Jai Santoshi Maa 1975 Mp3
Inell Krolick
Jai Santoshi Maa is a 1975 Indian Hindi-language devotional film directed by Vijay Sharma and written R. Priyadarshi. Santoshī Mā (also called Santoshi Mata) is the goddess of satisfaction. Usha Mangeshkar, sang the devotional songs for the film along with Mahendra Kapoor and the famous poet Kavi Pradeep, who wrote the song' lyrics. Made on a low-budget, the film became one of the most successful films at the box office.[2]
The film opens in the Devaloka, where we witness the "birth" of Goddess Santoshi Mata as the daughter of Ganesha, the elephant headed god of good beginnings, his two wives Riddhi and Siddhi ("prosperity" and "spiritual power"), and as the sister of Kshema and Labha ("prosperity" and "profit"). Although, Ganesha has another wife Buddhi ("wisdom"), she is not portrayed in the film.
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.
Through the Mother's grace, Satyavati soon falls in love with Brijmohan aka Birju, the youngest of seven brothers in a prosperous Bias Brahmin farmer family, an artistic man, with a talent for singing. Alas, with the boy come the in-laws, and two of Birju's six sisters-in-law, Durga and Maya are jealous shrews who have it in for him and Satyavati from the beginning. To make matters worse, Narada "stirs up" the "jealousy" of the three principal goddesses, Lakshmi, Parvati, and Saraswati against the "upstart" goddess Santoshi Mata. They decide to examine (pariksha) her perseverance or faith (Shraddha) by making life miserable for her chief devotee. Of course, this is all just a charade and the holy goddesses are just acting as if they are jealous of Santoshi Mata to test Satyavati's devotion.
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 Mata. 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 Mata rescues her several times. Eventually, Satyavati is driven to attempt suicide, but is stopped by Narada, who tells her about the sixteen-Fridays fast in honour of Santoshi Mata, 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 goddesses and living in a distant place, has fallen in love with a rich merchant's daughter. Through Santoshi Mata's grace, he gets his memory back and returns home laden with wealth. 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 Holy Mother. Satyavati plans a grand ceremony upon the completion of her fast and invites her in-laws. But the celestials and sadistic sisters-in-law make a last-ditch effort to ruin her by squeezing lime juice into one of the dishes (the rules of Santoshi Mata's fast forbid eating, or serving, any sour or bitter food). All hell breaks loose, before peace is finally restored, on earth as it is in heaven, and a new deity is triumphantly welcomed to the pantheon, as Lakshmi, Saraswati and Parvati have been convinced of Satyavati's devotion.
The box office success of The Kashmir Files has astonished business analysts. The film without any big banner, without any so-called superstar, without hit songs and dance numbers, and most importantly, without any big marketing budget is a massive hit on the box office. Even on the ninth day, it continued its increasing graph of the box office collection. This performance made trade analysts recall another such historic performance by the movie Jai Santoshi Mata that was made in 1975. Jay Santoshi Mata gave a tough fight to Sholay at the box office in 1975.
Jai Santoshi Maa was released on 15th August 1975, the same day on which the film Sholay was released in Mumbai. Sholay is one of the biggest hits of Indian cinemas. But in the first week, Sholay was a flop. Whatever glory it attained at the box office is due to the momentum it gained in later weeks. Sholay was the first film of director Ramesh Sippy. It had a big star cast including Dharmendra, Amitabh Bachchan, Sanjeev Kumar, Hema Malini, and Jaya Bhaduri. RD Burman, one of the biggest musicians of that era gave music for this film. Salim-Javed, the famous writer duo penned the film. Singers like Lata Mangeshkar and Kishor Kumar gave playback voices to the songs in Sholay. Despite all this, Sholay, made with a budget of 3 crore rupees was a flop in the first week or two. It was only after it was released in other parts of the country on 11th October that Sholay went on to collect 35 crore rupees at the box office.
But Jai Santoshi Maa, a film made with a budget as low as 25 lakh rupees went on to become a massive hit though it had big films like Deewar and Sholay to compete with at the box office. Jai Santoshi Maa had a not-much-known star cast. The film had Bharat Bhushan among the main actors but even his era was on a sharp decline by 1975. C. Arjun gave music to the film while Usha Mangeshkar and Mahendra Kapoor gave their voice to the songs. As the people started talking about the devotional film, crowds automatically turned to the theatres which made this film a bumper hit. Jai Santoshi Maa caught the public nerve so accurately that viewers used to leave their footwear outside the cinema hall as if they were going to worship the deity in some temple. People used to decorate the screen with garlands of flowers on the side frames. Devotees used to offer coins as they watched the deity in this film.
