Part 6 - A Brief History of Assamese Cinema

Film history began in Assam in the second decade of the twentieth century when the Guwahatians had the novel experience in witnessing silent movie pictures instituted by a South Indian, namely Menon. Menon targeted an audience from the people who came to Guwahati from the villages in connection with business or to attend the court (Mazinder: 2013: 51). The name of the makeshift cinema hall was Kamrup Cinema Company which was owned by one Rafikul Rasool Sahib, a Mouzadar of Guwahati (Das: 2017: 66). The screen was mostly flashed with Mack Sennet and Charlie Chaplin films. Due to the advent of talkies, in due course of time, Kamrup Cinema Company lost its glory and Menon left Assam.

Without having a legacy of silent cinema, Assam is one of those few places in India, which began the journey of cinema with a talkie. The first Assamese film, Joymati was made in 1935, during the fourth year of the introduction of talkies in India. This film was the result of the dreams and imagination of a revolutionary visionary Jyotiprasad Agarwala, who is fondly remembered as Rupkonwar (Prince of Beauty) by the Assamese people. Jyotiprasad was also a distinguished poet, playwright, music composer and freedom fighter. Jyotiprasad watched silent cinema while he studied in National College, Calcutta. The media attracted him a lot. In 1927, he went to University of Edinburgh for academic pursuit. However, without finishing his course during three years of stay in Britain, Jyotiprasad joined the Trinity College of Music. Co-incidentally the new happenings in the world of cinema with movie theatres growing up in entire Europe and the beginning of talkies captured the imagination of this enthusiastic man. Love for the new art form and vision to explore the field took Jyotiprasad to Berlin, where he joined Universum Film-Aktien, the famous motionpicture production company of Germany. He assisted Himangshu Rai, the famous film director, for seven months and learnt the intricacies of cinema. Explicit contact with the European cinema movement moulded Jyotiprasad’s future strategies and outlook as a filmmaker. That is why instead of the traditional Indian style of storytelling, the cinema industry in Assam started off not with realistic elements, presented as naturally as possible, keeping intact the folklife of Assam.

The film Joymati was based on the play Joymati Kunwari by Rasaraj Lakshminath Bezbaruah. Alterations in the film script were made from the original version with addition of characters like Laluksola Barphukan and Gathi Hazarika, inspired from Tungkhungia Buranji by Dr. Surjya Kumar Bhuyan. Premier show of the film was held at Raunac Cinema at Calcutta on 10 March, 1935. The inaugural function was presided over by Rasaraj Lakshminath Bezbaruah, and attended by eminent film personalities like Pramathesh Baruah, K.L. Saigal and Prithwiraj Kapoor. Joymati was released on 20th March, 1935 at Kumar Bhaskar Natya Mandir (then Kamrup Natya Mandir) in Uzan Bazar, Guwahati. Produced under the banner of Chitralekha Movietone, this film was made with a budget of Rs. 50,000. However, the commercial exhibition of the film brought back only about Rs. 22,000 to the producers, which was considered as a huge loss in those days (Chakravarty ed: 2017: 1-2).

As the pioneer of a totally new form of art in India’s North-East, Jyotiprasad faced many challenges including lack of technically sound people and actors. Due to the lack of trained technicians, Jyotiprasad, while making his maiden film, had to shoulder many responsibilities. He worked as the script writer, producer, director, choreographer, editor, set and costume designer, lyricist and music director of the film. Venturing to shoot in the outdoors with a temporary set made with bamboo and thatch in Bholaguri Tea Estate, Jyotiprasad was much ahead of his times, when the filmmakers preferred to shoot films inside the studios with proscenium style of stagnancy. Due to some technical failure, much of the reels of the film (about 6000 feet) did not have sound. While in post-production at Lahore, Jyotiprasad even dubbed the voices of about 30 male and female artists. This is something extraordinarily achieved by Jyotiprasad, making Joymati the first dubbed film in Indian history of cinema. It is worth mentioning that Aaideu Handique, who played the protagonist in the film, had to face societal torture. Just because she had addressed someone as her husband in the film brought innumerable miseries for Aaideu, including social alienation and a lifetime of solitude. She remained a spinster forever.

