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A word of appreciation to
Dr. Bhabendra Nath Saikia |
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The one name that coinsures up a
feeling of warmth in every Assamese heart is that of Dr. Bhabendra
Nath Saikia. His gift to the Assamese Society and in the fields of
art., culture and literature has not yet been adequately measured.
A very capable student of Physics and successful teacher of Gauhati University, Dr. Saikia entered the arena of literature
with a few short stories that have shaken the very foundation of
the form & style of Assamese fiction. With an eye to very minute
details he used his pen with a depth surgeon’s precision. That was
a unique beauty of his literary creations.
His creativity is such that he was
always found at the head of a line of stalwarts in his own field.
Dr. Saikia with a handful of very distinct few of his age group,
has taken Assamese literature to a very respectable height and in
the process a horde of awards came his away. What is remarkable in
his case is that the discerning people of Assam have lost count of
the awards but have kept close to their heart his works like "SHRINGKHAL",
"BANAPRASTHA," "GAHBAR", "ANTAREEP" and the like. Added to this
glorious creations, Dr. Saikia has made his way to a totally
different field,namely of films. Someone has said about Dr. Saikia
that he has a "Midas Touch" in whatever he puts his hand on. As if
to prove this, he has directed such remarkable films like "SANDHYARAAG",
"AGNISHNAN", " KOLAHAL", " SARATHI", and "KAALSANDHYA". Each &
everyone of his films received not only rave reviews but also
recognition both in the country and abroad. An important point to
be noted that all his films were based on his own literary
creations. One good aspect of this transformation is that he could
translate every bit of his literary details to celluloid. These
achievements, it is needless to say, have done us proud.
Dr Saikia has also put his hand &
heart in the publication of few prestigious journals, the most
popular "PRANTIK" is one with which he was associated from the
very start. A children’s journal "SOFURA" discontinued for
sometime, but has started again under his able leadership. Readers
of "PRANTIK" will agree, that Dr. Saikia has given the journal a
very respectable look not only its presentation but also in the
variety and depth of its contents.
Dr. Saikia’s creativity found other
equally successful outlets. His radio plays are one. More
particularly a few he created for children has not been bettered
as yet by other similar creations. He has also given a status to
the most famous trend in Assamese Theatre, Namely Mobile Theatre.
A hitherto unknown trend was established by a few such theatrical
group with very rich plays and appropriate directional touch by
him.
Dr. Saikia’s outstanding creations,
be in celluloid or in the stage, have as yet achieved a landmark.
They have given audiences a taste of the medias and people have
learnt to appreciate a good film or a good play.
It is our pleasure to present this
wonderful personality to this select group of people here today
and through them to the society at large.
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Dr. Bhabendra Nath Saikia's
films: |
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Sandhyaraag (Cry
of Twilight) - 1977. B&W
Anirban
(The Vigil) - 1981. B&W
Agnisnaan
(Ordeal) - 1985, Colour
Kolahal (The
Turmoil) - 1988, Colour
Sarothi (The
Shelter) - 1991, Colour
Abartan (On the
Run) - 1993, Colour
Itihaas
(Exploration) - 1995, Colour
Kalsandhya
(Twilight of Death) - In Hindi
1997, Colour
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Filmmaker Dr. Bhupen Hazarika
- Nayan Prasad |
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Collogue Sanjay
Goswami narrated the story. He was then staying at Kolkata.
Suddenly one morning he heard every where Bhupen Hazarika’s songs
are played in the music systems. There are flag-size cutouts in
the street corners. Goswami was shocked at the sudden incidence.
Later by asking some one he came to know that Dr. Hazarika has
been selected for the Dada Saheb Phalke Award—the most prestigious
award of the Indian Cinema. Because of this news the people of
Kolkata celebrates like this. They showed their heartiest greeting
to their beloved artist.
In Assam also there was atmosphere of joy. But at the same time
there started some controversies also-- Is Dr. Bhupen Hazarika
appropriate enough to receive this award; he must have some
political backing which is why he could achieve this award; for
some other, Hazarika received this award because no one from the
north east received this award etc.
