The Socio-Political Dynamics of Dr. Bhupen Hazarika's
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E-CineIndia April-June 2020 ISSN: 2582-2500 Article Parthajit Baruah The Socio-Political Dynamics of Dr. Bhupen Hazarika’s Films: An Exploration At Taligaunge 77B Golf Club Road Residence of Bhupen Haz- arika with Krishna Das Nath “I am primarily a lyricist. I want to make of the most invigorating new voices in Assam films as a vehicle of my songs and feelings. in the 1950s. He was actively associated with The emotions of songs are universal. I can not film-making for four decades, from 1950s to make historical films, and will not even try to 1980s, at a time when Satyajit Ray heralded the make films such asPather Panchali and Shol- New Wave with his epoch-making filmPather ey, but it does not mean that I can not make Panchali (1955). Throughout these periods, such films. I am more interested in musical he directed seven Assamese films- Era Bator films and I want to speak in the language of Sur (1956) Shakuntala (1961), Pratidhwani music with my audience. I have written my (1964), Loti-Ghati (1964), Chik Mik Bijuli song as an expression of social reform”, said (1969), Mon-Prajapati (1979), Siraj (1988), Dr. Bhupen Hazarika in an interview with one in Hindi Mera Dharam Meri Maa (1976) Dr. Kailash Chandra Papnai a senior journal- and another one was Mahut Bondhure (1958), ist and former chief of the bureau of Dainik made in deshi bhasha ( now known as Goal- Hindustan. Dr. Hazarika believed that music poria/ Kamatapuri/ Rajbongshi language). could be used as a trope for social change. He Dr. Hazarika believes in the relationship be- incorporated this trope in his films and en- tween film and culture, that explores the so- deavoured to create a new genre. cial and cultural aspects of his time. His films As a filmmaker Dr. Hazarika emerged as one are a reflection of the prevailing ethos and be- Page 1 E-CineIndia April-June 2020 ISSN: 2582-2500 liefs of his times and are of social significance of the song, and advised me to raise his right offering a modern, humanist perspective. The fist towards the sky like a heroic boy.”1 s Book powerful lyrics of his songs incorporated in Stall, Year-2010- Ist Edition. Choudhury, his films manifest the unique Assamese iden- published by Lawayer’ GCC, Guwahati, tity, and he uses music as a cinematic trope to Edition-20081 Dr. Hazarika added that Jyo- develop the story. Dr. Hazarika believes in the tiprasad used to take them to different places language of dialogue and powerful lyrics than of Calcutta and also to the movie theatres in on the richly composed visuals. We may only Calcutta. He said, “Still I can remember that find aesthetically rich images specifically in when Jyoti Kokaideu (elder brother) took us to his two filmsEra Bator Sur (1956) Shakunta- Calcutta, all cast and crews of the filmJoymo - la (1961) and Pratidhwani (1964). ti were taken to Metro Cinema hall to watch Bernard Shaw’s Pygmilion. I was pointed to a child artist of the film and said, “You must act like him.”2 When Dr. Hazarika went to Aurora Film Corporation in 1935, he saw the begin- ning of film-making in Calcutta. “One of the father figures of The New Theatres was P.C. Barua, a young man from Assam. He was my father’s classmate. He gave ideas to me when I became a little older”, said Dr. Hazarika.3 Later, he grew up, he went to Columbia Uni- versity, New York in 1949 and did his PhD on the topic “Proposals for Preparing India’s Loti Ghoti Basic Education to use Audio-Visual Tech- Dr. Hazarika’s direct association with films niques in Adult Education”. Recollecting came with the second Assamese film Indra- his days in New York, Dr. Hazarika said that malati (1939) by Jyotiprasad Agarwala where when they learnt techniques of film-making he acted as shepherd boy and sang a revolu- at United National Film Section of Columbia tionary song “ Biswa Bijoy Naba Juan…”. University, and Hollywood 20th Century Fox Dr. Hazarika reminiscing his days in Calcutta Pictures, one day world famous film director while going to shoot for the film Indramalati Robert Joseph Flaherty told them that ‘ism’ said, “I was taken to Aurora Film Corporation was not method for film-making, it was just where I met Niranjal Pal. There I was taught perspective or attitude of different people. For - the song of a shepherd - and the song was Flaherty, a good film was a complete truth. Biswa Bijay Na Juwan. Just before the scene, It is quite clear that Dr. Hazarika was quite Jyotiprasad explained me the patriotic mood familiar with the new jargons of filmmaking Page 2 