Changes between Initial Version and Version 1 of Utsav

Jul 16, 2012, 8:40:56 PM (10 years ago)



  • Utsav

    v1 v1  
     4aka The Festival 
     51984 145’ col Hindi 
     6d/co-sc Girish Karnad p Shashi Kapoor 
     7co-p Dharampriya Das pc Film Valas 
     8st Sudraka’s play Mrichchakatikam aka The 
     9Little Cart and Bhasa’s play Charudatta 
     10co-sc Krishna Basrur dial Sharad Joshi lyr 
     11Vasant Dev c Ashok Mehta m Laxmikant- 
     13lp Shashi Kapoor, Rekha, Anuradha, Shankar 
     14Nag, Shekhar Suman, Amjad Khan, Kunal 
     15Kapoor, Annu Kapoor, Neena Gupta, 
     16Kulbhushan Kharbanda, Anupam Kher 
     19An exuberant but unsuccessful picaresque film 
     20set in the 4th C., when Sudraka is supposed to 
     21have written one of the most famous plays in 
     22Indian history, a love story between the 
     23Brahmin merchant Charudatta (Suman) and the 
     24beautful courtesan Vasantsena (Rekha). Karnad 
     25also introduced Vatsyayana (Amjad Khan) as a 
     26voyeuristic lecher peeking into various brothel 
     27chambers to write his famous Kama Sutra. 
     28Vasantsena, a beautiful prostitute of Ujjain, runs 
     29away from the villain Samasthanaka 
     30(S. Kapoor), the libidinous brother-in-law of 
     31the king, and hides in the house of Charudatta, 
     32a music-lover, with whom she falls in love. She 
     33loses her golden necklace in Charudatta’s 
     34house and when it is stolen, Charudatta’s affair 
     35with the prostitute is exposed. Samasthanaka, 
     36who believes he killed Vasantsena when he 
     37tried to rape her, accuses Charudatta of the 
     38deed. When Charudatta is sentenced to hang 
     39for Vasantsena’s murder, she turns up, alive and 
     40well, to try to save her lover’s life. Just then, a 
     41horeseman arrives to declare that a new king 
     42has been crowned and has pardoned all 
     43prisoners. Charudatta is reunited with his wife 
     44while the populace turns on the villainous 
     45Samasthanaka. He drags himself to 
     46Vasantsena’s house who, this time, accepts 
     47him. Karnad uses the conventions of the Hindi 
     48movie to explore the rasas of Shringar (the 
     49erotic) and Hasya (the comic), on which India’s 
     50classical aesthetic theory of performance is 
     51based, and intended the film as a celebration of 
     52life and love. The location scenes, filmed in 
     53Karnataka and Bharatpur because of the 
     54traditional architectural styles available there, 
     55were completed by studio scenes shot in 
     56Bombay. Apparently a more explicitly erotic 
     57version of the film was created for the Western 
     58market. This expensive film was producer 
     59Shashi Kapoor’s last effort at an art-house