Showing posts with label Film. Show all posts
Showing posts with label Film. Show all posts

Thursday, 3 December 2009

The past emerged suddenly

I landed at Indira Gandhi International Airport in the wee hours of the morning. Bahadur and Lucky Singh were waiting outside to drive us to the domestic airport where we shall take our connecting flight to Guwahati. I was glad to leave behind the cold London winter and was looking forward to a few weeks of being pampered by my family. Just as I parked myself at the executive lounge for a cat nap, the Television Breaking news broke my sleep let alone my jetlag - Arobindo Rajkhuwa (AR) arrested. It brought back memories of my documentary on Assam. Too many thoughts gushed through my mind....

India Trip 2005: There comes a time in your life where you finally want to walk the walk and talk the talk. This was such a trip. I just showcased my first short film and the success it had at Cannes International Film Festival, France; boosted my adrenalin to embark on my burning desire within- A documentary on the families of ULFA.

Now, I am far from being a journalist. The only experience I have, like many, is that I grew up in the dysfunctional state of Assam in the mid eighties. My questions were from my gut, from a housewife, from a daughter of the same soil. I wanted to capture the humane aspect of it from a common man/woman’s perspective. The only rule I had for myself -don’t have any judgements, don’t show any emotions. Let them talk- this story is about them- not YOU. You shall get your answers along the way. Have patience. Easier said than done! I wanted to react badly to most of their answers but somehow refrained myself from doing so.

I had a sheltered childhood even though I was not remotely affected by the uprising. The only few memories I had was that when the lights went off while we were studying in the evenings, the black outs happened and in that silence one could hear gunshots in the nearby hills.... A man in the middle of the road in broad daylight, not far from my house had cut his chest and wrote from his blood- We Will Give Blood But Not Oil. (Tez Dim, Tel Nideu).. as if a warning to the Indian Government to stop exploiting Assam of its richness and to give back more. The road procession to Oil India campus during the Assam Agitation.. The endless trail of people walked passed our front door. I remember my parents getting buckets of water for the thirsty protesters. Today Assam has been liberally ploughed back with ample of money from the Central Government. The Assam Agitation followed by the new robin hoods that emerged and drifted away from the non violet agitators formed an armed group i.e. ULFA which had mass support and later the same ‘janta’ disowned them. What went wrong? What provoked or what motivated them to take up arms in the first place? What did they do to lose the trust from society later?

Friday December 23rd : Armed with just my driver in my dad’s old ambassador car, along with a trusted friend who could handle my camera, I was on my way to Upper Assam; to capture on film and to quench my thirst on a story what started as an uprising in the history of Assam: the formation of the most wanted separatist group in India- United Liberation Front of Assam (ULFA).
My documentary revolves around the families of the banned outfit. For me, they are the real heroes, who despite all the harassment & humiliation, continues to survive and live within the society. The courage and endeavour they must have been through- their only fault being that they belonged to families of the banned outfit. Being under scrutiny 24/7, their phone calls tapped, insulted at their own premises, getting threatening calls, mental harassments and sometimes even physical torture for something they have not done makes me wonder how they cope with it all and still continues to smile and live a normal life. I love my privacy and thinking of it makes me cringe.

My first destination was Arobindo Rajkhuwa’s place in Lakuwa, a remote corner in Assam’s Sibsagar district. One evening I contacted Rajkhuwa’s brother Ajoy in a very seedy hotel in Poltonbazar, Guwahati. I was apprehensive but he turned out to be a middle aged, decent and humble man. After a little chat with me, he invited me to his place the following week and that is where I was heading. I was lost in Sibsagar. My flashy cell phone lost its network too and I stopped to make a phone call only to find out that it was a police reserve. There I was in the beginning of my journey- lost network, no proper destination address and not a single known face around me. As we drove down the dark narrow bumpy road with little electricity, it made me wonder how a boy from this remote area had a vision for his land. It’s usually the have-nots that have it in them and AR was a true example.

