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Home , Asha Bhosle, Hazarika, Hemanga Biswas, Sandhya Mukherjee, Satyajit Ray

E-CineIndia April-June 2020 ISSN: 2582-2500

Article Parthajit Baruah The Socio-Political Dynamics of Dr. ’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 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 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 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 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, , 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. , 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 ’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 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 watched Satyajit Ray’s sage of the film was that music could be an epic masterpiece 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 of India , the hon- Beneath the subtle-yet-affecting musical and ey-tinged voice of 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 , 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 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 , 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 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. definitely touch the hearts of millions of peo- The landscape of Assamese cinema changed ple in the world.” The Assamese newspaper significantly with the success of Dr. Hazari- Dainik Asomiya gave a positive response, say- ka’s Era Bator Sur, that earned vast critical ing, “Bhupen Hazarika’s Era Bator Sur is un- acclamation. As a socially and culturally con- doubtedly a representational film of Assamese scious artist, Dr. Hazarika wanted to bring folk music. This film is lively and moving.” the diverse , hitherto unno- While the English newspaper The Hindustan ticed, to the world through his films as well Standard praised the film as published on 23rd as his songs. The rich tradition of folk music Nov.1956: in Goalpara, locally known as deshi gaan, “…The film introduces a gifted new talent in was on the verge of extinction due to various the person of Dr. Bhupen Hazarika…the en- socio-political reasons. When he visited the tire treatment is marked by a lyrical grace that legendary filmmaker Pramathesh Ch. Barua’s Page 4 E-CineIndia April-June 2020 ISSN: 2582-2500 palace at Gauripur in 1955, he discovered the The 1960s were one of the most tumultuous rich culture of Gauripur and the folk singer and conflict-ridden periods for Assam, marked Pratima Barua, niece of Pramathesh Ch. Ba- by the Assamese Language Movement and rua. Mesmerised by the tune of Pratima’s folk China’s invasion to India through the route of songs and the rich tradition of the Goalpara, he Assam in 1962. These two events devastated made his second feature filmMahut Bondhure the socio-cultural fabric of the Assamese so- (1958) made in deshi bhasha. The film depicts ciety. But at the same time, the decade was the cultural life of Goalpara focussing on the marked by a ray of hope for two reasons – the struggle of mahout, who rides and tends the establishment of Jyoti Chitraban in 1961 in elephants. Dr. Hazarika said that the intention Kahilipara, Assam as the first Government of making this film was to take the rich culture recognised film studio and the formation of of Goalpara to the people of the world, and at Gauhati Cine Club in 1965. The film soci- the same time, to make Pratima Barua’s songs ety movement in Assam began with the es- evergreen. This film incorporated a very- fa tablishment of Gauhati Cine Club founded mous song in deshi bhasha- “Tomra Gaile Ki by Dr Hazarika with some film buffs. It may Ashiben Mor Mahut Bondhu Re”. Impressed be mentioned here that the Shillong Film So- with the film, commented ciety was founded in 1962 in Shillong, the that in the time of aeroplane and motor cars, capital of undivided Assam under the aegis the mahouts were gradually disappearing. of filmmakers like Pradum Barua, -Moham This was a laudable work on the life of the med Saadulla and other film buffs. Filmmaker Goalporia mahouts of Assam. Mohammed Saadulla wrote that the Calcutta and Cine Club of Calcutta were Prabir Barua, nephew of P. C. Barua, who leading the show in eastern India…we con- acted in the film as a child actor, said to this tacted the FFSI at Calcutta and promptly got author, “ probably, I was six or seven years a reply. It encouraged us to form the Shillong old when I acted in the film with one dialogue Film Society in November 1962.”6 only. In the film, one passer by asked me to show him the house of the villagehead, played The film studio, film club and formal- train by Bishnu Rabha, I said to him “Otti”, a word ing in film schools like FTI, (now FTII) used in deshi bhasha, which means ‘over opened up a new door to the world cinema for there’. I can still remember that my dialogue the Assamese youths. “From the time of 1958 was in deshi bhasha, not in Bengali. My elder in Calcutta the making of Assamese films has sister Pratibha Barua danced in the film too. been going on. I too went there... I thought I Pratima Barua and my sister-in- law enacted would make Assamese films and would sing the roles of Nepali girls.” Arup Barua, son songs while living in Calcutta only. I thought of Pramathesh Ch. Barua acted in one of the of staying there as freelancer … I got deep- roles of mahout. ly associated with Satyajit Ray’s New Film Page 5 E-CineIndia April-June 2020 ISSN: 2582-2500 Movement. I was with this film movement a cinematic adaptation of Kalidasa’s Sanskrit since 1956. Even in Assam, the film soci- drama Abhijnana Shakuntalam, exquisitely ety was formed by me. Noted filmmakers like portrays Shakuntala’s first meeting with king Satyajit Ray, were invited to cre- Dushyanta in a forest, their love and eventu- ate an environment of good cinema here in ally their marriage. Dushyanta’s parting from Assam. Our constant endeavour was to make her with a promise to return, later his refusal good films, and to improve the narrative of to recognise her at his court due to the curse of Assamese films.” These are the words that sage Durbasha and finally their reunion after Dr.Hazarika said to Dr. Kailash Chandra Pa- Dushyanta restoration of memory are narrated pnai in an interview. These words clearly re- in the two hours duration film. flect Dr. Hazarika’s association with the shap- Though Dr. Hazarika deals with a mythical ing of an environment for the cinema lovers love story, he makes an effort to give it an in Calcutta, and simultaneously in north-east/ exclusively Assamese identity and flavour, Assam too. In another interview given to P.P. and subsequently, the song “Pratham Prahar Bora, Dr. Hazarika says, “ After reaching Cal- Rati Phuli Asil Champa” is sung in the tune cutta , , Asin Sen of Assamese biya naam (wedding song). This and myself formed a small group, and I was is the first Assamese film to use Geva colour one of the pioneers of Cine Club of Calcutta. and thus colour came to the Assamese cine- I wanted to create some viewers in the ma. Another song “Alouguti Toloiguti / Kun northeast.” 7 Kot Loti Ghoti” is a song sung by the fishing community in the film. “It was a group song of fishing community of Assam. I lip-synched the song along with other members of fishing community as I played the role of a fisher man in the film,” said the veteran actor and director Kulada Bhatacharjee.

