Sushmita's Teflon Living

Neither really here nor there. A space between bohemian exuberance and conservative quiet, between the person you are and the person you are growing into, between grand romances and flimsy rice paper passions. the space where stories are born.
And sometimes, in rare fragile moonwashed moments, replayed over and over again

Language Of Tears

Assam in North East part of India has been facing two major problems - the infiltration of foreigners from neighbouring countries (especially Bangladesh) and the ongoing revolution between the banned separatist group -United Liberation Front of Assam (ULFA) and the Indian Government for the past 27 years.

Their cause- Assam has been exploited way too long hence demands an independent Assam, separate from India. In this teaser video (a documentary in the making), Sanchayita, who now lives in London makes a personal journey to her place of birth and talks to the rebels, ex-rebels and their families about their life now and during the past two decades .
( click here to watch the same film on youtube)


If you want more , watch the 10 minute clip : Blood in my valley

Sound Of Silence..you are not alone

Genre: Music Video
Duration: 03 :14

Synopsis:
This video was done over a weekend with my laptop. Idea was to create a music video with just still photos and video effects available on Windows Movie Maker. Great fun editing for the first time!

15 Seconds Echo

Come to think of it, a feature film is made of several 15 seconds hence when the challenge came to tell a story in 15 seconds, it inspired me. Thinking in the 15 seconds lines, I wanted a word record on the theme and put a contrast on the other side of the spectrum.

Filmed, Directed and Produced by Sanchayita Sharma
Sound: Bob Summerfield
Edited by Hazel Chandler and Sanchayita Sharma.

BTW, The longest Lasting ECHO was created by closing of the doors in a Mausoleum in Hamilton, Scotland. Enjoy!

P.S: With beginning and end credits it ends at 17 seconds.

of bollywood and bastardisation

by BODO
It's two forty am. And I've just gotten back from watching rang de basanti. Mynta is playing on the cd player (which is a good thing). My body is complaining about my constant abuse of it (which is a not so good thing). And me. I have things to say that can't wait till the morning.

Like what? Well, questions of national identity for starters. Also, bollywood's immense capacity to surprise me. And isolated snatches of conversation that have hung suspended over the ceiling of my living room since the eve of our 58 th republic day.

And not that it can't wait till the morning. Of course it can. Just that I'll get so caught up in my super animated daily grind that I'll completely forget what I have to say till an evening, three or four months hence when I'll be up staring at the computer screen at 4 in the morning.

So here I am, child of colonial India, more comfortable with the concept of high tea than with jolpan, lightly tapping the keys of my computer (because pounding, I'll have you know went out with the typewriter) at 3 in the morning.

So here I am, thinking about what it is that makes me Indian. Is it the culture I've been brought up with? Can't be, I think. I grew up knowing my Jane Austen's backwards. Sipped tea instead of chai. Wore jackets on winter evenings to club. Knelt down to pray in church even before I understood who or what god was. Surrounded by a living, breathing legacy that the British left in India.

Then I grew up slightly more. Things changed a lot from my younger days. America, meantime was either trying to take over the world or save it from themselves. Coca cola replaced water in the grocery stores. And mtv replaced ramayan on our tv sets. George Clooney became a recurring theme in my dreams (still is by the way).

And then I went to school in jaipur. Where I learnt how to cook, to arrange flowers, ride horses, make lovely sets for functions and of course that a woman's real place is in the kitchen. Even if she burns water while boiling it.

So what culture are we talking about?

Is it the heritage that has been handed down to me? Can I claim to be proud of a Gandhi, because I happened to be born in the same nation state? Can I claim to be proud of being a part of the world's largest democracy even though I've never cast a vote in my life? Can I rest assured be cause I have several million gods watching over me as opposed to most of the worlds just one?

Where does my identity as an Indian come from? Not just me, all of us? Where does our identity as an Indian come from? And more importantly, do we need an identity as an Indian?

Isn't it enough that we can do good for goods sake instead just for the nations sake? Isn't it enough that we pay our taxes not because the country demands it, but because we are giving back to the community? Isn't it enough that we can give inzamam-ul-haq his due without thinking, salla pakistani? Isn't it enough that our basic values – religious, cultural whatever, are essentially human values? And despite however many borders we cross or how many languages we speak…that's not going to change.

Not with a hurdred rang de basanti's hitting the screen. Much as it is one of the best films that bollywood ever made. Much as it is packed with nationalistic fervor. Much as it questions the apathy of our generation. Because it's a film about taking responsibility for change. A film about pissing or getting off the pot. And yes, it's a film that deals with the state of our nation. But what is a nation if not the sum of its people. And people, I figure, are essentially the same all over the world. With or without their sense of national identity.

