| 1 | '''Tabarana Kathe''' |
| 2 | |
| 3 | |
| 4 | aka Tabara’s Tale |
| 5 | 1986 179’ col Kannada |
| 6 | d/sc Girish Kasaravalli pc Apoorva Chitra |
| 7 | dial Poornachandra Tejasvi from his short story |
| 8 | c Madhu Ambat m L. Vaidyanathan |
| 9 | lp Charuhasan, Nalina Murthy, Krishnamurthy, |
| 10 | Jayaram, Master Santosh |
| 11 | |
| 12 | |
| 13 | Kasaravalli’s multiple-point-of-view melodrama |
| 14 | tells the story of Tabara (Charuhasan), a lowranking |
| 15 | worker in a municipal office who |
| 16 | espouses colonial views despite his obvious |
| 17 | pride in his job in a post-Independence |
| 18 | government. Tabara gets into financial trouble |
| 19 | when his honesty causes enmity among the |
| 20 | coffee planters, and his pension is held up |
| 21 | because he has not remitted some taxes that he |
| 22 | was supposed to have collected. His wife falls |
| 23 | ill and his ‘case’ becomes a mere file number in |
| 24 | a bureaucratic office. The film is narrated from |
| 25 | different points of view: the colonial point of |
| 26 | view, the bureaucratic one, the view of those |
| 27 | who believe Tabara to be mentally deranged |
| 28 | and, mainly, the view of the orphan Babu |
| 29 | through whose eyes the steel and concrete |
| 30 | urban future is presented. Although primarily |
| 31 | told in a realist idiom, at times (e.g. the shots of |
| 32 | Bangalore and in the municipal office) the |
| 33 | camerawork anticipates the surrealism of the |
| 34 | sequel, Mane/Ek Ghar (1989). |
| 35 | |
| 36 | [[Film]] |