–উৎপল মেনা

‘নৈ কথা’ এখন অসমীয়া চিনেমা। ড° পঙ্কজ বৰাৰ পৰিচালনা। চিনেমা খনৰ কাহিনী ৰেখাৰ মূল বিন্দু এজন মাচুৱৈ। নাম– তিলেশ্বৰ, তিলো। নৈপৰীয়া তিলোৰ চালিকা শক্তি, সংসাৰ চলোৱাৰ শক্তি নৈ খনত থকা মাছ কেইটা। তিলোৰ বাবে সমস্যা– নৈ খনত মাছ কমি আহিছে। আৰু দিনটোৰ পৰিশ্ৰমৰ মূৰকত পোৱা মাছ কেইটাত উচিৎ দাম নিদয়ে, গ্ৰাহকে আগ্ৰহ নেদেখুৱাই।
[বিপৰীতে গ্ৰাহকৰ– চালানী মাছ, ব্ৰইলাৰ মুৰ্গী প্ৰতিহে! পৰিচালকে কেমেৰাৰ ফ্ৰেমত একেলগে তিলোৰ স্থানীয় নৈৰ মাছৰ, চালানী মাছৰ, ব্ৰইলাৰ মুৰ্গীৰ “দোকান” তিনিখন ৰাখিছে। দেখুৱাইছে– চালানী মাছৰ, ব্ৰইলাৰ মুৰ্গীৰ নিৰ্দিষ্ট দাম দিবলৈ ক্ৰেতাই আপত্তি নকৰে, বিপৰীতে তিলোৰ সৈতে কিমান যে দৰ-দাম কেন্দ্ৰিক কথা! চিত্ৰায়ণ– বাস্তৱিক। পৰিপাটি– কেমেৰাৰ ভাষা প্ৰয়োগ, যিমান প্ৰয়োজন সিমান সাহিত্যৰ ভাষা ব্যৱহাৰ।] তিলোৰ ঘৰ নচলে! দুই এমা ডিমা সন্তান আৰু পত্নী বাসন্তীক লৈ তিলোৰ সংসাৰ। প্ৰয়োজনীয় দৈনন্দিন সামগ্ৰী আনোতে আনোতে মহাজনৰ দোকানত “বাকী” বাঢ়ি গৈ আছে।

তিলো হ’তৰ সমস্যা [সমস্যা কেৱল তিলোৰ নহয়, নৈ পৰীয়া মাচুৱৈৰ। এই দিশটো পৰিচালক পৰিপাটিকৈ স্পষ্ট কৰিছে, কাহিনীৰ গতিত।] আৰু বাঢ়িল দুটা কাৰণত– মৌজাদাৰৰ পুতেকে(বেপাৰী ঠিকাদাৰ) লীজত ল’লে বছৰৰ পাছত বছৰ ধৰি মাছমাৰি অহা নৈ-অংশ। আনহাতে মাছৰ পোনা জগা সময় চোৱাত মাছ ধৰাত বাধা আহে। –“বেপাৰী ঠিকাদাৰৰ” সৈতে সেই সময় চোৱাতে সংঘাত হয় তিলোৰ।সংঘাতৰ বাবে ক্ষমা বিছাৰি “বেপাৰী ঠিকাদাৰ” গৰাকীৰ সহায়তে তিলোৱে ৰিক্সা চলাবলৈ লয়।
[পৰিচালকে সাহিতৰ ভাষাৰে স্পষ্ট কৰিছে– ৰিক্সা খন দৰাচলতে তিলো হ’তৰ দৰে লোকৰ বাবে অহা “চৰকাৰী আঁচনী”ৰ। চৰকাৰী বিষয়া-বেপাৰী ঠিকাদাৰৰ দৰে মধ্যভোগীৰ বাবে তিলো হ’তক চুব নোৱাৰে।] কিছু ভাললৈ আহিছিল তিলোৰ জীৱন! কিন্তু তেনেতে উদণ্ড বাইক আৰোহীৰ সৈতে হোৱা সংঘাতৰ ফলত তাৰ মৃত্যু হয়।
[ডাক্তৰে চিটি স্কেনৰ কথা কৈছিল। কিন্তু চহৰৰ চিকিৎসালয়লৈ গৈ চিকিৎসা কৰা সম্ভৱ নহয়। গ্ৰাম্য অঞ্চলৰ চৰকাৰী চিকিৎসা; আৰু কাহিনীৰ গতিত গ্ৰাম্য অঞ্চলৰ শিক্ষা ব্যৱস্থাৰ ছবি খন স্পষ্ট কৰিছে কেমেৰা, সাহিত্যৰ ভাষাৰে।] মৃত্যুৰ পাছত তিলোৱে ব্যৱহাৰ কৰা নাৱৰ বোঠা বাসন্তীয়ে হাতত তুলি লয়। তিলোৱে এৰি যোৱা সংসাৰ খনৰ গুৰি-বঠা বাসনন্তীয়ে নিয়ন্ত্ৰণ কৰে। চিনেমেটিক সৌন্দৰ্যৰে ভৰপূৰ শেষ ছিকুৱেন্সটো চুই যোৱা, বুদ্ধিদীপ্ত।
[এই খিনিতে উল্লেখ কৰাৰ প্ৰয়োজন আছে– তিলোৰ মৃত্যুৰ পাছতে ৰূপালী গল্পটোৱে ছন্দ হেৰুৱাইছে। আমাৰ ধাৰণাত– “বাসন্তী”ক প্ৰয়োজনাধিক ফুটেজ দিয়াৰ ফলত “নৈ”ৰ পৰা কাহিনী-ৰেখা অন্য ফালে গৈছে। এই গতি ইতিবাচক হৈ থকা নাই। সম্পদনাৰ সময়ত পৰিচালক, সম্পাদকৰ পৰিশ্ৰমৰ প্ৰয়োজন আছিল।]

