|
|
|
Jonda
Iman Gunda -
By
Utpal Mena |
|
|
|
Can be said as a successful director. Chandra Mudoi knows the formula
how one can be succeed in the field of commercial films. His first film “Maghat
Mamanir Biya”
was a box office hit. After that he created
some hit films like “Ujanir
Dujani Gabharu”, “Chenai
Mor
Dhuliya”, “Suren
Chorar Putek”. As
the theatre for Assamese movies are decreasing so the last two movies could
not get enough time to make a handsome profit. This very director has
completed his latest movie “Jonda
Iman Gunda”. A very
unattractive name; very simple one also. Not seems as a film by Chandra
Modoi. Particularly the word GUNDA means in
Assamese language a man of dirty character; which word does not use in
polite language. Once, in a conversation the director stated that he would
‘think on this matter’. Recently in some the Assamese news papers he stated
that the word GUNDA he used as a taken word for love. There is nothing to
create any controversy. Nothing to discuss on it. We too would not have lost
our time on a discussion on the title of the film, if the title does not
effect on the business of a film. After the subject on name selection we
talked to the director on the selection of actor/ actress. The hero of his
latest two films was Jatin
Bora. It seems he was in bit trouble to select another hero for this
film. He recollected the names of so many new comer heroes and finally
selected Vikram Rajkhowa.
His character is of Jon. Jinu is
jon’s girl friend,
lover. This character is done by Angurlata. The
director told that the love story would be treated by the means of comedy.
By hearing the songs already reached the market can be imagined that songs
would take a major role in the movie. The songs under the direction of Dr.
Hitesh Baruah
wouild be picturised
in various locations of Assam. The other characters of the film would be
done by Abdul Majid,
Bhaskare Das, Juri
Sarma, Kalpana
Kalita etc. Manish
Das and Deepak
Roy assisted him in direction. Pranjal
Bharali and Chabi
Bharali are the producers of the film. The
screen play of the film has been completed by Chandra
Mudoi himself. The theme is taken from the story of
Bhaben Bora. The film
was released recently on 7th September , 2007.
|
|
|
|
“Sonam” reflects the struggling life of the
Monpas |
|
- Ritul Bhagabati |
|
|
|
The prominent
writer-novelist of Arunachal Pradesh, Yashe Daraji Thongsi is also
very popular in Asom. The most striking thing with the writer of
our neighbouring state is that he practiced his skill in Assamese
Language. There are handsome numbers of books that Thongsi wrote
in Assamese language. To mention here, his books are the true
reflection of the tribes of Arunachal Pradesh and the friendly
relationship between Asom and Arunachal. His “Sonam” is such a
book where he nicely portrayed the life style of the Monpa tribes
of Arunachal. Monpa Tribes stay about 15,000 feet above the see
line. The remotest place of Arunachal. The Monpas stay some where
in Tawang. The place is very far from the modern society. It is
worth mentioning that the people of Arunachal do not have any
official (state) language. So the various tribes living in
Arunachal converse themselves with different dialect. The Monpas
also have their separate dialects. Socially the Monpas still
peruse a peculiar life style. For example in the Monpa society
still the people practice the polyandry tradition. Most of the
people of our new generation might have not even heard the term
polyandry. This type of practice could be seen in the ancient age.
Now we might call the people who practice this type of tradition
as uncivilized. But we should remember that even in the age of
Mahabharata the Pandavas Practiced this tradition. It is a
tradition where three or more brothers in a family share a common
wife. They even use to stay in one house. Such type of tradition
can be found in the Monpa society even today. The life style of
the Monpas is very miserable. Being a community of highlander the
Monpas have very little option to meet their day to day desires.
To make their livelihood the Monpas that is why engaged themselves
with yak farming or dealing. Yak or the wild buffalos commonly
called in our society is the lifeline of the economy of the Monpas.
It is worth mentioning that at present not less than fifty
thousand Monpas live in Arunachal Pradesh. The novel of Thongshi
nicely reflect the all round development of the Mopnpa society.
The lead character of the story is Sonam. The story centred with
Sonam is a triangler love story. Here we can see love, hatred and
intrigue.
By reading this novel one can easily feel how tough life style the
Monpas pursue! For a common man of our modern society to think of
staying there or experience their life style is really horrible.
But a film maker of indifferent quality dared to capture the
lifestyle of the Monpas in celluloid. He practically went the land
of Monpas, observes their lifestyle, habits and finally decided to
make a film on them. Of course the story of the film has been
taken from the same novel of Y.D. Thongsi. In one of the
interviews the film maker Ahsan Muzid expressed his feelings in
front of the reporter that he was moved after reading the novel,
and at that time itself he decided to make a film on this story.
Of course for this he had to face lot of labour. The film carried
out with English subtitles had been completed after a tremendous
hard work. The hardness to make a film like Snaom is really a
tough task. Here the speech of Archana Bhattacharya, the
production designer can be quoted; where she stated how from the
selection of location to the selection of about 27 actors the team
had to do hard work. Again, the film where it was picturised is a
land where the modern communication system is not reachable.
