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Jatinga Ityadee
Utpal Mena Translated by: Ritul Bhagabati

Through his first movie itself we came to know about Sanjeev Sabhabhandit. The name of the movie was “Juye Pura Soan”. The subject matter of the movie could strike on the serious audience. There were some planned shots and sequences; but the language of the camera was comparatively poor. In his second picture the director seems to be serious while using the camera. Proper mathematical use of the camera is understood. The nicely planned cinematic language gives the movie speed and swiftness. The name of the movie is “Jatinga Ityadee”. From the very beginning of the 2 hrs (approx.) movie the director made the audience to think on the proposed matter. The movie starts with some water colour paintings. In the paintings we see how the Jatinga birds commit suicide; these birds can be found in the hill district of North Casher. The director tries to make us think about the massage of the film—how in the name of revolution some people are misleading us and how in due circumstance the hero of the movie came under the trap of these so called revolutionarists. Fade up with the continuous social happenings, the hollowness of the leaders of our society, compelled the hero of the movie to think differently on his own motto of life. He too feels for a revolution. Later he experiences how the so called revolutionarists become materialistic in the name of revolution. The revolutionarists use their revolution to collect money by means of ransom; otherwise they become wild… Before becoming a revolutionarist the hero of the movie also thought of bringing revolutionary change to his native land; he too desired to do something through revolution. He believed that revolution can not be brought by staying inside society. That is why from his house he came to join in the revolution. But his dream broke halfway. Even he had to loose his own life in the gun battle between the revolutionarists and their opposition group. It can be said that the hero of the movie sacrificed his life in search of a path of revolution. The name of the hero is Manab. To take the sequence of the movie in proper way, the director introduces a parallel story and characters--Jack-Pauline (newly married British couple who also came under the trap of the so called revolutionaries. It is worth mentioning that the grand father of Pauline Mr. Flemence once stayed in Asom. Did not return to his native land; died here. One day Pauline found the letter that his grandpa wrote his grand mother where he mentioned about the natural beauty of Asom. To see the beautiful land and to feel his grand father’s existence somewhere in the air, Pauline came to Asom. The visitors experience the death of humanity in this land of natural beauty); Rita ( Manab’s girl friend, she tried to help Manab in his war against anti social elements. But she insisted Manab to purify the society being a part of the society. She becomes angry when Manab talks about revolution. She asks Manab, does the meaning of revolution is to kill that person who is unable to pay the amount demanded by the revolutionarist? Or does the revolution mean to protect even the most corrupt person if he regularly pays a handsome amount to them. The revolutionarists kill Rita’s brother only because he denied them to pay money. While this unfortunate incident occurred Manab joined the revolutionary group. By observing all these Rita shouts loudly—can no one do anything. Will every one be busy in observing mortal rituals! She left everything and went in search of Manab. But to her misfortune she experienced how humanity is murdered in front of her Manab was killed in front of Rita.); and some other characters. But all the characters of the movie were not introduced unnecessarily. It is because probably the director was very economic in the use of the footage. This is the cause why the audience does not feel hazy in spite of running of the sequences. Strikingly in the music part of the movie also, the director took the same responsibility. The music director Deepak Sarma’s effort is up to standard. It is his music that the sequences of the movie became lively.

The Sixth day of creation and "Chakrabyahu"
By Utpal Mena Translated by Ritul Bhagabati