During the year 1935 when Jyotiprasad Agarwala’s Joymati was released, a total of 233 films were produced in India. Since 1931 when the first Indian talkie Alam Ara saw the light of day, till 1935 the number of Indian films can be analyzed thus:

Language	Year of Release	Total
	1931	1932	1933	1934	1935
Assamese	-	-	-	-	1	1
Bengali	4	5	9	10	19	47
English	-	1	-	1	-	2
Gujrati	-	2	-	1	1	4
Hindi	23	61	75	121	154	434
Kannada	-	-	-	2	1	3
Marathi	-	8	6	11	9	34
Parsi	-	-	1	1	2	4
Punjabi	-	-	-	-	1	1
Tamil	1	4	7	14	38	64
Telugu	-	3	5	3	7	18
Total	28	84	103	164	233	612

[Table source: Article titled Jyotiprasad and Joymoti: The Pioneer and the First Assamese Film published in Perspectives on Cinema of Assam (Barpujari & Kalita ed.: 2007:29)]

In the nineteen thirties, the total population of Assam was 93 lakhs. Among them the number of people who identified in the national census that their mother-tongue was Assamese was 20 lakhs. But besides Guwahati there was not a single cinema-hall in Assam (in contrast to JF Madan’s empire of 126 cinema halls in 1931). ‘But Jyotiprasad had not produced Joymati like films in other languages of that time as a commodity for purchase or sale for which the number of buyers needs to be taken into account,’ writes Altaf Mazid (Barpujari & Kalita ed.: 2007: 31).

Jyotiprasad Agarwala observed that ‘Generally speaking, Bengali and Hindusthani films are very artificial. Even the famous directors of Bengali and Hindusthani films cannot differentiate between theatre acting and film acting...Theatre acting is artificial and film acting, natural. Likewise the situation of the film also has to be natural’ (Mazid: 2013: 67). His staunch belief of making films realistic was a political decision of higher order because he portrayed a historical story with his socio-political line of thinking. In an environment where the Indian filmmakers could not perceive beyond mythology and traditional themes in cinema, Jyotiprasad’s effort was no less than a breath of fresh air, which earned it the glory of being the first auteur of Assamese cinema. Unfortunately, like so many early Indian films, the negatives and complete prints of Joymati are missing.

The Jyotiprasad Era which heralded the advent of Assamese cinema with two films, the other being Indramalati (1939), the second film made in Assam, came to a premature end before it could lay a solid foundation. However with the onset of World War II, Rohini Kumar Baruah ventured to make the first Assamese film based on a popular historical novel named Manomati (1941). This was followed by films like Parvati Prasad Baruah’s Rupahi (1941), the first Assamese film based on a short story. Kamal Narayan Choudhury's Badan Borphukan (1947) was about a character from the history of Ahom dynasty. On the other hand, the first film to project a social issue depicting Hindu-Muslim unity was Siraj (1948) jointly directed by revolutionary artist and leftist leader Bishnuprasad Rabha along with versatile actor Phani Sharma. The significant box-office success of Siraj led to the making of back to back social-theme based films, such as Prabin Phukan's Parghat (1949) and Asit Sen's Biplobi (1950) and Suresh Goswami's Runumi (1953).

The most remarkable Assamese film of the fifties was Piyoli Phukan (1955) based on the life and sacrifice of a freedom fighter. The film went on to win the President’s Certificate of Merit, which was the award given by the Government of India to the best regional film (later known as Rajat kamal or Silver Lotus). The film was directed by Phani Sharma and music was composed by a young Bhupen Hazarika. This film technically was very advanced for that time but it was not free from the melodramatic mood of the mainstream style.

