Bloody Tea- 20 min film for Al Jazeera International, London

Wanted to share our film on Assam for Al Jazeera International (AJ). It’s been a while but the topic errupted yesterday when I was narrating our filming experience to a journalist friend. The Indian Army & the Intelligence gave us a pretty hard time throughout our journey in Assam. Hmm. We finally managed to film it. Just us two ladies and of course our driver. Three person crew. Btw, The film had to go on one name and Hazel having more experience was selected but like I care. Assam’s situation has been shown for the first time in AJ. Jobs’ done!
I understand it’s a grim subject . Assam is much more stable today than it was 5 years ago but we city dewellers shouldnt forget that prople are still suffering. My heart goes out to the people in the remote corners of Assam who have faced the unrest till date. All said and done, if we don’t tell our own stories, WHO WILL???
(Part 1 of the film below)


(Part 2 of our film) -
There were a lot of conspiracy going on while we were filming this documentary in Assam. Why would AL Jazeera be suddenly interested in Assam? Laden’s “so called spy’s “ are here. It gave us a bit of a laugh and I was in the papers for all the wrong reasons until I directly went to the required personal and levelled things up. After that it was a smooth ride...well ,sort of!

But the truth is, It took me six months to convince Al Jazeera to bring Assam’s Unrest to the world audience. My last pitch that worked was: Our men, women and children are also dying. Both rebels as well as armed force families have been effected and suffered. Do you mean they are not worthy enough of your TV slot? There has been unrest there for more than 30 years and you only concentrate on the middle east and Afghanistan. Wake up and smell the coffee.
Part 2:

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

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:

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

a terrorist, an orphan, rebel and a poet - Mithinga Doimari

A friend of mine calls his Oxomor Kobi (Assam's Poet).
I am talking about Megan Kachari aka Mithingga Daimari, known to the world as the former publicity secretary of the banned militant outfit, the United Liberation Front of Asom, ULFA, who is currently serving his sentence in Guwahati jail as we read his poems.

He called himself Megan since the early 1990s when he turned a poet. A life led in deprivation and disparity in Barama, a hamlet in Nalbari district of Assam, though, had named him Jatin Das, way back, on May 17, 1967.

With many names, with many memories of his entire family being wiped off in secret killings, with many episodes of a life led in hiding, with hopes of living one day in an idyllic `janambhoomi' (motherland), Megan's poetry has that blend of guns and roses, of aches and joys, of belief and distrust, of loss and gain.

"Melodies and Guns", a book of poems edited by Indira Goswami was originally published in Assamese as "Memsahib Prithibi” written by Daimari. It reflects the mind of a man with a gun, and with a throbbing heart. His poetry catches the eye for its fearlessness and spontaneity.

The Down Stream Song

The bank, in the dawn
And far away, in the horizon
Was the glow of my rising red sun.

But where have I lost all?

Those fragile memories
Of my childhood and youth.
But how to see them, once again
Those treasures, dreamy and young?

The morning, and the noon
The afternoon, and now
It’s midnight.

Drifting…

Above me, this dark, black sky
Ahead of me, lie unknown waters
And around me, is an unknown voice.

Drifting…

In my own voice?

Manjeet Barua writes more about Magan’s poems

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.

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

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.