| 1 | '''Utsav''' |
| 2 | |
| 3 | |
| 4 | aka The Festival |
| 5 | 1984 145’ col Hindi |
| 6 | d/co-sc Girish Karnad p Shashi Kapoor |
| 7 | co-p Dharampriya Das pc Film Valas |
| 8 | st Sudraka’s play Mrichchakatikam aka The |
| 9 | Little Cart and Bhasa’s play Charudatta |
| 10 | co-sc Krishna Basrur dial Sharad Joshi lyr |
| 11 | Vasant Dev c Ashok Mehta m Laxmikant- |
| 12 | Pyarelal |
| 13 | lp Shashi Kapoor, Rekha, Anuradha, Shankar |
| 14 | Nag, Shekhar Suman, Amjad Khan, Kunal |
| 15 | Kapoor, Annu Kapoor, Neena Gupta, |
| 16 | Kulbhushan Kharbanda, Anupam Kher |
| 17 | |
| 18 | |
| 19 | An exuberant but unsuccessful picaresque film |
| 20 | set in the 4th C., when Sudraka is supposed to |
| 21 | have written one of the most famous plays in |
| 22 | Indian history, a love story between the |
| 23 | Brahmin merchant Charudatta (Suman) and the |
| 24 | beautful courtesan Vasantsena (Rekha). Karnad |
| 25 | also introduced Vatsyayana (Amjad Khan) as a |
| 26 | voyeuristic lecher peeking into various brothel |
| 27 | chambers to write his famous Kama Sutra. |
| 28 | Vasantsena, a beautiful prostitute of Ujjain, runs |
| 29 | away from the villain Samasthanaka |
| 30 | (S. Kapoor), the libidinous brother-in-law of |
| 31 | the king, and hides in the house of Charudatta, |
| 32 | a music-lover, with whom she falls in love. She |
| 33 | loses her golden necklace in Charudatta’s |
| 34 | house and when it is stolen, Charudatta’s affair |
| 35 | with the prostitute is exposed. Samasthanaka, |
| 36 | who believes he killed Vasantsena when he |
| 37 | tried to rape her, accuses Charudatta of the |
| 38 | deed. When Charudatta is sentenced to hang |
| 39 | for Vasantsena’s murder, she turns up, alive and |
| 40 | well, to try to save her lover’s life. Just then, a |
| 41 | horeseman arrives to declare that a new king |
| 42 | has been crowned and has pardoned all |
| 43 | prisoners. Charudatta is reunited with his wife |
| 44 | while the populace turns on the villainous |
| 45 | Samasthanaka. He drags himself to |
| 46 | Vasantsena’s house who, this time, accepts |
| 47 | him. Karnad uses the conventions of the Hindi |
| 48 | movie to explore the rasas of Shringar (the |
| 49 | erotic) and Hasya (the comic), on which India’s |
| 50 | classical aesthetic theory of performance is |
| 51 | based, and intended the film as a celebration of |
| 52 | life and love. The location scenes, filmed in |
| 53 | Karnataka and Bharatpur because of the |
| 54 | traditional architectural styles available there, |
| 55 | were completed by studio scenes shot in |
| 56 | Bombay. Apparently a more explicitly erotic |
| 57 | version of the film was created for the Western |
| 58 | market. This expensive film was producer |
| 59 | Shashi Kapoor’s last effort at an art-house |
| 60 | production. |
| 61 | |
| 62 | [[Film]] |