And now at four eighteen am, with my beer having lost all its fizz, a dead cd player lying just out of reach, and eyelids that are fighting a losing battle to gravity…I've got to admit that it's time to say goodnight and good luck. Have a great day tomorrow. And yes, go watch rang de basanti

Making of "The Passage"

Assam Tribune  May 2005

Only two Indian women filmmakers screened their films in Cannes this year. Vinta Nanda’s White Noise  & Sanchayita Sharma with her film called The Passage (see more about the film in http://www.enazoree.com

Born and bought up in Guwahati, capital of Assam, Sanchayita now lives and works in London. She says about her film: “It is not a formula Bollywood film and I don’t have a track record in filmmaking. So I was not surprised when there weren’t many takers to fund it. But I believed in the story hence I saved for two years and when I fell short of money I literally made the rest of the film out of my credit card. But I wouldn’t like to advice anyone to do that though. Of course, the value of the British pound helped me as it was filmed in India.” 

Before moving to London, Sanchayita had a successful television career in India as a Bollywood request show host, interviewing celebrities. The show "Your Request" was on air for a decade and was the first to hit the record of  100 episodes in Doordarshan North East. She also ventured into the theatre world and had remarkable reviews about her acting skills in plays like Romeo and Juliet (1998); Street Car named Desire (1999) and participated in the Nandikar International Theatre Festival (1998) with Seagull Group, a well known theatre company from Assam.

Excerpts from an earlier interview :

You come from a family that is connected with cinema? What was it like to grow up in that environment?

I was six when I discovered that people paid to watch movies. Since my father owned cinema halls, watching films was not just a regular event but film business was dinner table conversation too. Sholay was the first film I remember that hit my emotional cord. Maybe because the terror was psychological or perhaps I thought Sanjeev Kumar was my father’s look-alike, hence the pain every time I watched it.  For me, Gabbar was the epitome of my filmy villain and the “distributor” word I often heard at home were my real live Gabbars.

North East of India has seen you in front of the camera for a while now. What inspired you to direct a film?

Yes, apart from my TV show which I had fun doing, school and college days brought me closer to a lot of theatre as an actor but I was looking for something more. The business part of filmmaking was more appealing to me rather than directing. To be honest, I never had the nerve to direct until  quiet late in life when I saw Satyajit Ray’s Apu Trilogy. It was Ray’s and Kristov Kieslowski’s treatments that made me look at films from a different angle. It somehow gave me the confidence to direct one.

What was the experience like since this was your first film?

Chaotic! Huge learning experience. It needed a lot of planning, organising and researching. Coordinating things from London prior to production did help to an extent. But before I landed in Guwahati, all I had was my script, that too in English. I had to find someone to translate it to Assamese, choose my cast, film and edit it….all in three weeks of Christmas holidays.. I remember working for more than forty eight hours at a stretch. Finally, I was back to London with my final print.

How did you choose your crew being so far away?

My editor, Manas Adhikari was my contact in Guwahati. I’ve known him since my television days. We worked on the budget over email and phone. He understood my vision, so things were easier. Once I landed in Guwahati, he lined up people and we had a crew ready in no time. I was blessed that Suman Dowerah was my cameraman. We worked earlier during my “Your Request” days and he as a busy diary. It was good to work with him , this time behind the camera. He gave personal interest to my film, which was handy.

 And the location?

When I was storyboarding my script, I drew the hut and a train line running behind it. Some of the dialogues and one particular shot demanded the train nearby. We went location hunting for two days but couldn’t find any. There were logistical issues. We couldn’t afford overnight stays so it had to be in and around town. Once, I visited our family farmhouse and yes, there was a train line passing by but there wasn’t any hut. So we built one. It was still cheaper than moving everyone to another location. Luckily, Dad was filling up the land due to the floods last year so I got help from the existing builders. In fact they were all in the film as part of the crowd and actors in the village play scene too. I visited a roadside hut, clicked exterior and interior pictures and gave it to my art director to replicate it. Perfect!

 What about the cast?

Ah! that was the tricky part. I had Binoy Deka (who played the rebel) in my mind while writing the script. He is a friend from my theatre days and I knew he was apt for the role. Apart from that, I was clueless. I spoke to a few people from London but that didn’t work hence I physically met them once I was in Guwahati and started from there.

 You had non actors in the film. How was it to work with them?

Yes, Two of them. Hari Dutta Das (Atoi) and driver Jagadish. But they were playing themselves. Hari Dutta Das was my aunt’s priest at her local Naamghar ( a holy shrine). We did some rehearsals with him but he was easy going. In fact his last scene was fantastic. His eyes said a lot, the lighting , background sound,  even the creases of his Eri Sador (shawl) was perfect. We did this towards the end of the day when he was a little tired so that I could get that look. I simply asked him to follow my extempore words of sympathy but requested him to use just his eyes and face emotions as he would do in real life. We had it all in one take. Perfect! He turned out to be a serious actor. After we wrapped up filming he confessed that he was now more interested in acting than his day job. He is looking forward to his next shoot! 