এই খিনিতে উল্লেখ কৰিব পাৰি তিলো মাত্ৰ কাহিনী-ৰেখাৰ বিন্দুহে। ৰূপালী গল্পটোৰ “সংগ্ৰাম, সমস্যা” নৈ পৰীয়া মাছুৱৈ সকলৰ, যি সকলৰ পৰম্পৰাগত জীৱনধাৰা আৰু প্ৰকৃতিৰ সৈতে থকা নিবিড় সম্পৰ্কৰ দূৰত্ব বঢ়াইছে আধুনিকীকৰণ, চৰকাৰী নীতিয়ে।
[কামৰ অভাৱত গাঁওৰ ডেকাবোৰ কেৰেলা-বাংগালোৰলৈ যোৱা, নদী বান্ধে “নৈ” শুকুৱাই পেলোৱা আন দুটা “সমস্যা” চুই গৈছে।] পৰিচালকে ৰূপালী গল্পটোৰ গতিত ব্যৱহাৰ কৰা আৰু এটা বুদ্ধিদীপ্ত ছিকুৱেন্সৰ কথা মনলৈ আহিছে– মাজৰাতি তিলোই চালানী মাছৰ দোকান খন ভাঙি, জ্বলাই দিয়া ছিকুৱেন্সটো। তিলোৰ জীৱন-জীৱিকাৰ বাটত সমস্যা বঢ়োৱা দোকান খন জ্বলাই দি মনৰ খং প্ৰকাশ কৰোৱা ছিকুৱেন্সটো।
[এই ছিকুৱেন্সটোই জাহ্নু বৰুৱাৰ পোৱাল নাৱৰীয়াই (চিনেমা: সাগৰলৈ বহুদূৰ) নদীৰ ওপৰত সজা নতুন দলং খনক কৰা খং, ৰসেশ্বৰে প্ৰকাশ কৰা ক্ষোভৰ (চিনেমা: হালধীয়া চৰায়ে বাওধান খায়) ছিকুৱেন্স দুটা মনলৈ আনি দিয়ে। গতিকে স্বাভাৱিকতে মৌলিকতাৰ প্ৰশ্নটো উত্থাপন হোৱাৰ বাট আছে। এই খিনিতে আৰু উল্লেখ কৰিব পাৰি কেমেৰা ডিজাইন, কেইবাটাও শ্বট নিৰ্মাণে “জাহ্নু বৰুৱাৰ চিনেমা” মনলৈ আনি দিয়ে।]