The film was released on 24th November 1961 in Assam, but had a premier show in Calcut- ta on 22nd November. The film won the Pres- Era Bator Sur ident’s Silver Medal, and the Bengali News- Dr. Hazarika was actively associated with the paper Amrit reported that the film Shakuntata New Film Movement in Calcutta. was a memorable creation and pathfinder in He chose to make a film on the mythologi- the realm of Assamese cinema. cal love story of Dushyanta and Shakuntala. The huge commercial success of the film Dr. Hazarika’s third film Shakuntala (1961) inspired Dr. Hazarika began his next film Page 6 E-CineIndia April-June 2020 ISSN: 2582-2500 Pratidhwani (1965) with an intention of of emotions. The folk melodies and rhythm of strengthening the bond of love and integrity the Khasis on the hills and the Assamese at between the Assamese of plains and Khasi of the plains are worth preserving for posterity hills. Set at the Khasi hills of undivided As- before they die out. Shree Bhupen Hazarika, sam, the film revolves around the three cen- a sincere cultural worker, has not only done tral characters namely Manik Raitang (played it with skills and artistry but incorporated by Pabitra Borkakoty), Liyen Makaw (played those with sensuously daring drama.” Noted Eva Achau) and the old Khasi King (played Assamese writer Benudhar Sarma praised the by Bishnu Prasad Rabha). The film narrates film as a visual poem. This film, awarded with the story of a love relationship between Man- President’s Silver Medal, was dubbed into ik Raitang, a young flute player and Liyen Khasi language named as Ka Shwarati . Makaw, wife of an old Khasi King, and the birth of an illegal child. As this relationship is considered to be objectionable on social and moral grounds, they are subjected to pun- ishment with death penalty. But at the same time, the film negotiates on the question of harmony and brotherhood among the people of plains and hills. The song “ He He Dhole A Still from Pratidhwani Dogore/ He He Hiyar Umere/ Nedekha Ana- In the immediate year, Dr. Bhupen Hazarika jorire/ Ei Bandhu Ami Pahar Xikhorore Mo- made a satirical filmLoti Ghoti which was re- han Siemok”- is the voice of the integrity. leased on 25th November in 1966 in Meghdoot Three prominent figures in Bengali films -Ta Cinema Hall of Guwahati. The story revolves pan Sinha, Premendra and Saruj Sen- around Madan Kumar, son of a corrupted gupta, who were present at the Muhurat of businessman Ramnath Mahajan who goes the film that took place on 12th June, 1964 at to Calcutta to make an Assamese film with Indrapuri Studio of Calcutta, commented that ‘Bombay Marker’ without any knowledge on the filmPratidhwani would transcend the geo- film-making. The film is a realistic portrayal graphic boundary of Assam. The artist Uday of the difficult situations that the Assamese Shankar who made the film, Kalpana (Imag- director, actors and performers face with the ination) in 1948, based on his dance, com- non-Assamese producers and the studio own- mented on Dr. Hazarika’s film Pratidhwani ers at a time when there was no film studio in that the film has drawn a picture of new po- Assam. The Assamese artists had to leave the etic beauty and emotion. Shankar commented shooting location in Calcutta due to various “Pratidhwani has brought before me images of problems raised in the course of the shooting, a poetic interpretation–of a whole new world and the protagonist of the film Diganta Barua, Page 7 E-CineIndia April-June 2020 ISSN: 2582-2500 played by Bijay Shankar, throws a dialogue, culture of the region, and refers to the Chinese “Going back to Assam, I will make a film.” invasion, and how the NEFA got its name and A that was incorporated in the film, how it became an independent state in 1972. sung by Md. Rafi and Bhupen Hazarika, be- The school master Mr. Ramesh who has been came very popular among the audience.The posted as a teacher in the village since 1954, film won the Presidents Silver Award. Hin- fought against the social prejudice to make dustan Standard said, “ …in Assamese film the children educated, while Dr. Mukharjee making, Lotighoti is cushioned in a beautiful- tried to educate the villagers in terms of med- ly knit satirical story and scenario sequence ical treatment. When the village children suf- which is a hall mark of deft artistry of Dr. fered from the diseases like pox, their parents Hazarika.” were more interested in treating their children in traditional orthodox ways. They refused Dr. Hazarika’s his fourth film Chik Mik Bijuli to take vaccine for their disease, but with the (1969), shot at different locations of , gradual process, the film shows how the light speaks of the lives of deprived and the sub- of knowledge fell in the village. Dr.Mukharjee jugated people of the society. A contrast of believed that through education, they could