly. But there's gotta be some from a couple of years ago that we could see streaming and we could actually take, because we've done that. We've done that with a couple films. Oh, I think we watched a few from last year. We did. But anyways, let us know what the next Bengali film should be, Bengali classic from Rai or others. Yep. Please let us know what those should be down below.