Jai Santoshi Maa - Wikipedia. Jai Santoshi Maa (Devnagari: . Usha Mangeshkar, sister of Lata Mangeshkar, sang the devotional songs for the film along with Mahendra Kapoor and the famous poet Pradeep, who wrote the lyrics of the songs. The film opens in Dev Lok or . A key role is played by the immortal sage Narada, a devotee of Vishnu, and a cosmic busybody who regularly intervenes to advance the film's two parallel plots, which concern both human beings and gods. We soon meet the maiden Satyavati (Kanan Kaushal), Santoshi Ma's greatest earthly devotee, leading a group of women in an aarti to the goddess. Alas, with the boy come the in- laws, and two of Birju's six sisters- in- law, Durga and Maya (named for powerful goddesses) are jealous shrews who have it in for him and Satyavati from the beginning. To make matters worse, Narada (in a delightful scene back in heaven) stirs up the jealousy of three senior goddesses, Lakshmi, Parvati, and Brahmani (a. They decide to examine (pariksha) her perseverance (Shraddha) by making life miserable for her chief devotee.
After a fight with his relatives, Birju leaves home to seek his fortune, narrowly escaping a watery grave (planned for him by the goddesses) through his wife's devotion to Santoshi Ma. Nevertheless, the divine ladies convince his family that he is indeed dead, adding the stigma of widowhood to Satyavati's other woes. Her sisters- in- law treat her like a slave, beat and starve her, and a local rogue attempts to rape her; Santoshi Ma (played as an adult by Anita Guha), taking a human form, rescues her several times. Users who recently listened to Jai Santoshi Mata Songs you might like Jai Lakshmi Mata Aarti Sangrah Jai Ganesh Jai Ganesh Aarti Sangrah Shish Ganga Ardhanga Aarti Sangrah Jai Jagadish Hare Aarti Sangrah Bigri Mere Banaa De Aarti Sangrah Jai Jai Download Mp3 Joy Tomari Joyo Maa Sontoshi Free! Get your favorite music on music.axomlive.com. Here is a few music search results of Joy Tomari Joyo Maa Sontoshi mp3. Jai Santoshi Maa (1975) on IMDb: Movies, TV, Celebs, and more. IMDb Movies, TV & Showtimes MOVIES In Theaters Showtimes & Tickets Latest Trailers Coming Soon Release Calendar. Eventually Satyavati is driven to attempt suicide, but is stopped by Narada, who tells her about the sixteen- Fridays fast in honour of Santoshi Ma, which can grant any wish. Satyavati completes it with great difficulty and more divine assistance, and just in the nick of time: for the now- prosperous Birju, stricken with amnesia by the angry goddesses and living in a distant place, has fallen in love with a rich merchant. When he discovers the awful treatment given to his wife, he builds a palatial home for the two of them, complete with an in- house temple to the Mother. Satyavati plans a grand ceremony of udyapan or . But the nasty celestials and sadistic sisters- in- law make a last- ditch effort to ruin her by squeezing lime juice into one of the dishes (key point here: the rules of Santoshi Ma. All hell breaks loose . This bewildered critics and intrigued scholars (resulting in a modest literature on the film as a religio- cultural phenomenon), but made perfect sense to millions of Indian women, who loved its folksy story about a new . A classic example of the . The Santoshi Ma vrat seems to have become popular in north India during the 1. However, the printed story is very sketchy and the film greatly embellishes it, adding a second narrative to its tale of a long- suffering housewife who gets relief through worshiping Santoshi Ma. Analysis and social significance. Above all, it concerns the life experience that is typically the most traumatic for an Indian woman: that of being wrenched from her mayka or maternal home and forced to adjust to a new household in which she is often treated as an outsider who must be tested and disciplined, sometimes harshly, before she can be integrated into the family. It insures that Satyavati. While appearing to adhere to the code of a conservative extended family (the systemic abuses of which are dramatically highlighted), Satyavati nevertheless quietly achieves goals, shared by many women, that subvert this code. This oblique assertiveness has a class dimension as well. The three goddesses are seen to be . Santoshi Ma, who is happy with offerings of gur- chana (raw sugar and chickpeas. Yet in the end they must concede defeat and bestow their (reluctant?) blessing on the nouvelle arriv. The socio- domestic aspect of the film (goddesses as senior in- laws, oppressing a young bahu or new bride) thus parallels its socio- economic aspect (goddesses as established bourgeois matrons, looking scornfully at the aspirations of poorer women). Satyavati. Santoshi Ma's rise as a goddess happens without the intervention, so common in Indian cinema, of a male hero. Satyavati's rise to wealth is partly dependent on her husband Birju. Birju is portrayed as a devotee of Santoshi Ma from the start, and it is this that first attracts Satyavati's interest. He then rescues her from being molested, and this leads to their marriage. His infidelity with the merchant's daughter is balanced by his honest labour that becomes the source of his and Satyavati's later wealth. Satyavati's story would hardly be satisfying if she did not have a worthy husband, capable of displaying strength when necessary, and anger on her behalf when he sees how his family have treated her in her absence. Ultimately her gentleness wins through as she persuades him to re- unite with her family. Through its visual treatment of the reciprocal gaze of darshan and its use of parallel narratives, the film also suggests that Satyavati and Santoshi Ma are, in fact, one. As in the ideology of tantric ritual (or the conventions of . There is a further theological argument that the film visually offers: not only is Santoshi Ma available to all women through her vrat ritual, she is, in fact, all women. Appearing as a little girl at the film. As is common in North India his wives are depicted as Riddhi and Siddhi. His sons are depicted as Shubha and Labha. The boys are unhappy because they, unlike Ganesha, have no sister. But Ganesha is ambivalent about having another child. The boys and the women plead with Ganesha, and the sage N. Ganesha assents and from Riddhi and Siddhi emerges a flame that engenders Santosh. There is dispute over this, between various scholars, whether it is myth or not. Saying it as totally myth will also be totally wrong. Women in North India are a huge follower of Santoshi Maa and her main temple is situated in Lal Sagar, near Mandore, which is about 1. Jodhpur city. The script for the film has no basis in Puranic legend or other known scripture. In particular the claims that Ganesha had a sister and a daughter appear to be unique to this film. In Maharashtra there is a popular belief that Ganesha has a sister in each of the four directions and he goes to meet each of them annually on the occasion of Ganesha Caturthi. Other films like Solah Shukravaar, Santoshi Maa ki Mahima and Jai Santoshi Maa - a tele serial - were also produced. Soundtrack. Arjun and lyricist written by Kavi Pradeep. Song. Singer. Karti Hu Tumhara Vrat Main, Sweekar Karo Maa. Usha Mangeshkar. Yaha Waha Jaha Taha Mat Puchho Kaha Kaha Hai . Retrieved 1. 7 February 2. Ganesh: Studies of an Asian God, Robert L. Brown (editor), SUNY Series in Tantric Studies (State University of New York Press: Albany, 1. ISBN 0- 7. 91. 4- 0. Santosh. ISBN 8. 1- 7. Thapan, op. Archived from the original on 1. January 2. 00. 8. Retrieved 6 January 2.
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