People who criticized Hazarika’s this achievent probably thought
that the Indian film meant only Hindi film, so the stars of the
Hindi film industry may get this type of prestigious award; but a
man like Hazarika who is solely related with the regional films
should not get this type of award. These critics can't think that
beyond Hindi film industry there is a vast portion of regional
films in India. Still there are a number of film personalities who
really deserve the Phalke award. For example Abiram Sarma, a
renowned film make of Manipur deserves this award. He is the man
who almost his own effort took the Manipuri Cinema to the world of
Cinema. But people who do not aware about the activities of Sarma
may raise question if he is also selected for this award. Of
course,
he did not make any Hindi film, may be the popular stars of Hindi
Films do not know him. Is this is disadvantage! This type of
criticism often found because comparatively the market of Hindi
film than any other regional films is vast. Hindi films are shown
everywhere in India.
Singer, lyricist and composer Dr. Hazarika is a man of deep heart.
His personality as a music creator suppressed his identity as a
able film maker. Probably the new generation does not know that he
had made seven films in Assamese language alone. Even on behalf of
the Government of Arunachal Pradesh he made a Hindi film namely
“Marii Dharam Meri Maa”. Apart from these he was the music
director of Assamese films like “ Piyali Phukan” (1954), “Dhumuha”
(1957), “ Kencha Son”, (1959), “Maniram Dewan” (1963), “Khoj”
(1975), “ Kanchghar” (1975), “Cameli Memsaab”, (1975), “Palasar
Rang” (1976), “Ban Hansa”, (1977), “Banjui” (1978), “ Akan”
(1980), “Aparupa”, (1982), “Angikaar” (1985), “ Sankalpa” (1986),
“Maa” (1986), “Yuge Yuge Sangram” (1986), “Pratisodh” (1987),
“Priyajan” (1993), “Paani” (1995) and a Bora film “Cmimang”
(1987). As music director he directed 27 films of Assam. For his
contribution to Assamese film he received Dada Saheb Phalke Award.
As director before selecting a theme for his film Dr. Hazarika
critically examined the theme. While the story of Assamese film
was based on historical and mythological events Dr. Hazarika made
“Era Batar Sur” a totally musical film. In this film we see the
hero roams around the cities in search of musical notes. Dr.
Hazarika was also inspired by the Neo-realism trend started in
Italy. This film reflected his feelings nicely. He made
“Pratiddhani” in 1963. In this film the relation between the
people of hilly region and those of valley became the central
thing; but still it reveals a nice love story. With Manik Raytang
he made the screen play on a Khasi folklore. His another film
“lati Ghati” (1966) is a film made in trend of film within film.
Probably the audience at that time could not understand properly
the sharp satirical tone which is why the film was not well
accepted. Brajen Baruah’s “Ito Sito Bahuto” is another such film.
That is why both the films can be called as the films ‘Ahead of
Time’. The “Chik Mik Bijuli” (1969) is a film where Dr. Hazarika
pictures the life style of lower class people in the society.
Similarly in “Man Prajapati” he pictured the life style of some
people who worked in a circus party.
Dr. Hazarika is a man master of many fields. For him songs are his
life and the lyrics and its tune are his breathed air. That is why
even though he thought about making films; still he could not work
on it strictly because he probably did not have so much patience
and time to spare for making a film. That is why he became much
interested in music direction rather than film making. He was such
a careless artist for his future that he even neglected the offer
of India’s prestigious ‘Rajasree Production’; who offered him to
make five films serially. But Dr. Hazarika did not bother to go
ahead after making the first film. Later he was closely in link
with films but retired from film direction. As music director, he
even created history in Hindi film industry also.