be city and slum life brilliantly shown in the film enlightened. through the characters like Bijuli. The film en- gaged a number of player back singers from Dr. Hazarika’s next venture Mon Prajapati Bombay. Kishor Kumar and lent (1978), based on the novel with the same title their voices for the song “Pokhiraj Ghora! written by Nirode Choudhury, is about hypoc- Khot Khot Khot Khot koi Daura”, while Su- risy, betrayal, politics and above all, male vul- man Kalyanpur in a duet with Dr. Hazarika nerability. Set in an interior village of Assam, for the song “Milanore Ei Xubho Khon.” the film tells a story of a local circus party that comes to the village. This circus party engages In the newly formed state of Arunachal a young married man Bhagiroth, an electrician Pradesh, the first film Mera Dharam Meri of the village, to look after their dynamo so Maa (1976) made in Hindi and shot on, 35 that they can continue their show without any mm film was directed and composed mu- interruption. They have a doubt that the young sic by Dr. Bhupen Hazarika. The film is set electrician might go away from the spot, and at Nishi tribal village of Arunachal Pradesh, so they use Janki, a girl of the circus, as a part formerly known as North East Frontier Agen- of their ploy to lure him with her love bait. The cy (NEFA). The film begins with a card that circus party succeeds to trap Bhagiroth. But mentions the time –setting of the film- the one day, when Bhagiroth goes to see her on early of 1960s. The villagers were deprived the circus spot, he finds that the field is empty. of two essential things- modern education and The circus party leaves the place like bubble modern medicine. The film explores the rich in the air. At once, Bhagiroth realises how he Page 8 E-CineIndia April-June 2020 ISSN: 2582-2500 is betrayed, and a sense of repentance evokes sparkle of the age of rebellion, I will build a in him that being a married man, he was lured new Assam) in the film. by Janki. “Bhagiroth’s sense of repentance at After almost forty years, Dr. Hazarika decid- the end of the film is the strong point of the ed to remake the film Siraj (1948) with the film, I believe.”, says Bhabesh Baruah to this same backdrop at a time when Assam was author, who played the role of Bhagiroth. Vet- at large on the verge of great upheaval in the eran actor Gynada Bora who played the role 1980s due to various socio-political reasons- of MLA in the film, says that he could still the Assam Movement, a widespread move- remember his dialogue in the film, “One day, ment in post-independence Assam led by All I will bring electricity to this village at any Assam Students Union (AASU) and the All cost.” This film incorporated songs which be- Assam Gana Sangram Parishad (AAGSP), a came instantly very popular, were- “ O Abhi- programme of protests and demonstrations to mani Bondhu/ Bhul Nubujiba, Napahoriba”, compel the government to identify and expel “ Senai Mur O’/Gabhoru Kalote Ajoni Asilu” illegal immigrants. This Movement fought and “ Ei Dhunia Gadhuli Lagon.” against the illegal immigrants in Assam. In Noted author late Nirode Choudhury wrote such a complex situation, Dr. Hazarika direct- that filmmaker Dr. Bhupen Hazarika engaged ed the Assamese feature film Siraj (1988) as a local circus party in the film, the only exist- a strong statement on the integrity of people ing one in Assam at that time. The shooting irrespective of caste, creed and religion. The of this circus party took place at Gopal Boro film depicts how Sirajuddin Ahmed Hazari- Secondary School of Ganeshguri, Guwahti. ka and his widow sister Fatema raised a Hin- The circus performances shown in the film du girl Sita, and how she grew up at Siraj’s were all real.8 house, and later went to Calcutta for her stud- ies, where she met a Hindu boy Anil and both When the communal riot between Hindus fell in love, and eventually their marriage. But and Muslims was rampant across the coun- against his family obstacles, Anil decided to try at the Partition of India in 1947, two As- marry her. The film ended with their marriage. samese cultural icons- Bishnu Prasad Rabha and Phani Sarma made a film on the theme of The intention of the filmmaker in making this Hindu-Muslim unity. The film Siraj (1948), film gets reflected when Siraj Hazarika speaks based on Lakhidhar Sarma’s story of the same out to Anil’s maternal uncle in the film, “…a title, was the first Assamese film made on the new society emerges out of the ashes of the theme of national integration with a message withering society, where there is no religion- for communal harmony. Dr. Hazarika wrote, no Hindu, no Parsi, no Sikh, no Muslim, no composed and sang the song “Agni Jugar Fir- Christian. There is no belief in caste, no tribal- ingoti Moi/ Natun Axom Gohi” ( I am the ism and there is no discrimination of rich and

