| 1 | Bannada Vesha |
| 2 | 1988 110’ col Kannada |
| 3 | d/s Girish Kasaravalli pc Doordarshan |
| 4 | (Bangalore) c G.S. Bhaskar m B.V. Karanth |
| 5 | lp Sridhar, Smitha Kasaravalli, A.B. Jayaram, |
| 6 | Narayana Bhatt, Shantamma, Loknath, Shankar |
| 7 | |
| 8 | |
| 9 | Folk-theatre-derived melodrama set in the |
| 10 | famed Karnataka tradition of the Yakshagana, a |
| 11 | variant of the Kathakali style involving |
| 12 | complicated make-up and rigorous dance |
| 13 | codes, patronised mainly by temples which |
| 14 | invite groups to perform for worship and to |
| 15 | raise revenue. The central character, Shambhu |
| 16 | (Shankar), a member of such a group, is a |
| 17 | traumatised and guilt-ridden figure usually |
| 18 | relegated to minor roles but with the driving |
| 19 | ambition of playing the male lead by displacing |
| 20 | the arrogant Sheshappa. When he is allowed to |
| 21 | play the demonic Jhunjhutti, he pretends to be |
| 22 | possessed by the demon and uses his newfound |
| 23 | reputation to start an alternate theatre |
| 24 | group sponsored by the financially ailing |
| 25 | Kapileshwara temple. His performative |
| 26 | limitations, and the secondary problems caused |
| 27 | by his having to live a fake identity, intensify |
| 28 | his emotional crises and the film ends on a |
| 29 | tragic note after he is revealed to be a fraud. |
| 30 | Kasaravalli’s stylised idiom, the film’s most |
| 31 | attractive aspect, is restricted to the |
| 32 | performances while routine realism prevails in |
| 33 | the rest of the story. |
| 34 | |
| 35 | [[Film]] |