I wanted to reach before dusk but failed to do so. The Rajkhuwa household had prepared a feast but my sole intention was to have a word with Aaita, Rajhkuwa’s ailing mother. I wanted to have a quiet moment with her but that was impossible as the entire dynasty gathered to be introduced and I was being my decent self exchanging pleasantries. By the time I got Aaita all for myself, my camera light was not working and I had to film in whatever light that was available there.
Aaita was a frail yet emotionally strong lady. She could barely see and felt my hands most of the time. She hoped that I would bring back her son which I rectified. I was there to talk to her about my documentary. Regardless, we talked. Her emotions were just unfolding and all I did was held her hand. She is in her nineties yet her strength made me feel weak. The more we talked; anger filled my mind for her son and a question inside- How could she still long for him after all the unpleasantness she endured from the army and society. He misled her from the very beginning. One morning as she was weaving in her front veranda, he clicked one last snap of his mother saying that he was off to the Namghar (shrine) for a few weeks. Months later she found out that he had joined the outfit.

Aaita has lived many lives in one lifetime. She had the pride of being a freedom fighter’s wife. Years later, she was the Indian army’s target for being AR’s mother. If that was not enough she lost her first son to the secret killings that took place in the state. I have become almost blind crying all the time she said but I still hope to see xorupai (my youngest) one day. My last question to her: what will you say to him if you see him today? Without batting an eyelid she said- Ghoroloi gusi ah. Kheti kori kha- (Come home. Lead a simple farmer’s life here). I got very little sleep that night. Her words and her face were on my mind and added anger filled my mind for her son. My journey continued but her face stayed on my mind forever.

Back home in London I sat down to write to Arobindo Rajkhuwa- about my interaction with his mother and an email accusing him of what he had done to his mother and how could he hurt her deliberately. It was an email where I bombarded him with allegations and verbal brutality as I was certain, it would be a one way street. To my surprise an email arrived from the chairman himself, nothing aggressive compared to mine. Just saying -thank you for seeing my mother and for the photos. I miss her and have seen her after a very very long time. The last few last words saying - my motherland is greater than my mother.
Now this very man has been handed over by the Bangladesh government to the Indian intelligence. This all happened while he was just about to execute his exit from Bangladesh with his family and take a new secured shelter elsewhere. All we know is that no one has seen him since he joined the group. As I write this in Guwahati, he is just a few yards away from my home in Kahilipara where he is in safe housing. The media will flash his face over and over again from now onwards as the founder member and chairman of ULFA in custody. The Government might think that they just won a jackpot and that the key to their problem is under manacles.
The peace talks might be renewed but that to me is like boys with toys in a school playground- I shall bat, you ball and vice versa. You give me my boys back, we regroup, get stronger or is it just another senior level strategy that I have lost fate in?

These to me are very cosmetic. This will not get back our sheltered childhood, nor will it bring solace to the mothers who lost their loved ones in the decades of tragedy. Not even to the lady I met in Nowgaon during my filming, she had two sons- one joined ULFA, the other joined the police force- sadly both died- who is actually benefiting from this? Definitely not the people of Assam who are the real sufferers. Has anyone bothered to even ask their opinion?

Unless the government takes sovereignty in the agenda, no talks will happen with ULFA says their Commander in Chief Poresh Barua. Sovereignty is not in the constitution of the Indian Government. Now, the Indian constitution is a wonderful document and it can be amended as it has had 94 amendments in less than 60 years of its enactments. So what’s the harm in putting the word Sovereignty in the agenda? Amendments do not grant sovereignty, it will just open a dialogue and perhaps save millions of innocent lives and destructions in the coming years. What’s more important for the government? I feel everything in this world can be solved if people talk. The Government can decide if they want to amend the constitution again. Big Deal!
However, if we can address as to why it all started and if we can amicably solve that, I think we are laughing!

Bublee

Friday, 26 October 2007

how many can you count

This is a parody of all the "100" list specials that the AMFI Film Institute keeps putting out. Its creator is a Mr Alonzo Mosley who describes himself as a 34-year-old librarian from Jacksonville, Florida. Let's hope the meanies who work in copyright law do not put the mockers on this because it is so fanbloodytastic

Thursday, 31 May 2007

Assam on Al Jazeera..