Page 9 E-CineIndia April-June 2020 ISSN: 2582-2500 poor. That is the society of human being.” of the quote by the author)

Dr. Hazarika’s films tell the stories of harmo- 2. Ibid.P. 729 (English Translation of the quote by the author) ny and love, restoring the forgotten folk-mu- 3. P.P.Bora, The North Eastern Times, 13th sic and culture of Assam. His films not only Feb, 1994. entertain the audience with good stories and 4. Rajiv Mehrotra interviews Dr. Bhupen melodious music, they serve as cultural doc- Hazarika for his show “ In Conversa- uments. tion With” 5. Dr. Hazarika said to Roshmila Bhat- Dr. Hazarika won the Dada Saheb Phalke tacharya, as published in Screen India, Award in 1992, India’s highest award in cine- 19 March 2004. ma for his over all contribution to Indian cin- 6. Ranjit Das, Chitra Chinta ( Guwaha- ema. He was also awarded Padmashri (1977), ti: published by Kanak , GCC, 2008), 50-51. Padmabhushan (2001), and was posthumous- 7. P.P.Bora- The North East Times, 13th ly awarded the , India’s highest Feb, 1994. civilian award, in 2019. 8. Nirode Choudhury: Mon Prajapati Works Cited: Aaru Banahansa ( Guwahati: published by Lawayer’s Book Stall, 2010),118. 1. Sri Surjya Kanta Hazarika, Dr. Bhu- (English Translation of the quote by the pen Hazarika Rachanawali, VOL-II , author). (Guwahati: published by SH Hazarika Trust, 2008),731. (English Translation (Photo Courtesy: Krishna Das Nath)

Mr. Parthajit Baruah is a Member of FIPRESCI-India

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