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—a truth finally declared, at the film's end, by Birju's wise and compassionate elder brother Daya Ram. As in the ideology of tantric ritual (or the conventions of "superhero" narrative in the West), the "mild-mannered" and submissive Satyavati merges, through devotion and sheer endurance, with her ideal and alter-ego, the cosmic superpower Santoshi Ma. 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's beginning, as a self-confident young woman in her manifestations throughout most of the story, and as a grandmotherly crone on the final Friday of Satyavati's fast, Santoshi Ma makes herself available to viewers as an embodiment of the female life cycle, and conveys the quietly mobilising message that it is reasonable for every woman to expect, within that cycle, her own "satisfaction" in the form of love, comfort, and respect.