...............................................................................................................................................................................................
 

HOME

New Talent

FILM LAUNCH

Reports

Take Retake

INTERVIEW

Video Clip

Audio Clip

Fashion

Special Feature

Gallery

History

theatre & Drama

Who's Who

Folk

Guest Book

Audio Releases 

Lyrics 

Star Birthday

Chat Room

Rupali Fun

 

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 Biyawas 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.