My original script had an old driver but during my pre-production days I was driven around town by Jagadish. During my interaction with him, I found out that he had a story to tell. There were several reasons for casting him. He could play himself and could be a “subtle”hint of a probable groom for Pokhili and the most important factor was that he served the rebels but came back home due to the love for his family unlike Bapukan, my catalyst, who was on the other side of the spectrum. I just framed the relevant questions and spoke to him. He answered me just like he did during my pre shoot days.   

Apart from the non actors, I have to mention Dabuda (Prof. Tripathi, who lead me to the wonderful Nikumoni Ba who so seamlessly flowed into her character. Also a special mention should go to Linu Aunty (Aatoi’s wife). She was my mother’s find and I thank my lucky stars that she took up this role.  During my initial meeting with her, I had my doubts but reluctantly went ahead after some confirmation from my mum. Linu Aunty is a sophisticated lady and she would be playing something  entirely opposite to what she is in real life.  She really surprised me with her dedication and hard work. Just before the shoot I see her soaking a brand new mekhela sador in used black tea to get the faded look. She was the voice of my film and she did a fantastic job with it. Can’t complain!

You were very particular about the music in the film. Is that correct?

It is a film based on rural Assam. Guitar and keyboards simply won’t fit in. I wanted authentic Assamese music. My crew recommended Tarali Sarma, a well known singer in Assam. Apparently Tarali and I went to school together. It was great working with an old mate. I love Goalporia lokogeet. There seems to be pathos in this music which blended well with my film. Tarali gave me a combination of Kamrupia and Goalporia which was impressive. Even the first chase scene was done on doba and dhol.

 Which was the best shot in the film according to you?

I think you should ask my viewers. Well, the ending shot of Atoi was moving. But I was personally pleased with the last shot, the reason why I called it “The Passage”. It was exactly how I visualised it to be. The car moves through a hump before entering the tunnel and disappears into the endless tunnel signifying that they had left the darkness behind and going into a brighter world which was seen at the far end, a kind of situation Assam is at the moment. We hope to see the bright side of the tunnel someday soon. For me, it said a lot about the film. Short films are suppose to leave the viewers with a question which I think the shot did but then again this is just my opinion. Some viewers will like it, some might not but that is filmmaking for you. You cannot make a film for everybody.

 Anything interesting that happened during the shoot?

We had a great team, so filming was fun. During breaks, Atoi entertained us with his mythological tales and his new outlook as an actor and the film world. I particularly remember one incident. The night we were to shoot the jungle chase scene, the huge HMI lights were ready but the army actors could not be contacted although they were confirmed. The only phone shop nearby was closed for the night and we were in a no network area so cell phones were useless too. I was at the edge and then my production manager landed up with three local “real” policemen with “real guns”. I was taken aback. They happily wore our army costumes and gave the shot. Very kind!

Anamika Barua

Apart from Cannes, "The Passage" has been screened at the Edinburgh International Film Festival, private screening at Berlin Film Festival,  Brick Lane Film Festival, Nehru Centre- London, USA & Canada.

Saving Grace - a rare visitor to London

It was a cold Friday morning in London and commuters were looking forward to the weekend away from work and into their warm cosy homes. Like many, a commuter walking over the Waterloo Bridge saw something which compelled him to call the BBC. “Hello, eeh.. this might sound a little strange and I m not sure if I am hallucinated but I.. I think I have just spotted a whale going up the Thames.

Soon news spread and emails and SMS were floating around about this new exciting creature whizzing around in Central London. One interesting message said- Has he tried the Motorway (M4). He could see a lot more Wales on the other side (as in England and Wales). Another SMS to a friend who live by the Thames said- Stop feeding your goldfish. There is a whale right outside your window. The curiosity of some onlookers turned into comic suspicion that it might be Bin Laden’s submarine disguised as a whale inside which little frog terrorist must be hidden to destroy the west.

Now compared to our mighty Brahmaputra, Thames looks like a “naala” (no ffence). The more you travel towards central London the narrower it gets and hell, is it a busy river with tourist boats, private jetties and police boats operating 24/7 and spotting a whale there- nah…you must be joking! My other half religiously called his mom in Guwahati - Maa, they spotted a whale in the Thames and at the moment it’s near the Houses of Parliament. Perhaps it has come to give a petition to Tony Blair on global warming.