–ছিকুৱেন্সটোৰ সৌন্দৰ্য বঢ়াইছে বা বঢ়োৱাত সহায় কৰিছে তিলো চৰিত্ৰটোত অভিনয় কৰা ৰাজু ৰয়ে।এনেদৰে উল্লেখ নকৰিলে ভুল হ’ব– ৰাজু ৰয়ৰ অভিনয় শক্তি প্ৰয়োগেৰ নিৰ্মাণ হৈছে ৰূপালী গল্পটোৰ এক সৌন্দৰ্য [প্ৰতিটো চৰিত্ৰৰে নিৰ্মাণ পৰিপাটি। তথাপি ৰাজু ৰয়ৰ লগতে উল্লেখ কৰিব লাগিব “বাসন্তী” মেঘালী কলিতাৰ। মেঘালীৰ অভিনয় চমক অস্বীকাৰ কৰিব নোৱাৰি]। কেমেৰৰ ভাষাৰে (পৰিপাটি শ্বট নিৰ্বাচন, শ্বটৰ শুদ্ধ গাণিতিক প্ৰয়োগেৰে), কেমেৰাৰ ফ্ৰেমত (বিশেষকৈ লং-শ্বটত) নৈ, নৈৰ বুকুত নাৱৰীয়া-মাছুৱৈ, বিস্তৃত সৰিয়হনি লৈ নিৰ্মাণ কৰা আন এক চিনেমেটিক সৌন্দৰ্য।
–সন্দেহ নাই “সৌন্দৰ্য” নিৰ্মাণত পৰিচালকৰ সোঁহাত স্বাভাৱিকতে চিত্ৰগ্ৰহণকাৰী (চিত্ৰগ্ৰহণ: চিদা বৰা)। চিত্ৰগ্ৰহণৰ লগতে শব্দ আৰু সংগীত ডিজাইন ৰূপালী গল্পটোৰ চিনেমেটিক সৌন্দৰ্যৰ আধাৰ বুলিব পাৰি। ড° সৌৰভ মহন্তই লোকবাদ্য (বাঁহী আৰু দোতোৰা) প্ৰয়োগেৰে, লোক সংগীতৰ সুৰ প্ৰয়োগেৰ আৱহ সংগীত ৰচনাত গুৰুত্ব দিছে।
(চিনেমা খন চালোঁ Guwahati Asian Film Festival 2026 -ত। Indian Showcase Competition শিতানত। চিনেমা খনে লাভ কৰিছে
North East India Spotlight বঁটা।)

মালিগাঁও বৰিপাৰৰ অভিনয় আৰু সংগীত প্ৰতিষ্ঠান ‘গন্ধৰ্ব’ই  ডিচেম্বৰত কৰ্মশ্ৰী হিতেশ্বৰ শইকীয়া প্ৰেক্ষাগৃহত আয়োজিত তৃতীয় বাৰ্ষিক নাট মহোৎসৱত ভাৰতৰত্ন ভূপেন হাজৰিকাৰ বৰ্ণিল জীৱন আধাৰিত নাট ‘মই আৰু মোৰ ছাঁ’ নিবেদন কৰি বিভিন্ন ভাষা-ভাষী দৰ্শকৰ প্ৰশংসাৰে ধন্য হৈছিল। সচেতন দৰ্শকে সেয়া ভূপেন হাজৰিকা জন্ম শতবাৰ্ষিকীত অন্যতম শ্ৰেষ্ঠ শ্ৰদ্ধাঞ্জলি বুলি অভিহিত কৰিছিল আৰু ৰাজ্যিক তথা ৰাষ্ট্ৰীয় পৰ্যায়ত নাটখন মঞ্চায়নৰ পোষকতা কৰিছিল। ‘গন্ধৰ্ব’ৰ সম্পাদক ধ্ৰুৱজ্যোতি কুমাৰে সংবাদ মাধ্যমক জনাইছে যে ‘মই আৰু মোৰ ছাঁ’ ৰাষ্ট্ৰীয় নাট্যবিদ্যালয় দিল্লীয়ে আয়োজন কৰা দেশৰ সবাতোকৈ বৃহৎ নাট্য উৎসৱ ‘ভাৰত ৰংগ মহোৎসৱত’ পৰিবেশনৰ বাবে আমন্ত্ৰিত হৈছে। সম্পাদকগৰাকীয়ে জনাইছে যে ভূপেনদাৰ সংগীত চৰ্চা, বোলছবি নিৰ্মান, সাহিত্য, সাংবাদিকতা আদি চৰ্চাৰ অন্যতম কৰ্মস্থলী কলিকতাৰ EZCC’ৰ পাৰ্ক ষ্ট্ৰীটৰ পূৰ্বশ্ৰী প্ৰেক্ষাগৃহত ২০২৬’ৰ ৩ ফেব্ৰুৱাৰীত নাটখন মঞ্চায়নৰ সূচী এন এছ ডি এ ঘোষণা কৰিছে। জন্ম শতবাৰ্ষিকীত কলকতাত ভূপেন হাজৰিকাৰ প্ৰতি নাট্যশ্ৰদ্ধাৰ্ঘ‍্য জনাবলৈ সুযোগ দিয়াৰ বাবে ৰাষ্ট্ৰীয় নাট্যবিদ্যালয়, দিল্লীলৈ সম্পাদকৰ লগতে ‘গন্ধৰ্ব’ৰ সমূহ কৰ্মকৰ্তাই কৃতজ্ঞতা জ্ঞাপন কৰিছে।

—ৰূপকাৰ চিনে এণ্টাৰপ্ৰাইজ

The arrival of the New Year brings promising news for fans of Assamese cinema. The Assamese film ‘Prastabana — The Preamble’, brought to life by JD and KP Productions – a directorial collaboration between Dilip Borah and Manik Roy – is set to make its grand debut on the big screen on January 16th.