A current affairs piece for Al Jazeera International for their People and Power slot.
Hazel and I had a roller coaster ride as the army/intelligence followed us in Upper Assam
while filming this piece in February 2007.

Our crew consisted of her, me, my driver and a hired red sumo…and of course endless phone calls everyday from AJI.

Research, contacts and ground work done by Sanchayita Sharma.
Film edited and commissioned to Hazel Chandler


Part 2:

Friday, 1 December 2006

Casino Royale.. Hmm.. I have bonded well!


Since the day I heard Quentin Tarantino wanted to remake the 1967 James Bond Casino Royal, I have been keeping my ears and eyes open for not only am I a devotee of Tarantino but it would be a lethal combination to see him direct 007.

Well perhaps it was not meant to be and if that was not enough bad news for me, Daniel Craig is the new Bond. Daniel WHO? I didn’t like his male model Zoolander photo shots and somehow he was not appealing to the new Bond I had in mind. He is told to be 30 something but looks much older and was not “soft and dishy” enough like his predecessor Pierce Brosnan.

This evening I finally watched it. I know it’s nearly the second week but well I have some sort of life. The movie completely took me by surprise. First of all it’s not cliché. Well, thank God for that. Even Superman Returns was not cliché. Hmm.. maybe the producers are learning…

Here James Bond gets hurt. In fact I have never seen such a battered and bruised 007 in my life and the best part is that Daniel Craig grows on you..ah aww now I must behave. He has the look that says “I am no super human yet you can depend on me and above all I am not just a sex machine” which makes him look even sexier or perhaps I prefer it a little subtle.

For once, the focus was in the plot then high tech gadgets, visual effects and steamy scenes. I am wondering if “M” (Dame Judi Dench) is confused with her new Bond boy who had the audacity to break into her house and even steal her password. There was no Money Penny and no “Q” in the first 10 minutes of the film educating the audience about the cars, the watch and the lot. Btw, it’s not Rolex but Omega and he can’t be bothered if his martini is shaken or stirred. In fact he came up with some concoction and invented a new drink which perhaps from this instant can be called “bondini”.

Vesper Lynd (Eva Green) had a good role to play. Apart from her vague way of speaking and the bleeding red lipstick she is likable and there was some form of love in this one. Overall treatment of the film including the beginning credits was good which were done with playing cards in mind. I am not sure if the prologue was purposely done in b/w to pay tribute to the earlier film. I heard that the first chase scene was taken from a documentary where Londoners exercise and just run over roofs in the city. Yes, we are a bunch of weirdo’s. Madonna too used them for her music video “Jump”. Come to think of it I am not sure how much CGI is used in the bond sequence. Although my knowledge in cards/poker is limited I was still entertained and oh yes, how can I forget- the torture scene was indeed there. Wait a minute, the film was rated 12A. Gosh! They must be a tough bunch of 12 year olds to witness such a scene especially young boys else the next time they sit on a broken chair, they might jump. As for me, I enjoyed the scene ..na I am not a sadist but it was still great to see him naked. Well practically!

He is much more real, has this oozing raw sex appeal and is fantastic on camera.
10 on 10 Bond. Go for it.

Syrian Speaks.. impressive

Wafa Sultan is a secular psychologist of Syrian-American origin. Although she is quite well-known for her part in the the public discussion on the clash of civilizations her recent appearance on Al Jazeera has spread on the Internet like wildfire

Monday, 27 November 2006

Dhoom Again.. or maybe NOT


I first saw the Dhoom 2 trailer before they showed KANK in the HSBC special screening for NRI in Haymarket Odeon this August. Dhoom 1 didn’t appeal to me but I still wanted to watch Dhoom 2 as the trailer was fast, happening and a well made one.

First day, first show. Odeon Greenwich, I watched Dhoom 2. It would have made no difference if the film was called Hrithik or Dhoom 2. The film opened with him and his fantastic Dhoom Again song (this guy moves like he has rubber attached to his feet), he carried the film all along and you come out of the theater with him in your mind and the flesh of course! There was too much of it everywhere.