Latest news reports identified that it was a 19ft adolescent female, bottle-nosed whale and is usually found in the North Atlantic Ocean. Despite the poor creature getting all the unnecessary attention, this has actually turned out to be a good educational trip for us. How many members of the public knew that we had an animal like this living in waters just to the west of the UK? Around 6 pm, it suddenly went past the Thames barrier and people thought, freedom at last but the mammal still lost on her own, spend the rest of the evening under the Albert Bridge.
By Saturday, the mega rescue operation begun to get her back to where she belonged. The rescue operation was live on BBC 24 and Sky news. Like many, my husband didn’t move an inch from the television for the rest of the day. Are you crazy- this is “Free Willy” and “Finding Nimo” combined together he said. His calls to Guwahati didn’t end too. I even overheard him telling a friend back home- aieera poonati, aji aietu case amaar tat hobo lagisil, uzanbazar ghaatot, blackot bikri hol heten! ( If this happened back home, by now, it would have been sold in black at our fish market).

London has seen it happen too. Back in the 17thcentury thousands of whales were killed simply to extract their oil for lighting. Barrels of whale oil were placed around the streets and lit each night and London even won a reputation of being one of the best lit cities in Europe. It is the first time a bottle-neck whale has been seen in the Thames since records began in 1913 but this time the aim was to save, not slaughter but the rescue wasn’t going to be easy. It is a long journey from Thames in central London to The North Atlantic. Should they hire an army helicopter and lift her out? That might be risky. Will it survive till it reaches safe waters? How do you handle a 19ft 8 ton mammal hanging lose in swallow waters. There are questions of high and low tides. Worst situation, should it be put to sleep? And of all the questions, how did it get so far from the sea? Bottlenose whales usually travel in family pods and the young ones are dependent on their mother. Was she separated from her family and got confused and swam up the Thames instead?

By noon, helicopters flew in; vets, marine biologists and rescue team members in their wetsuits soothed the whale by stroking its hulk and keeping its grey skin splashed with water. Blood samples were taken and it was whisked away for analysis. Divers and volunteers waded in, talking reassuringly to the whale while manoeuvring inflatable bags around it. Then it was guided between two small motorboats and towed downstream to a bigger vessel. It was then hoisted abroad by crane, laid on a large inflatable dinghy acting as a hospital bed and covered with damp blankets. Whales can survive out of water for a while provided its body is kept moist. Thus the procession began. It crossed the London Bridge, Tower Bridge and then Greenwich. All along thousands of spectators rushed from one side of the bridge to the other to get a glimpse of the mammal. One of the rescue workers on the boat said – You are looking at a creature that big right up next to your eye and it’s looking back at you, you wonder what it thinks. Does it know the effort that everyone’s making for it? There is a very deep affinity between humans and whales because they are one of the very few animals that can imitate – a rare quality in the animal world. Meanwhile the crowd was getting emotional, some mentioned that it was inspirational and others were bursting into tears seeing the creature live. I mean you go to sea world and you are mentally prepared to witness similar creatures but watching her live in your surroundings was just another experience. Everybody including my husband was sincerely praying for her survival. A sense of togetherness and bonding engulfed all Londoners for those few hours.

During this whole tamasha, the whale was thought to be conscious. Whales need to be awake to breathe and scientist believes that only half of their brain sleeps at a time. But she was exhausted and rapidly became disorientated and distressed, and sadly after about seven-hour since the rescue operation began, as they reached Gravesend in Kent, she passed away, after suffering convulsions. Mark Stevens, a member of the team said: We turned the lights off on the boat as a mark of respect when she died. There were tears everywhere. Big hairy men crying like sissies. Post-mortem findings confirmed that the echo response areas of her brain were damaged; causing the animal to become distracted, hence she was disoriented. Decision has been made to give the body to the Natural History Museum after all the tests were complete and it will clean the bones and preserve them for scientific research. Animal lovers voiced fears that it may have become confused by noise from boats on the busy Thames.

I was personally touched to see something with immense grace and dignity in such close proximities that it was truly an unbelievable experience of a life time. It was not the first whale to lose its way and its life in an unfamiliar territory, and it might not be the last. Being trapped in London accidentally for more than two days, she acquired various names from the public- Willy, Wally, and Celebrity Big Blubber but to me, I shall simply call her GRACE.

The World Artist- Jyoti Prasad Agarwala

Last week my mama-koka (Granny's Brother) Dr Anil Barthakur was reading a piece written by him about his meeting with Jyoti Prasad Agarwala. I was secretly jealous that he had a chance to be in close proximity with the man I admire. Was I born too late in life I questioned myself? Have I missed the boat? Do I stand a chance to get closer to him if I silently hummed Luitore Pani or Agbarit Phulile Phule Moor Sompa? You know, that is another reason why I love talking to people born years before me. They have seen, tasted, felt and lived a life I was oblivion to.

Jyoti Prasad Agarwala (1903-1953) was a playwright, songwriter, poet, writer and film maker from Assam. He is an Assamese icon, deeply revered for his creative vision and output and is referred to as the Rupkonwar of Assamese culture. In fact, he is regarded as the founder of Assamese cinema.
Today, January 17 of each year is celebrated as Silpi divas (Artists' Day) in his honor.