“A wealthy industrialist in Bombay plays emperor with his employees, the market and his own family.... Tarang traces the experience of two entrants into (his) empire: the new son-in-law (Amol Palekar), a promising young manager in his company who harbors patriotic feelings about Indian industry; and a new maidservant (Smita Patil) hired in a fit of compassion after her husband has been killed for unionizing. Son-in-law and maidservant evade one another, meet surreptitiously in the half-light of the family room, parley with confederates on behalf of Indian industry or union activity, come together again. Shahani takes no interest in propaganda.... Rather, he wants character and viewers to have recourse to the direct impression the world makes upon them. And so, in Tarang...he makes the industrialist's mansion a living presence; like the newcomers, the viewer senses the sheen of its wealth and the seduction of its shadows. Only when the camera sallies out to a window does one notice the darkness outside and the mud puddles gleaming in the reclaimed wasteland on which the mansion sits.” Satti Khanna