In 1955, a new talent Nip Barua made his directorial debut with Smritir Parash. His subsequent films Mak Aru Morom (1957) and Ronga Police (1958) won many state awards and the President’s Silver Medal at the National Film Awards. Era Bator Sur (1956) was a very successful musical film which was Bhupen Hazarika’s debut film as a director. Hazarika involved elements that could ensure commercial success for the film, like engaging famous Bollywood actor Balraj Sahani in the film and introducing the voice of Lata Mangeshkar in the Assamese film industry. It was only with Puberun (1959) directed by Prabhat Mukherjee that themes like universality of motherhood were introduced in Assamese cinema. Puberun is important for many aspects. Apart from winning the President’s Silver Medal, this was the first Assamese film to represent the country in a foreign Film Festival (Berlin Film Festival). Jnanada Kakati is the first Assamese actor to represent the country in a foreign Film Festival.

The next notable film production was Lachit Barphukan (1961) directed by Prabin Phukan and Lakshyadhar Choudhury. This film is based on the great Assamese General Lachit Barphukan depicting a glorious chapter in the history of Assam. Dada Saheb Phalke Award winner Bhupen Hazarika, mentored as a child by Jyotiprasad Agarwalla himself, was a key contributor to Assamese cinema with films like Shakuntala (1961), Pratidhwani (1965), Lotighoti (1966), Chikmik Bijuli (1969), Mon Prajapati (1979). Hazarika was adjudged The Best Music Director of 1975 at the National Film Awards for his commendable work in Chameli Memsaab directed by Abdul Mazid.

History of Assamese cinema would be incomplete without mentioning the contribution of the famous Baruah brothers -Nip, Brajen and D’bon. However it was Brajen Baruah, though basically a singer and music director, who could reap most commercial success with his first venture Ito Sito Bahutu (1963) and especially with Dr. Bezbaruah (1969) that introduced mainstream Hindi cinema’s formula of crime story and melodrama in the Assamese film industry (Barpujari: 2007: xiii).

By the middle of the sixties, films began to be produced in Assam on a regular basis. A host of directors like Anowar Hussain, Bhaben Das, Saila Baruah, Anil Choudhury, Sarbeshwar Chakravarty, Amar Pathak, Indukalpa Hazarika, Samarendra Narayan Dev, Jiten Sarma, Phani Talukdar, Bhaben Das, Gauri Barman, Amulya Manna, Achyut Lahkar, Sujit Singha, Atul Bordoloy, Nalin Duwarah (reputed Cinematographer), Prabin Borah, Deuti Baruah, Pulak Gogoi, Bijoy Choudhury, Pijushkanti Roy, Sivaprasad Thakur, Dulal Roy, Jones Mahalia and several others contributed in filmmaking in the state even with limited resources upto the beginning of the 1980s.

However it was in 1976 when Podum Baruah made Ganga Chilonir Pakhi, giving a new direction to Assamese cinema. Moving against the prevailing norms of filmmaking, This was the first film after Joymati to give a realistic treatment to the subject, eschewing melodrama and looking at the post-independence era in a critical light through the pathetic story of a young widow. It carried forward Jyotiprasad’s legacy in true spirit as far as depiction of Assamese lifestyle, rural atmosphere and cultural ambience were concerned. However critics term Deuti Baruah’s Bristi (1975) and Pulak Gogoi’s Khoj (1975) to be closer to the parallel stream of cinema as both of these films looked at present day reality with dejection and defiance (ibid: xiii).

The year 1977 saw the emergence of Dr. Bhabendra Nath Saikia with his maiden film Sandhyarag which attracted attention from the world beyond Assamese cinema. Through his simply-told stories, Dr. Saikia secured a definite place in the parallel cinema movement of the country.