Jai Santoshi Maa producer Sathram Rohra passed away on July 18 at 85. The veteran was known for backing the iconic Hindi blockbuster Jai Santoshi Maa (1975). The movie is known to be one of the longest running films of Indian cinema. A glimpse at the five facts about the classic devotional-drama. (Also read: Kalki 2898 AD: Ashwatthama to Ved Vyas, 7 Mahabharata characters that you might find in Prabhas' dystopian epic)
When Jai Santoshi Maa was released, it had a nationwide impact on the masses. People from distant villages came to Mumbai on bullock carts to watch the film and would crowd outside the theater. At a time when there was no social media or marketing campaigns, the movie was at par with blockbusters like Baahubali, Pushpa, KGF and RRR.
Anita Guha portrayed the titular role in the movie. After the film became a commercial success, people visited Anita Guha's house to seek her blessings. She was often approached on the street, and people would touch her feet as a sign of respect and to seek blessings because she portrayed the goddess Santoshi Maa in the film. Actor-politician Arun Govil had also gained the same amount of popularity when he portrayed Lord Ram in Ramanand Sagar's epic-drama series - Ramayan.
In a sad irony, Paras closed down in 2007, dwarfed physically and metaphorically by the multiplex challenge symbolised by Satyam next door in Nehru Place. However, life was blissful back in 1975. Santoshi Maa was in heaven and her believers could not have enough of her in cinema halls. Jai Santoshi Maa ran to packed houses for weeks on end. The hall, located not too far from the famous Kalkaji temple, often resembled more a place of worship as the faithful brought prasad with them to distribute during the film's interval. Women, otherwise not as conspicuous at halls without the menfolk of the family, came out in huge numbers with their thalis, conch shells, marigolds and the rest of the paraphernalia. The moment Usha or for that matter, Mahendra Kapoor launched into a bhajan in the film, there would be impromptu performances in the hall! Everybody would sing along with poet Pradeep's lyrics!
A big hit though Jai Santoshi Maa was, it was not the first taste of a blockbuster at Paras. That honour went to the very first film shown at the hall: Manoj Kumar's much-talked about Purab aur Pashchim . The East-West divide film was the inaugural screening at Paras when the hall opened on January 21, 1971. Incidentally, the cinema got ready in a record 13 months' time as the owners, Malhotra exhibitors, raced against time to get it ready for the film! They had got permission for the joint family owned hall only towards the end of December 1969. Though the hall was not supposed to be limited to either the middle class or the working class, the initial admission rate of around Rs.5 meant Paras was never short of patrons. A little later, Kora Kagaz was to have a fine run at Paras, proving that family audiences could make a film tick at the box office.
Though Paras, all along, has been known as the choice centre for mainstream Bollywood fare, it has occasionally experimented with Hollywood films too. However, the presence of Archana in the neighbourhood with a dedicated English film-watching clientele meant the experiment had to be aborted soon enough. More successful though has been the morning show concept at Paras where super hit films have found a ready audience. Mainly youth centric films have had a field day in this slot here, thanks largely to the student crowd from Lady Sri Ram and Deshbandhu college in the vicinity.
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As a result, many of them perhaps simply chose not to court any kind of trouble and opted to make safe, entertaining and high on escapism kind of films, something particularly visible in the films released from 1977 onwards. Forget an Aandhi that got banned from being screened on national television as it was rumoured to be based on the life of the then prime minister Indira Gandhi, or even a Deewar, in which moralities are easily traded for riches in the wake of class disparity, films like Chacha Bhatija (1977), Dream Girl (1977) and Hum Kisise Kum Naheen (1977) hardly seem to push the envelope. Even Bachchan and Dharmendra who had films such as Mili and Pratigya besides Sholay and Chupke-Chupke in 1975 were, in a sense, relegated to near-fantastical distractions like Amar Akbar Anthony (1977), Parvarish and Dharam-Veer (1977).
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