Assamese movies history

The early Assamese films centered around legendary genius, Rupkonar Jyotiprasad Agarwala. It was his vision, dreams and ability that ushered in the first Assamese movie on March 10, 1935.Joymoti is the first Assamese film released under the banner of Chitralekha Movietone with the assistance of versatile Jyotiprasad who was a poet, playwright, music composure and freedom fighter. 

Incidentally, Assamese film history does not have any silent movie. It began straight way with a Talkie.

The Rupees 60,000-budget Joymoti, however, proved to be a box-office flop much to the disappointment of Jyotiprasad who was the ambitious project’s producer, director, scriptwriter, dialogue maker, costume designer, editor, music director and lyricist. Despite failure, the unique contribution of Jyotiprasad to the film is unparallel in any language and Hindi movies till date.

Undaunted, Jyotiprasad had his next venture titled Indumalati released three years later in 1938. It was Jyotiprasad’s last film before his death that created such a void that for a couple of years there was no film produced in Assamese. Eminent musician Bhupen Hazarika played a stellar role in the film.

During the Second World War, Rohini Kumar Baruah came up with a film in 1941.Soon followed the release of a host of films including Rupahi (1946), Badan Barphukan (1947), Sjiraj ( 1947), Biplabi, ( Parghat) and Runumi. All these films contributed a lot in theimprovement of Assamese cinema this or that way.

The first Assamese film to win National Award was Piyali Phukan in 1955. The film was jointly directed by debutant Nip Barua along with Smrit Paras. Nip Barua’s next movie titled Mak Aru Moram and Ranga Police also won National Silver medal among other prizes.

Dada Saheb Phalke award winner musician Bhupen Hazarika had also several directorial contributions. He produced and directed a film titled EraBatut Sur.In 1961, Hazarika produced another memorable movie Shakuntala. The movie won President’s Silver Medal. Puberan was released in 1959 and that was screened in Berlin Film Festival. Prabhat Mukherjee directed the film.

In between 1935 and 1970, as many as 62 films were released. Going by the numbers of Hindi, South Indian and Bengali movies, the quantity was not impressive, but we should remember that inadequate technicians and film studios came in the way of producing more Assamese movies.

The first color film in Assamese was made in 1972. The film was titled Bhaity, directed by Kamal Choudhary.

A set of new directors appeared in Assamese filmdom in 12 years since 1970. They were Samarendra Narain Deb who was famous for his film Aranya, Manoranjan Sur, known for his movie Uttaran, Deuti Barua who earned accolades for his project Bristi, Pulok Gogoi who earned name for his movie Khoj, Padam Barua who became popular for his productGanga Chilanir Pakhi, Babendranath Saikia who reached fame for Sandhya Rag and Atul Bordoloi who is known for his movie Kollol.

Potential and popular directors of the present day Assamese film include Jhanu Barua. Jhanu is known for his films Aparoopa, Papori, Haladhia Choraye Baodhan Khai, Banani, Fringoti, Kkhagoroloi Bohu Dur. Jhanu Barua has won many awards and prizes for his films. He is a household name in Assam.

Sanjeev Hazarika is another prominent director. He has a number of films to his credit. Those include Haladhar and Meemansa. Bhabendranath Saikia is another promising director having to his name major films titled Anirban, Agnisnan, Sarothi, Kolahol, Abartan, Itihas and Kaal Sandhya.

While Santwana Bordoloi is known for her film Adajya, another potential director Bidyut Chakrabarty is famous for his movie Rag Birag. Since 1950 to 1970, Assamese films were largely influenced by Bengali movies. Many Bengali directors produced Assamese movies. Things, however began to change since 1980. The influence of Bollywood films left a major mark in Assamese films with big-budget movies coming up on stage.

Presently, the insurgency menace has done a black for the Assamese movies to flourish. The insurgents, posing as custodians of Assamese culture, have imposed many Dos and Don’ts. Those guidelines are conservative in nature and non-aesthetic in taste. The film personalities are in need of support from other Indian film men and women and also from the government. A new film movement is the call of the day to push through the Assamese movies to the path of progress. .

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