| 1 | '''Tunnu Ki Tina''' |
| 2 | |
| 3 | |
| 4 | 1994 161’ col Hindi |
| 5 | d/s Paresh Kamdar pc NFDC lyr Bharat |
| 6 | Acharya, Ramesh Shah c K.K. Mahajan m Rajat |
| 7 | Dholakia |
| 8 | lp Sunil Barve, Rajeshwari, Virendra Saxena, |
| 9 | Renuka Shahane, Rohini Hattangadi |
| 10 | |
| 11 | |
| 12 | Kamdar’s debut film avoids the pitfalls of the |
| 13 | New Indian Cinema’s tendency to rescue |
| 14 | ‘commercial’ films by relying on quotations and |
| 15 | an allegedly Brechtian self-reflexiveness (cf. |
| 16 | Saeed Mirza, Ketan Mehta). The film tells the |
| 17 | tale of a middle-class college youth, Tunnu |
| 18 | (Barve), and his unfortunate love life. He first |
| 19 | falls for an equally middle-class girl (Shahane), |
| 20 | but abandons her when the sexy Tina |
| 21 | (Rajeshwari) reassures his narcissism. His |
| 22 | adventures are intercut with those of his conman |
| 23 | father (Saxena), a real-estate tout. In the |
| 24 | end, the father comes to financial grief, |
| 25 | Tunnu’s sister elopes with a Shiv Sena-type |
| 26 | slumdweller and Tunnu’s girlfriend deserts |
| 27 | him, leaving him wondering whether she ever |
| 28 | existed. Tunnu joins the real-estate business, |
| 29 | his optimism undiminished. The film starts with |
| 30 | a brief narration of this tale in the ‘Hindi movie’ |
| 31 | idiom, set in a hotel lobby and followed by a |
| 32 | chase, before beginning its own story. Its main |
| 33 | achievement, via numerous double-takes, |
| 34 | resides in the way it reduces the entire business |
| 35 | of storytelling to its stereotypical function, |
| 36 | forcing viewers constantly to doubt the |
| 37 | narrative’s truth value even as it wallows in |
| 38 | several realist conventions. |
| 39 | |
| 40 | [[Film]] |