Obviously, the question of electricity also does not arise. In
such a case to shoot a film is really very tough task. But the
director Muzid and his team had to carry all the equipment,
gadgets etc. by their own. From this point Muzid and his party are
to be congratulated for what ever they did. It is noteworthy that
the film also deals with the Buddhist culture of this region. The
film is produced by Ashok Kumar Jhuriya. In one of the interviews
the producer told that the purpose behind making the film is the
commercial gain. The main motto behind this project is the make
the people of this world understood about the indifferent life
style of the Monpa tribes of Arunachal. About the wonderful
location, natural scenery showed in the film the producer said “It
will be a treat for viewers and people even in India can not even
imagine that there are such beautiful locations. |
|
|
|
Siba Prasad Thakur's
"Astaraag" |
|
|
|
|
|
THEMATIC ESSENCE
“ ASTARAAG”- (Sunset): The story centers round the old age woes and
predicament of an octagarinian finding his nostalgic manifestation while
suffering from old age ailment. It depicts intrinsic turmoil of the ailing
octagarinian creating a serious and agonizing mental conflict with universal
ramification.
SYNOPSIS
Collage Professor Dilip Got a message about the fast deteriorating condition
of his old ailing father in their ancestral village home. Dilip’s wife
advised him to rush to the village home by the night bus service.
Dilips father is now invalid owing to old age ailment who was once a healthy
and strong person and could withstand all the crisis and hazards of life
boldly. He was courageous, energetic, man of vision, sharp intellect and
benevolent and the man who left deep impression upon his son Dilip. He is
now immobile, resigned to his fate, dependent on others and helpless in his
old age with a fragile health, Dilip is unable to bear this precarious
condition of his old father and is mentally very much disturbed. His
intrinsic tumultuous, conflict and agony and down memory lane holds him back
even to see his father. How to face his father; now cripped by old age
predicament; an unbearable tumult mental situation grips Dilip; but with no
respite, a stark reality, can hardly be ignored.
He proceeded to his village home with a heavy heart, he becomes nostalgic
with the fond memory of his childhood days; the serene and simple village
life in its diverse and varied situation, on reaching the village home, he
finds some neighbouring villagers, a respactable person named Pandit and few
kins taking care of his ailing lonely father. It is also not possible for
them to stay for long with his father. Observing his father to have come
round slightly, Dilip decided to take his father to the town; his work
place. The memory of his adolescent days caught Dilip’s imagination on
reaching his village which had shaped his destiny under the fond care of his
father; he becomes emotional. The memory of the terrific vigour and strength
of his father in these golden days began to disturb his mind repeatedly.
Dilip brought his father to the town. His father seemed better for a few
days, but gradually became weak, began to suffer from hallucination and
Doctor diagonised it as “ Senil Dimensia”, an old age disease. Dilip plunged
into a terrible stage of mental conflict, it was more agonising and
disturbing. How he would sustain the state of his father’s condition was the
million dollar question before him. But Doctor and Dilip’s friend Chandra
tried to console Dilip with their views that life would merely remain a
nightmare divested of old age and death. Old age is invariably necessary to
wise and welcome death: otherwise who else will aspire death? If youth has
to remain for ever, lust for enjoyment will eliminate the very essence and
sweetness of life.
In the backdrop of these very features of old days, Dilip’s nostalgic
thoughts, memories, realisation and various phases of life are vividly
reflected in “ASTARAAG”. Different views on “ Life and Death” has been
presented and analytically depicted through the portrayal of characters of
KARTIK BASU, DR. SARMAH and Dilip’s friend CHANDRA both the village and city
life and scenario are vividly exposed under different relevant situations.
Different remarkable and special phases and events of a life cycle are
depicted in the story with precision realistic approach and cinematic
parameter.
|
|
|
|
New Film Release:"Ahir Bhirav"
|
|
|
|
|
|
The
premiere of the much-awaited Assamese feature film produced by Dr
Ranen Sarma, under the banner of Rondeep Productions (UK) Ltd,
was held on 6thApril,'07 at Anuradha Cinema Complex. The highlight of the film
is its locations in and around London – a first of its kind for an
Assamese film.
The film is directed by reputed director Siva Prasad Thakur. The story is
by Pankaj Thakur. The music is provided by Hemanta Goswami and
Rajeswar Bordoloi (Bulu). The editing has been done by Kaju. Sher
Chowdhury provides the background music. Nirmal Deka (Tito) is in
charge of cinematography.
The cast includes Kapil Bora, Zerifa Wahid, Purabi Sarma, Bidyut
Chakravarty and Mridula Barua. Madhurima Chowdhury, Ellora Barua,
Gita Lahkar, Munmi Chakravarty, Kirip Chaliha, Abani Bora and Siva
Prasad Thakur appear as guest artistes. Sandip Patil (UK) is the
line producer while Archana Sarma is the executive producer.
"Ahir
Bhairav"-a multi-starrer Assamese movie, first-ever to be shot in
the United Kingdom, is going to be first-of-its-kind in many
aspects. The film had its premiere show here in Guwahati in the
Anuradha Cinema Complex. The film, which is the
first movie of the region to be shot entirely in the UK, is also
the first feature film with a budget crossing Rs 1 crore. It also
marks the entry of the affluent Non-Resident Assamese community
living abroad into the show business. Pumping of resources could
do wonders to the fledging film industry in this part of the
country.
|
|
