| 1 | '''Klanta Aparanha''' |
| 2 | |
| 3 | |
| 4 | aka Tired Afternoon |
| 5 | 1985 93’ col Oriya |
| 6 | d/sc Manmohan Mahapatra pc Dynamic |
| 7 | Studios st Nandlal Mahapatra c Ranajit Roy |
| 8 | m Shantanu Mahapatra |
| 9 | lp Sachidananda Rath, Kanak Panigrahi, |
| 10 | Madhukar, Kishori Devi, Master Sushil |
| 11 | |
| 12 | |
| 13 | Two parallel tragic love stories continue |
| 14 | Mahapatra’s bleak portrayal of rural Orissa. |
| 15 | Two local schoolteachers, Niru and Sandhya, |
| 16 | see their respective marriage proposals break |
| 17 | down. Niru is the daughter of the poor |
| 18 | landowner Adikanta, who mortgages his land |
| 19 | to raise the dowry for his daughter’s marriage |
| 20 | to an urban youth; however, the dowry offered |
| 21 | is not enough. Sandhya loves Ashok who |
| 22 | moves to the city, but she cannot move with |
| 23 | him since her family depends on her income |
| 24 | for its survival. The best moments are with |
| 25 | Niru’s ancient grandmother (Kishori Devi), esp. |
| 26 | in the film’s most spontaneous sequence when |
| 27 | she is presented with a pair of spectacles. |
| 28 | |
| 29 | [[Film]] |