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Free Hindi Jai Santoshi Maa
This scene, with its epic reference (to Sita and Rama'sromantic firstencounter in a flower garden, one of the most beloved episodes in theHindiRamcaritmanas of Tulsidas), is also the first of several instances inwhichthe heroine invokes Santoshi Ma while obliquely asserting her owndesire.The next follows immediately, when she returns home to find her father,a pious brahman widower, reciting a Ramcharitmanas verse in which thegoddessParvati assures Sita that she will obtain her heart's wish(Ramcharitmanas1.236.7). He too is preoccupied with his daughter's marriage, but whenhe speaks to her and finds her lost in thought, he remarks in mockexasperation,"You are really amazing!" Satyavati, still in her reverie, replies "Ohno, he is amazing!" When her father, taken aback, asks "He? Who is'he'?,"she is pulled out of her daydream to confront the embarrassment ofhavingmade a confession of love in front of her father--another traditionallyunacceptable expression of agency. Yet Satyavati, glancing at theprasadstill in her hands, rescues herself by changing the meaning of "he" to"it" (since Hindi pronouns are gender-free): "I mean...I mean, it isamazing!Santoshi Ma's prasad!" Again, the goddess here serves to deflectattentionfrom Satyavati's budding desire, which is nevertheless clear toviewers.
Whereas big budget "social" films may whisk their lovers offto Kashmiror Switzerland for a romantic song sequence, Sharma sticks closer tohomebut achieves the same purpose. Satyavati appears in different saris atsuccessive temples, and she and Birju gaze reverently at each image ofthe Mother, then turn to look adoringly at one another. They areplainlyon an extended, private vacation. Once again, by blamelessly invokingthegoddess, Satyavati has achieved what many a young Indian wife wouldmostlike (and many middle-class women increasingly enjoy, as "honeymoons"havecome into fashion): time alone with her new husband, free from thecensuringlooks and ceaseless demands of his family members.
Several scholars of Hindi cinema have argued that significantthematicchanges occurred in commercial films during the mid-1970s. Prasad hasnotedthe decline, after several decades of dominance, of the type of"social"film that he calls the "feudal family romance," and its replacement bya "populist cinema of mobilization" that attempts to address (and,accordingto Prasad, to co-opt) the rising expectations of lower-class groups"agitatingfor the realisation of the new nation's professed democratic andsocialistideals...." (Prasad 1998:118, 138-159). Similarly Kajri Jain notes theshift in leading men from the "soft, romantic" heroes of earlierdecadesto the unquestioned megastar of the 70s and 80s, Amitabh Bachchan,whoselithe and sinewy physique contributed to his effective portrayal, innumerousfilms, of an "energized subaltern," a working class "angry young man"(Jain2001: 11-15). Significantly, the major action hits of 1975, Deewarand Sholay, figure as key texts in both scholars' analyses.1975was also, of course, the year when nearly three decades of CongressPartyrule suffered its most significant challenge. Amid exposes ofwidespreadbureaucratic corruption and a court decision against the PrimeMinister,activist Jayaprakash Narayan called for a "total revolution," andmassivestrikes threatened to cripple the country's nationalisedinfrastructure.Indira Gandhi responded in June by declaring a state of nationalemergency,suspending constitutional liberties and freedom of the press, andjailingthousands of her opponents. This desperate measure would eventuallyfurtherweaken the Congress mandate, leading to Gandhi's massive defeat at thepolls in 1977 and, in the longer term, to the rise of powerfuloppositionparties that often mobilised local, caste- and class-based identities.Though the changes that ensued certainly stopped short of "totalrevolution,"they nevertheless eroded the authority of the elite that had beenrulingthe nation since Independence, and contributed to the politicalawakeningand rising expectations of formerly disenfranchised groups: "scheduled"and "backward castes" and lower-middle-class labourers, artisans, andmerchants.
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