After Podum Baruah and Dr. Bhabendra Nath Saikia’s initial spark, Jahnu Baruah fired Assamese cinema to greater heights. Winner of the National Award for Best Regional Film in Assamese, Jahnu Baruah’s maiden film Aparoopa (1982) was the first Assamese film to get financial assistance from National Film Development Corporation (NFDC). This FTII-trained filmmaker made a series of films achieving national and international recognition. His Haladhiya Charaye Baodhan Khai (1987) was the first Assamese film to win the National Award for Best Film (Swarnakamal). Moreover the film won Locarno Citizen Award for Excellence in Direction, Silver Leopard for Second Best Film and Best Actor (Indra Bania) at Locarno International Film Festival.

Banani (1990) from the same director won the National Award for Best Film on Environment and Hkhagoroloi [Xagoroloi] Bohu Door (1995) won the National Award for Best Director along with a host of international awards. He continues to venture into the field with his latest release being Bhoga Khiriki (2018). Jahnu Barua’s Tora (2003) won the National Award for Best Children Film.

Mainstream filmmaking continued in the state through directors like Brajen Borah, Munin Baruah, Dara Ahmed, Mridul Gupta, Chandra Mudoi, Ashok Kumar Bishaya, Bani Das, Achyut Kumar Bhagabati, Timothy Das Hanse and others. During the course of time throughout the 90s, a host of filmmakers emerged, tackling diverse subjects in a realistic tone. Prominent among them are Gautam Bora (Karbi film Wosobipo), Sanjeeb Hazarika (Haladhar, Meemansa, Matsyagandha), Dr. Santwana Bardoloi (Adajya, Maaj Rati Keteki), Bidyut Chakraborty (Raag Biraag, Dwaar), Bodo filmmaker Jwndao Bodosa (Alayaran, Hagramayo Jinahari), Manju Borah (Boibhav, Akashitorar Kothare, Aai Kot Nai) and Sanjib Sabhapandit (Juye Poora Xoon, Jatinga Ityadi), with films receiving international acclaim. Dawn of the 21st century saw the emergence of many new filmmakers like Zubeen Garg, Baharul Islam, Munna Ahmed, Suman Haripriya, Jadumani Dutta who made box-office hits with films dissected by popular song and dance sequences. The director-actor-musician trio of Munin Barua, Jatin Bora and Zubeen Garg made many commercially successful films like Hiya Diya Niya, Daag, Kanyadan and Nayak. Also films like Aideu (2006, Dir: Arup Manna), Dhuniya Tirotabor (2008, Dir: Pradyut Kumar Deka), Mon Jai (2008, Dir: M. Maniram), Basundhara (2010, Dir: Hiren Borah) have received critical appreciation. 

It is not that filmmakers now do not have to face hardships in their journey of creativity. Yet, in recent years, a group of talented, young breed of directors has emerged in the Assamese film scene, who have their unique style of storytelling. Filmmakers like Rajani Basumatary (Raag, 2014), Manjul Baruah (Antareen, 2015), Reema Borah (Bokul, 2015), Bobby Sarma Baruah (Sonar Boron Pakhi, 2016), Dhrubajyoti Bordoloy (Duronir Nirola Poja, 2016), Jaiseng Jai Dahutia (Handuk, 2016), Bhaskar Hazarika (Kothanodi, 2015), Kongkan Deka (Beautiful Lives, 2016), Himjyoti Talukdar (Calendar, 2018), Bidyut Kotoky (Xhoixobote Dhemalite, 2018) and Anupam Kaushik Borah (Bornodi Bhotiyae, 2019) have stepped firmly into the industry.

After a huge gap of 31 years, filmmaker Rima Das bagged the ‘Swarna Kamal’ Award at the 65th National Film Awards in 2018 for her film Village Rockstars (2017). The film also won awards in the categories of Best Child Artist, Best Audiography and Best Editing. The projection of life in the celluloid as simply as possible with the help of actors picked from her family and neighbourhood, Rima Das once again proved the filmmaking should involve knowledge of the medium, intricate planning and intelligent execution. The film was also the official entry from India to the 91st Academy Awards but it could not make to the list of top nine films. Rima Das’ latest release Bulbul Can Sing (2018), based on the dilemma faced by a third gender teenager in a remote village of Assam, has also been critically reviewed.