E-CineIndia April-June 2020 ISSN: 2582-2500 while he was in New York. ographical and shot in real tea gardens. It took one year to make and cost him Rs. 60,000. He Back in India, one day when Dr. Hazarika and would sing songs to buy negatives. The mes- his friend Balraj Sahni watched Satyajit Ray’s sage of the film was that music could be an epic masterpiece Pather Panchali at Basu Shri instrument for social change.5 Hall at Calcutta on the day of the release, they were overwhelmed with its unconventional narrative and story. Dr. Hazarika debuted as a filmmaker with his film Era Bator Sur (Tunes of the Desert- ed Path,1956) just after one year of Satyajit Ray’s Pather Panchali (1955). With the re- lease of the film in 1956, it received positive response from audiences as well as the me- dia. Based on the film-maker’s own life ex- periences, the film depicts the life of the hero Jayanta Duara and his quest for the meaning of life in the forsaken folk songs of Assam. Pratitdhani The film displays the cultural traditions of the This was the first Assamese film that engaged tea-labourers in Assam, and their rich folk a handful of artists from Bombay like melo- music where Jayanta finds the tune of life. dy Queen of India Lata Mangeshkar, the hon- Beneath the subtle-yet-affecting musical and ey-tinged voice of Hemant Kumar and Sand- lyrical storytelling, the film has the implicit hya Mukharjee. Dr. Hazarika’s friend Balraj reference to class struggle through the depic- Sahni who was best known for his role in the tion of the characters of Jayanta (played by films likeDharti Ke Lal (1946), Do Bigha Za- Bijoy Shankar) Nisha Phukan ( played by Eva meen (1953) appeared in a cameo role in the Achao), Jhumnur ( played by Anil Das) and film. This musical film, one of cinema’s most Minni ( played by Preetidhara). Dr. Hazari- unique genres, largely utilized songs as the ka said, “This film is a search for music, and narrative tool. The songs in the film that were musical form, and the hero of the film being used as a trope to reveal the storyline, won the misunderstood by people. It was very much hearts of the audience. The songs of the film appreciated by people who wanted New Wave were- “Sagor Songomot Kotona Saturilo”, in filmmaking.”4 Dr. Hazarika said that it was sung by Bhupen Hazarika, “Jonakore Raati about the dreams and hopes of tea garden la- Asomire Maati “, sung by Lata Mangeshkar, bourers. His hero was greatly moved by their “Gum Gum Gum Gum Meghe Gorojile” , plight. The film was in some ways autobi- sung by Hemant Mukherjee and Bhupen Haz- Page 3 E-CineIndia April-June 2020 ISSN: 2582-2500 arika, sung “Janakpuror Janokiye Misik Ma- one seldom comes across on the commercial sak Hanhe” sung by Sandhya Mukherjee and screen. With this one picture Dr. Bhupen Haz- “Rod Puwabor Karone Matibanu Kaak” sung arika leaps into the film fame...Era Bator Sur by Hemant Mukherjee, Lata Mangeshkar and undoubtedly opens new vistas of hope for As- Bhupen Hazarika. samese films.” The film was premiered at Calcutta on the In response to a review of the film in the edi- eve of its release in Assam on 30th Novem- torial of the Assamese film magazine Chitra- ber 1956 in five theatre halls simultaneously, ban, Hemanga Biswas, an icon of Assam IPTA namely Arora of Dibrugarh, Srilakshmi of Movement reacted in the same magazine that Sivsagar, Aroti of Jorhat, Alphiston of Naga- the filmEra Bator Sur was not a tale of aban- on and Kelvin of Guwahati. Various newspa- doned road, it should rather be perceived as a pers and journals of Calcutta applauded the musical film. From that perspective, Era Ba- film for its original approach. The Bengali tor Sur had the potential of being categorized journal Desh wrote, ‘the film is a significant among the first class musical films of India. work of art in this year at the national level, From Tansen to Jhanak Jhank Payel Baje , the from the perspective of its use of diverse folk kind of Indian musical and classical dance get music.’ Another Bengali newspaper Jugantar reflected, Era Bator Sur had brought about praised the film “as an impassioned narrative new trend with its use of folk song and folk of an artist-writer’s humanitarian outlook. The dance. In that context, Era Bator Sur, was a ambience of folk music and dance which the pioneer film. His film Era Bator Sur could im- writer has created in the story, set in Assam’s mediately draw attention of the film critics as Tea Estate, has transcended the linguistic and well as of the audience, and thus emerged as a geographical barrier, and its appeal would sign of hope for Assamese cinema.