The Films Of Dr. Bhupen Hazarika
1. Era Batar Sur 1956 Director/ Music Director
2. Shakuntala 1961 Director/ Music Director
3. Pratiddhani 1964 Director/ Music Director
4. Lati Ghati 1966 Director/ Music Director
5. ChikMik Bijuli 1969 Director/ Music Director
6. Man Prajapati 1979 Director/ Music Director
7. Shiraj 1988 Director/ Music Director |
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Language, music of a film and “Ganga
Silanir Pakhi” |
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Utpal Mena
Translated by--- Ritul Bhagabati |
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Cinema is a media of the
director; it is also a media of the camera. The standard or classification
of the film is depended on the ‘language’ of the camera. According to most
of the renowned cine artist, cine lovers or critics the dividetion in the
cinema like the main stream or parallel stream is meaningless. Similarly the
dividetion of regional films are also meaningless. We can say meaningless
because the language of the film is cinematic, universal. The cinematic
language of “Ganga Silanir Pakhi” and its music both are fantastic. In the
very first sequence of the film we see the wonderful mathematical equation
of the long and mid-long shot. The film moves through the language of the
camera. … We see a shadow in a long shot… Sonai river.. A ‘Ganga Silani’
flying in the sky… the heroine of the film went to pour water from the river
got attracted by the voice of the bird. The use of fridge matfti is out
standing in the very first sequence itself. The diector made it vividly
clear that the voice of the ‘Ganga Silani’ is the symbol of hope for the
heroine. According to the prominent scholars of the cine-field the story of
a film is not important. According to the scholars a brilliant director is
always very economic in using dialogues. We see the Director Padum Baruah
appropriately used his knowledge in this field. The story of the “Ganga
Silanir Pakhi” is very weak. The viewers who loves nicely constructed story
in a field may not be happy after seeing this film. It is also worth
mentioning that the acting portion is also very weak. But both the
deficiencies are covered by the wonderful use of cinematic language.
If we observe carefully the contemporary Indian films and compare the “Ganga
Silanir Pakhi” we may see that this film is some what advance in the use of
cinematic language. This film is far better than the other contemporary
Assamese films in this field. Even in the films of Jahnu Baruah we cannot
see the appropriate use of cinematic language. It may be mentioned here that
the other two movies where we can find nice cinematic language are
“”Baibhav” and “The Sixth Day of Creation”. But the methametical use and
selection of the shots of these two films are not as nice as Padum Baruah’s
film. Padum Baruah was careful enough because of which “Ganga Silanir Pakhi”
is much appreciable than other films. We can comment on this film as an
evergreen film. The director did not want to waste the footage of the film
by using more dialogue. The economic director by the help of the subject
movement, changing the various views and nice use of shots makes the film
lively. (For example- The hero of the film proposes the heroine in mid shot.
Cut.. In mid-long shot the cow boy sings Bihu sitting on a buffalo.) Because
of all these the poor story line is neglected.
If we observe the film keenly another important thing comes in front of
us—the music of the film, because of which the film became lively. The music
of the film composed by using local films, keeping in mind the language of
camera and situation. In one such sequence the back ground music was the
sound of a ‘Dheki’ a typical grounding equipment of Assam. The nice
composition of Sarod and drums makes the film meaningful. It seems that the
background music also gets the same importance along with the direction of
the film.
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The pioneer of the Guwahati Cine Club |
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Kanak Chandra Kalita |
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Ranjeev Baruah, Prabodh Das, Alak Adhikary
and I-- all are the executive members of the Guwahati Cine Club
decided to meet Dr. Bhupen Hazarika. Taking an appointment from he
one evening we went to his residendence at Nizarapar. He asked us
to meet him at 7 pm. That evening we stayed with him for about one
and half hours. During this period of time we only talked on
Guwahati Cine club. While talking on this organization he became
nostalgic. There was Apurba Das with him, who was a special
co-singer of Bhupen Hazrika. We could learn so many unknown things
from the pioneer of the Guwahati Cine Club. Bhupenda, along with
the established secretary of the club Apurba Das talked on the
incidents that occurred 41 years back.