One Some hazard shots of unstable time .... just now two gunmen shot a person on the road and left him dead. A young lady committed suicide. Nights are wild....... Those who are busy with dancing and singing take glasses of wine in their hands seems not to bother about all these. --All these incidents connect a single character. The name of the character is Gautam Baruah. In about 10/15 minutes of lenght by observing the mathematical sequences and understanding the language of camera People could easily know that Gautam Baruah is a Journalist. As he couldn’t share the same feelings with his Wife Sibani, now they’ve got separated. Manasi is the only child of Baruahs, who is torn between her parents. Suddenly one day she disappeared. By investigating Gautam baruah came to know that she was drug adict. Already started a battle against drug abuse Baruah finally could able to save his child and Gautam-Sibani again united. How drugs have spoiled the new generation of the society is the theme of the Movie "Chakrabyahu" The first and last movie of director Pranjal Saikia! Two The Sixth day of creation- name of an Assamese Film. This is also the first movie of Deepa Bhattacharya. In this movie the director Bhattacherya commented "Earth a planet of the Universe.. men are the creation of the earth. The earth is still hot, flooded, that is why every one is trying to create an earth of his/her own. Isolated these earth don’t have my Window..." The director, who also wrote the story, Screen play and dialogue at first didn’t take the them seriously. She only cared on the playing of colour. Only there characters are in the film - Bishal, Manasi and kashyap. Lonliness takes people to vacuum. There is no creation in the vacnam. When lonely Bishal meets Manashi, he wants to see in the eyes of Manashi the hollowness, agony and dissatisfaction of life . On the screen we see Manashi is not able to climb the rocky mountain while this is a violent dust storm. In the day paddy field she weeps times to console herself by embracing the trunk of the of a chopped tree. After some sequences we see that the hero Bishal feels Manashi could touch the muddy paddy field. The field became green, even the chopped tree gets greenary. In every sequence camera plays the vital role. Along with the nature even the costumes of the heroine gets colour. The third character of the movie is materialistic. After this, the materialistic businessman kashyap comes to the scene and starts everything breaks down. The villain of all creation Kashyap started destroying every new creation. Towards the end of the movie Bishal wishes -let a new earth born, to make people painless. But when will come " The Sixth Day of Creation"! Three Indian cinema is rapidly changing for last three years Perticularly in those films which are directed by the new directors. Mainly the changes are of his kinds first is the subject matter and the second one is of treatment. Another relating change is more pressure is given on subject matter instead of the story. To walk on this new track of Indian film one has to be able enough to find the previous track and should be able to select shots and use them in mathematical way. So the directors must be well versed in their field. The first sign of the changing of Indian Film is its speed. In Assamese film "Bidhata" can be called the first film of its type. Ofcourse, the director couldn’t neglect the The story completly Later the charging movement can be seen in "HEPAH". Lastly "Chakrabyuhu" and The sixth day of creation come made thi typy of movie. At first bith the director of these two films made the film in right way but as they did not give up the love of the story, so finally the films became nearly T. V. serials. In "Chakrabyahu"the film went off the track arter the character got involved with the story. It can be seen after 10/15 minutes of footage dialogue got more inportance than the language of the camera. In the same way after Kashyap came to the scene the sequence of " The sixth day of creation" broke. With the magic movement of Mrinal kanti Das camera the film become lovely but when drama got importance every effort was spoiled. Dialogress of the movi were also of standard. Now the question is wye" Chakrabyahu" and " The Sixth Day of Creation" become msuccessful? By seeing the sequences of the films, the weakness in technical knowledge of the directors can be seen . As they cannot take the risk of using the largeness of camera, they could not leave the story, The character composing and song composing of "Chakrabyahu" was out standing. But layer on the blance between the shot compose and character could not be maintained same case in with the film " The Sixth Day of Creation" is partianlarly is the last sequence it is very distinct.


ZAKHAM

After the success of Jone Jwaley Kopalot upcoming Director Munna Ahmed is presently busy with the dubbing of his second film Zakham. The film is going to edited at Chennai next month and is set to be released by the Durga Puja festival. Noted writer-dramatist Pabitra Kr. Dekaas written the story, scriptand dialogue based on the story-concept by Abhash Asish Baruah. Bhupen Uzir has directed the music with the lyrics written by Hemanta Dutta. Zubin Garg, Shanta Uzir, Malabika Bora, Rupkumar Rathod, Swashati Phukan and Babul Supriya are the play back singer. Cinematographer Jatin Nath handles the camera while Jini Moholia is the Choreographer. It is learnt that the film would be an entertaining social film replete with romance, songs, dance and action. The story is written against the backdrop of city and village life which carries an universal appeal. The lead roles are played by Nipon Goswami, Mridula Baruah, Prastuti Parasar, Raj Sharma, Dwijendra Mohan Sharma, Akashitora and Atul Pachani. Made under the banner of Ankan films, the films is produced by Alaka Sharma. Mrinal Kumar Bora and Prantic Deka are in-charge of publicity-planning and still photograph respectively.

KANYADAAN

The story is based on a joint family of a place called Bokulpur. The protagonist of the movie(Jatin Bora) is the youngest son of the family who falls in love with a girl from a wealthy background of the town. Jatin Bora has three brothers and three sisters in law. The sisters in law knows about his fascination towards the girl but the brothers are not aware of it. It is social movie projecting a simple family of the middle class background. The music is directed by Jubin Garg and the songs are picturised mostly in Nagaon. The rest part is picturized in Jyoti Chitraban, Azara, Agiathuri, Bonda, Pobitora. Some shots will be shot in Arunachal Pradesh. Director Munin Baruah has released Daag and Naayak is on the verge of releasing very soon. And now Kanyadaan is said to be completed by the end of this year. The producer of Kanyadaan is C.S.Narayan and Swaraj Das(Baba) under the banner of Sangam Pictures. The other artists of this movie apart from Jatin Bora are Rituparna Kataki, Hadi aalam Bora, Manjula Baruah, Arun Nath, Jayanta Das, Bhaskar Bora, Hiranya Deka, Mridula Baruah, Madhurima Chaudhary, Purabi Sarma, Jowan Dutta, Dibyajyoti Das, Jagadish Bhuyan, Partha Sarathi Mahanta, Giridhar Baruah, Prabal Barthakur, Chetna Das, Madhusmita Saikia, Rimlin Baruah and child artist Barsha Bhattacharya. Cameraman Suman Duwara. Asst. Director Rajesh Bhuyan, Mohan Das, Deep Bhuyan. Makeup man Jogen Das. Costume Designer Manjula Baruah. Still Photography Debasis Baruah. Editing will be done by A.Sridhar Prasad.

