| 1 | '''Party''''''''' |
| 2 | |
| 3 | |
| 4 | 1984 118’(155’) col Hindi |
| 5 | d/c Govind Nihalani pc NFDC s Mahesh |
| 6 | Elkunchwar from his Marathi play |
| 7 | lp Rohini Hattangadi, Manohar Singh, Vijaya |
| 8 | Mehta, Deepa Sahi, K.K. Raina, Soni Razdan, |
| 9 | Shafi Inamdar, Om Puri, Amrish Puri, Akash |
| 10 | Khurana, Naseeruddin Shah, Gulan Kripalani, |
| 11 | Pearl Padamse |
| 12 | |
| 13 | |
| 14 | An exemplary tale set in a middle-class artistic |
| 15 | milieu inaugurating Nihalani’s long-term |
| 16 | project of filmed theatre. Mrs Rane (Mehta) |
| 17 | hosts a party for the recipient of a literary prize |
| 18 | (Singh). The gathered ‘intelligentsia’ are |
| 19 | revealed to be shallow hypocrites compared |
| 20 | with the absent poet Amrit (Shah), who |
| 21 | abandoned his literary career to become an |
| 22 | activist among the tribals. The original Marathi |
| 23 | play was criticised for its superficial depiction |
| 24 | of the Bombay intelligentsia and the film does |
| 25 | not really improve matters. Nihalani |
| 26 | commented about the differences between the |
| 27 | play and the film: ‘There is a major difference |
| 28 | in the thrust. The play is concerned with the |
| 29 | question of art versus life. The film goes a bit |
| 30 | further and tries to see whether a person can |
| 31 | have two contrary sets of morality: one as an |
| 32 | artist and the other as a human being.’ |
| 33 | |
| 34 | [[Film]] |