The first few minutes of the film was in English and Hrithik Roshan with his Greek God looks could easily get away as a Hollywood actor. The introduction of Uday Chopra and Abhishek Bachchan in the back waters of Kerala or was it Mudd Island was over the top and fell flat compared to Hrithik’s Namibia opening sequence.

More importance in colour, texture, set and light was given to Hrithik and undoubtedly this is the best he has looked so far. And surprise surprise, he can act too. For once a star-studded guy is not afraid to get into character roles. We have seen it in Koi Mil Gaya and you shall see more here.
Unlike Aishwarya and Abhishek’s chemistry in Umrao (Bei)Jaan, I have to say that the screen chemistry of Hrithik and Aish is going to stay. It reminded me of Abhishek and Rani Mukherjee. Aishwarya Rai, with her fake tan was trying hard to look sexy and how can a director approve a song called “Crazy Kiya Re”… Fu…..nny guy! but she has worked hard to get that shape.

While sharing the screen with Hrithik, Chota Bachchan looked like a side actor and the kajal and whole white shoes dance sequence didn’t help either. Rimi Sen is seen in many blockbuster movies yet we cannot remember if she was in any.
Bips ( Monlai / Sonali) and Uday Chopra were side kicks and gave us something to chuckle for.

Apart from the fantastic Brazilian location, there is neither story line nor any message in this film. But if you like to watch babes, bikes and Hrithik’s six packs, even a lone nerve going down his hips along with the action packed stunts and of course a smooch, go watch the film . Otherwise it might be well worth waiting for the DVD.

Monday, 20 November 2006

Bafta Goes Bollywood


Pratibha (Parmar) invited me to join her to the Birmingham Asian Mela. She will be interviewing Kajol and Ajay Devgan and perhaps Saif Ali Khan too. Come over, It will be fun, she said. I will put your name as my guest.

Bafta suddenly wants to go Bollywood. They have been interviewing a lot of our stars this year. Shah Rukh Khan, Preity Zinta, Masterclass with the ever-confident Karan Johar and honouring the big daddy of production houses- Yash Chopra

Birmingham is an hour and fifteen minutes by train from London. So it was a day trip for me and I asked Pratibha if I can bring my PD170 to film. Too chaotic and too strict about rights, filming and the lot. Drop the idea! Just chill for a change and go mad on the stars, the food and the mehendi.
It was an eventful day and I would like to write more about it some other time. Accept for the fact that I met the stars and pressed the flesh.. You know what I mean. Saif is a born casanova, grown into a matured actor and can converse well. The pedigree helps I guess. Ajay has a soul unlike his conceited wife, he smiles when your eyes suddenly meet- I know..sorry people! Its true when they say that certain people are better off not meeting. I actually thought the other way round before I met the couple. Kajol did the whole interview as though there was some kind of anger inside her ready to burst. Ajay was soft spoken, a hard nut to crack and spoke only in monosyllables.

On the other hand, Nasreen Munni Kabir has written books and researched in depth on Bollywood. It is refreshing to know someone like her and she even did a documentary on our baadshah Shah Rukh. She held some of the other interviews. The best of her interviews was with Aamir Khan. The more I see of the man, the more I fall in love with the actor in him. Watch his interview here

Want more Bafta Interviews:
Shah Rukh Khan
Yash Chopra
Preity Zinta
Karan Johar

Sunday, 5 November 2006

Geeti Kobi


Since I was a child, I have heard his name literally being synonymous with anything creative. He was referred in the books we read, the lyrics we heard and the films.. well sadly I never got a chance to watch any but let me tell you, I feel psyched to be part of the same clan as him.

This sleek website is fanbloodytastic. Have a look. Parvati Prasad Baruva

Wednesday, 1 November 2006

Blood in My Valley

If you liked my 5 minute Assam video, you might like to watch the new (should I say BETA version)10 min clip.

WARNING: THIS VIDEO CONTAINS STRONG LANGUAGE. Please do not proceed if in doubt. Otherwise the filmmaker has kindly requested you to watch it with an open mind.

Saturday, 20 May 2006

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

Saturday, 4 March 2006

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.

Saturday, 4 February 2006

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

Friday, 27 January 2006

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.

Tuesday, 17 January 2006

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.