Female Figures in Devi and Nang Nak

This is a short essay analyzing the films Devi and Nang Nak.

Christianity sees the Virgin Mary as an intercessory figure which has to be venerated by the members of the Church. As a central figure in the Catholic tradition, she is perceived as the essence of being a woman, appealing to emotions as opposed to the rigid realm of logicality. She is seen as the opposite of Eve, who put sin into this world; Mary gave birth to the Word, and gave Him His human characteristics. But more importantly, in relation to the communitas, the Marian figure, with its multiple ‘local’ meanings, is important in terms of uniting a locality.

With all this said, it is interesting to note that other religions also have their share of female figures which are also put in a place of high regard, albeit in different ways. In the films Devi and Nang Nak, one sees how the figure of a woman, as a goddess or as a ghost, is treated in the Hindu tradition and in Thai local folklore.

While there are similarities between the Mother Goddess (Kali) of Hinduism and the Blessed Virgin Mary, it appears, at least in Devi, that the Hindu goddess is not just held in honor, but also worshipped and adored. This suggests that the devotion of Hindu followers is much more intense as compared to the devotion of Christians to Mary. Indeed, similar to Mary, the Hindu goddess is treated as a counterpart to the male figure, which symbolizes consciousness and reason. In the film, Dayamoyee, seen in a dream (a form of unconsciousness) by her father-in-law as the reincarnation of Kali, represents unconsciousness and emotions while her husband, given his education, appears to be her conscious and logical counterpart.

Sharmila Tagore plays as Dayamoyee, the 'reincarnation' of Kali

The Hindu deity is also seen as a ‘mother,’ capable of providing refuge to her sons and daughters and performing (or at least helping carry out) miracles to the faithful. However, the Hindu goddess appears not simply as a figure which intercedes; alone, she can perform miracles. In the words of Kalikinkar, Dayamoyee’s  father-in-law, the Mother goddess ‘can make the impossible possible.’ Kalinkinkar, in a conversation with his son Umprasad, mentions how he worshiped the merciful mother with such rigor for more than 40 years. This intense reverence for the goddess is seen further in the chants constantly sung in the film, with lyrics ranging from ‘we are not worthy’ or ‘have mercy on us, Mother.’

The strong devotion to the Mother Goddess does not end there. It is also important to point out how the idea of incarnation makes the dynamic between the signified and the signifier more difficult to delineate. In contrast to the figures of the Virgin Mary, the signifier in the Hindu tradition is a living person, not an icon. Further, the fact that the goddess has presented herself to the people in the guise of Dayamoyee makes the distinction between the signified and the signifier harder to grasp. The symbol (the signifier) is no longer just a convenient representation since the signified, which in this scheme of things no longer appears to be thoroughly transcendent, has made itself present in the signifier.

The blurred signified-signifier dynamic presented in Devi is not the only dilemma faced by Hinduism, or the whole idea of religion for that matter. The clash between the individual and the community is also masterfully presented throughout the film. In sum, the film seems to suggest that personal beliefs and desires, when opposed to tradition, are destined to fall into a tragic pit. The movie’s conclusion is a testament to such argument. Dayamoyee, even if it is against her will to become a goddess, is left no other recourse but to believe as others believe. In tears, the protagonist helplessly watches the throngs of people worshipping her, coming from distant places just to witness the goddess. This leads to an unfortunate end, as Dayamoyee fails to heal a severely ill Khoka. Of course, in turn, Dayamoyee loses her sanity. But she has already lost something even before the death of the child: her identity.

Nang Nak, on the other hand, as opposed to Devi, involves the story not of a deity, but of a ghost. The Thai horror film recounts the legend of Mae Nak, a woman loyal to her husband Mak, even after her death. While both the Virgin Mary (Mother of God) and the Devi (female deity) generate some form of devotion from their adherents, the ghost of Nak inevitably imposes fear among the members of the community. However, it is interesting how the townspeople in the film, upon learning how Nak continues to terrorize those who try to destroy her family, draw nearer and nearer to the Buddhist monks, as if to suggest that these enlightened men have the capacity to intermingle with spirits and lay them to rest.

Nang Nak

Slightly veering away from the figure of the woman presented in Nang Nak, one has to pay attention to the role of the Buddhist monks in the film. Throughout the film, one sees how the monks are respected in the community, seen as wise men capable of guiding lay followers toward the right path, or, more appropriate to the Buddhist tradition, the middle path. Nak herself consults the head monk of the local temple when she was still alive to know the condition of her husband who was sent to fight in the Siamese-Vietnamese war. In a meeting wherein the local community is to discuss the actions that should be taken to fend off Nak’s ghost, the townspeople, although free to give suggestions, clearly recognize the chief monk of the locality as the central figure. Ultimately, it was the High Dignitary, Somdej Toh, who is able to successfully persuade Nak to no longer disturb the town, keeping her spirit in a girdle brooch made out of her own forehead.  

Going back to the figure of the woman, the ghost of Nak seems to still portray the quintessential traits of a woman. For one, Nak is evidently driven by her emotions, by an undying love for her husband. This leads to a disastrous situation for the people of the community, for the stubbornness of the ghost, fueled by her intense emotions, leads to her eliminating anyone who tries to show Mak the truth. Aside from this emotional and loving nature of Nak, one also sees the care she shows for her child (Dang), who, according to Nak herself, should always be with her. In sum, the movie portrays the woman as a figure which revolves around emotions, love, and desire.

Given this, the figure of the woman, embodied by the ghost of Nak, seems in opposition to the basic tenet of Buddhism--ridding oneself of desire. Holding on to Nak, Mak is perceived by his community as a person who is downright insane, unable to accept the reality of his wife’s death. Perhaps such image of Mak is analogous to a person not being able to let go of his desire, a person incapable of seeing the ‘truth.’ Thus, the conclusion of the film comes full circle as Mak, no longer living with ghosts and no longer controlled by his desires, decides to live a life of asceticism together with the other monks.

In conclusion, the films Devi and Nang Nak definitely provide the audience with a substantial image of the culture of Hinduism and Buddhism respectively. More specifically, these two movies provide differing views concerning the woman. Devi sees the Mother Goddess as a source of comfort, forgiveness, and miracles, and should thus be treated with the utmost respect and devotion. On the other hand, Nang Nak shows the ghost of Nak, in a sense, as a symbol for desire, and the only way for one to continue living is to let go of this strong feeling of wanting.

It is equally important to look into how these figures are approached by the communities in which they are a part of. In Devi, people from different places gravitate towards the incarnation of the goddess, willing to endure a long journey just to witness the female deity or even ask for her blessing. This unity of a community is also seen in Nang Nak, although for very different reasons. Fear that the apparition of Nak might haunt them, the people of the town decide to hold a gathering, led by the monks, to discuss how they must act. Thus, similar to the unifying characteristic of the Virgin Mary, these female figures bring together people for a common purpose or action. All in all, the effects of images and symbols on the communitas cannot be overemphasized. While both films end with a more or less despondent note, it is nonetheless important to take note of the unifying, and therefore hopeful, aspect behind these female figures.