Kakadeutar Ghar Jowai Where the director was working with a poor script
Utapal Mena Translated by-- Ritul Bhagabati

As per the visual norms the art has two faces—thought and beauty. Similarly any type of art form has two different faces- reference and method. And any artistic creation also has two faces—subject matter and treatment. On the base of these faith we can say that art forms (creative) also has two faces—subject and treatment. Apart from the business or standard of a particular film, if the subject is treated appropriately then we can say that the director of the film is successful. If we have to comment on the film “Kaka Deutar Ghar Jowai”, by Suman Haripriya, keeping this point in our mind then we can’t say that the director succeed in her effort. The film can not be discussed in such way. We see I the film 30% sequences are outstanding, 20% sequences are not necessary and remaining 50% are below the level. It seems that after completing the 30% sequence properly the director was in such a hurry that she did not bother the remaining 70% works. The film did not get a smooth speed. The main cause of this is that the director worked in the floor with a poor script. Apart from this the shots and compositions were also not up to the level. Here we may point out a particular sequence--- at first the sequence ran smoothly. In the mid shot we see the female reflection in the character of the Mama (uncle, acted by Jayanta Bhagabati). But the continuity broke to bring a close shot where Jayanta Bhagabati’s expression was very hopeless. – Not nicely planned, that is why the film could not take the track. It is known to all that most of our Assamese director can not think of making a film without the help of movies of Hindi Cinema or any other language. In this group of film maker we can see the director-script writer of “Kaka Deutar Ghar jowai”. Now, let’s come to the acting side. Nipan Goswami acted in this film in the role of ‘Kakadeuta’ (grandfather). His acting is of course as usual; up to the standard. There is nothing to specially appreciate him. In the character of ‘Gharjowai’ Bishnu (son in law who stays with his in laws) is done by Rabi Sarmah. This character is really puzzling—very difficult to know the type of this character. We can say that the director was not sure enough what she wishes to do with this character. May be Rabi also could not understand the character properly. Here we may appreciate the acting of Geetabali. Comparatively the heroine of the movie acted appreciably.

Maghat Mamanir Biya
Utpal Mena Translated by-- Ritul Bhagabati

Of course, there are some sequences in village. There are Bihugeets, Biya Naams in the film. The name of the movie is also purely Assamese—“Maghat Mamanir Biya”. But in no way we can call it is made totally in village atmosphere. Thse things had mentioned at the beginning because the producer mentioned this film as purely Assamese minded... It would create a new trend. But the movie can be listed in the list of average ranked movies. The director Chandra Mudoi selected such a story which is known to every household of Assamese society. A prince (son of a rich man in the film) tortured by his step mother, got pain and finally came into contact of a simple girl—people of Assamese society are well aware of this type of folklore. So the story of the film had been taken without much effort. The director did not face any difficulty in shot selection or shot compositions. It seems the director worked with a poor script. He probably did two things asked the cameraman ‘put on the camera’ and to the actor ‘start acting’. In every sequence we see his failure as a director. Still in “Maghat Mamanir Biya” we see the heart touching acting of Barsha Rani Bishaya. Also, the nice picturisation of a song. The plan to include a Biya Naam toward the end of the film is really outstanding. Apart from these there is nothing special in the film, except some comic scenes…

Saru Bowari With weak script weak presentation
Utapal Mena Translated by-- Ritul Bhagabati

The producer took us to the premiere show of the film. We were bit late. At the time of entering in the theatre we show a mid shot in the screen. Urmimala Baruah, Guna Mahanta is the characters. The treatment of the short could convince that the movement of the camera would be O.K. But the director Chakra Deka broke our faith totally in the very next shot. The movement of camera could be seen only in one or two sequences. At the same time the director can not be appreciated for the subject movement of the film. The selection of the shots, mathematical use of shots or using the footage—every where the unplanned manner of direction. One may feel that the director selected some actors/actresses, for them created some characters and then thought about a story, to treat the story. It ca be guessed that the characters done by Jayanta Bhagabati, Mitali Choudhury are not necessary for the main plot. Because of this for the footage of the character done by Imy Baruah the director had to be economic. Similarly the character done by Barnali Pujari could not grow properly. While being busy with the side characters the director probably forgot that the name of the ilm was “Saru Bowari” (the Youngest Daughter in law). It should be mentioned here that the week screen play of the film has been written by the director himself. Of course there are some appreciable things in the film. The music of the movie is nice. For the use of local tunes in the songs of the movie not only the music director BIjaylakshmi but the director also may be congratulated. The director should be appreciated for the nicely constructed sequences in the songs ‘Putalare Kaina Dara…’ or the ‘ Jora naam’ in the movie. Mostly in the Assamese films we see the directors do not get success to bring proper atmosphere while a song is to be picturised. The acting of Urmimala Baruah, Barnali Pujari, Nilu Chakravarty, Divyajyoti Das is really appreciable. Inspite of week presentation, picturisation of the songs the actors/actress could able to make alive the dramatic sequences in the movie. Once renowned film critic Sabita Gehlet stated that while the acting; background music of a particular film is week then obviously the dialogue of the film is also week. – Yes, the dialogue of “Saru Bowari” is very poor.