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The pioneer of type guwahati cine club
Language , Music of a Film and Ganga Silonir Pakhi
Film Maker Dr Bhupen Hazarika
A word of apreciation to Dr Bhabendra Nath Saikia
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Story Of Kaka
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Othelo
Acting is in the glamour
A film for Biju Phukan
          
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BY- Utpal Mena
Report   Date : 11/7/2012 12:00:00 AM
Language , Music of a Film and Ganga Silonir Pakhi

 

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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