Before entering in the film line, Satyajit Ray first came into
close contact of Film Association. It was then he learnt the basic
preliminary things of film. Only after this he tried his hand in
film making. Bhupen Hazarika acted in the film “Indramalati”,
directed by Jyoti Prasad Agarwal, as a child artist in the year
1939. Child Bhupen Hazarika also sang a song of Jyoti Prasad
Agarwal. He became very familiar and known film personality even
at that time also; particularly he gained popularity in the field
of singing. It was the inspiration of the greatest film
personality of that time, Jyoti Prasad that he could able to make
films like “Era Batar Sur” (1956), “Shakuntala” (1961),
“Pratiddhani” (1965) and “Latighati” (1966). In the same year,
i.e. in 1966 on 26th April under the leadership oh Bhupen Hazarika
Guwahati Cine Club was established. By that time he had to visit
Kolkata very frequently where the revolution of Film Association
started already. He observed all these very keenly. Kolkata Cine
Club was established in 1947; Satyajit Ray, Chidananda Dasgupta
were among the pioneers. It was then Bhupen Hazarika felt that
there should be a Cine Club at Guwahati also. He brought his
desire come true but as he was very busy with his film and music
projects, so he could not spare much time to the club. In the first
executive meeting of the Guwahati Cine Club prominent scholars of
Assam like Dr. Birendra Kemar Bhattacharya, Dr. Nirmal Prabha
Bardaloi, Atulananda Goswami participated. In the “Sundarar Na-Diganta”
a book published in 1967 Hazarika in his article “Chalachitra
Sangha Andolanar Uddeshya Ki” wrote the mottos of the film
associations. He wrote the mottos should include pursuing the film
maker to make films keeping in view of scientific, ultural
education for the mass. The film should create desire in the
society to learn more. He mentioned here the need of making
scientific, educational, cultural movies and to create awareness
of making a film with all these values. With these mottos Hazarika
worked for the well being of the Guwahati Cine Club. The citizen
of Guwahati could able to taste the various interesting movies
made different part of the world through the Cine Club. Apart from
this the club has organized various symposiums, seminar on cinema
besides publishing some valuable books on Cinema. Even it arranged
some special classes and workshops for the students of Cinema. We
must appreciate Dr. Hazarika for wherever he did for the Cine Club
of Guwahati. If he did not have established the Cine Club the
development of assamese Cinema would not have reached the position
that we see today. He too expressed that through the Cine Club he
got a chance to gather knowledge on cinema by observing the trend
of world cinema. He also admitted that after Jyotiprasad Agarwal,
thorough Guwahati Cine Club he could have much ideas on world
cinema and with these inspiration he started his active work in
film line.
After the establishment of the Guwahati Cine Club he made “Chil
Mik Bijulee” in 1969. In 1979 he made “Man Prajapati” and in 1988
“Shiraj” was made. It is noteworthy that Hazarikas most
appreciable works for Assamese film industry is his “Rupkonwar
Jyotiprasad Aaru Jaymati”. It is very unfortunate that the most of
the parts of the prints of the first and second films of Assamese
Cinema are become useless. Dr. Hazarika collected the still active
prints of both of the films and decieded to make an indifferent
movie. Apart from the prints he mingled the story of revolutionary
lifestyle of Jyotiprasad Agarwal and made “Rupkonwar Jyotiprasad
Aaru Jaymati”. Once during conversation he told us “There is no
creativity in the films I have made all ready. I have made all
these only because of my economic gain. But I have plan to make a
really good film. Still I have this desire in my mind.” To sum up
this article I would like to quote Dr. Hazarika’s feeling on the
mottos of the Cine Association. In his article mentioned above
Hazarika put the question—“What is the motto of the Chalachitra
Sangha Andolan (Revolution of the Cine Association)”. He said here
“The member of the Cine Club (of Guwahati) should remember the
mentality of the British archives curator Ernest Lindgreen. … Not
only in our country, the Cine association of all over the world
survive even in a very critical atmosphere of the human society.
This proves that the viewers of a movie are not mere spectators;
they are the sentinels of this powerful form of art. …It is worth
mentioning that the Cine Club of Guwahati is a non political, non
profitable and self financed organization. The activities of this
club are performed by the timely donation of the club members. It
was established with the capital of heartiest co operation of the
people. The cine lovers and the scholars, who too think like
Eisenstein that the cinema is something of every art should take
the responsibility to look after the development of this
organisation.
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