Drawing inspiration from Dilip Borah’s impactful novel, ‘Yatra’, this film promises to shake up political indifference. It delivers a searing indictment of how the political sphere unfortunately ensnares the worlds of education and young people.

Dilip Borah and Manik Roy, stepping into the director’s chairs for the first time with this film, have truly pulled no punches. They have crafted a powerful look at how political meddling can poison the lives of students and the very heart of our educational institutions. It is particularly noteworthy how the movie strives to uncover the significant decay that can emerge in Indian democracy when its foundational principles begin to crumble. The message is undeniable: it’s time for India’s young generation to stir from complacency, remain ever watchful, and stand as guardians of the fundamental principles enshrined in our Constitution – the ideals of justice, equality, liberty, and fraternity.

Borah, known for his hard-hitting novels and incisive essays, is involved in multiple facets of filmmaking as he not only co-directs the project but also takes on the roles of producer and screenwriter. Manik Roy, an established figure in Assam’s theatrical scene and the visionary founder of Guwahati Shishu Natya Vidyalaya, adeptly translates his expertise in stagecraft to the cinematic realm, crafting a film that resonates with emotional depth and ideological resonance.

The film stars the dynamic Tapan Das and boasts a robust ensemble cast, which includes Paarvee Baruah, Debajit Mazumdar, Ashwini Kumar Bhuyan, Abatosh Bhuyan, Kaushik Nath, Hillol Kumar Pathak, RK, Simanta Raj Sarma Kondoli, Manik Roy, Dilip Borah, Minakshi Sarmah, Goutam Kumar Das, Luit Baruah, Mahedra Das, Antara GG Choudhury, Hridayananda Deva Goswami among others. The film’s cinematography is handled by Bitul Das, while Bhaskar Dutta, Lenin Bora, and Arindam Borah serve as assistant directors. The editing of the film is done by the renowned National Award-winning editor A. Sreekar Prasad in collaboration with the skilled Jhulan Krishna Mahanta. The film’s sound design and mixing has been executed by Debajit Gayan, while location audio was handled by Arnab Borah. The art direction is managed by Gulok Saha, and the costume design is supervised by Sumon Phukan. Color grading for the film was handled by Ghanashyam Kalita, and the VFX & CGI work was carried out by Mrigank Pratic Parashar. Uttam Deka serves as the production controller, Uday Mandal showcases his makeup expertise, while the film’s still photography has been done by Nilakshi Neog. The film includes three musical pieces: the title track ‘Swahidor Kesa Rocktere’, which was both composed and performed by Satya Ranjan Bhuyan; ‘O Maji Re’, featuring music, lyrics, and vocals by Hiteswar Ray; and a Jeng Bihu song, performed by renowned artiste Manjyotsna Mahanta, with lyrics written by Amarjyoti Kakoty and Swapna Jyoti Thengal. The bihu dance in the film is choreographed by Shyemolima Das Baruah. The background music has been scored by Quan Bay. The film has been produced by Dilip Borah in collaboration with Dr. Rabin Saikia.

‘Prastabana — The Preamble’ goes beyond mere narrative; it’s a powerful cinematic plea that resonates profoundly with our ethical sensibilities. It transforms Borah’s literary foundation into a visually compelling experience, ensuring the story’s moral urgency remains intact. The film also adds fuel to the conversation about the role of cinema in reflecting and reshaping social reality.

As it approaches its release on January 16, ‘Prastabana — The Preamble’ promises to deliver not only entertainment but also a reflection for a generation grappling with the challenges of democracy in crisis.

–Prantik Deka

Ananta’s frustration with the existing system of education lies in the fact that it is rigid and not preparing young students to meet the demands time. According to him, equipping students with a diverse set of skills should be prioritised rather than moulding everyone in the same vessel. Jhanabi, who is now a part of the system as a teacher, counters his views by sharing about the responsibilities of the system in the collective upliftment of the students who are not necessarily from well to do families.

As a teacher in a rural government school, Jhanabi’s perspective is shaped by the reality of working within the system. Therefore, she also talks about the realities of change and the challenges of changing the system from within. She also critiques Ananta’s desire to abandon and escape (as he had done previously) rather than engaging with the issue.

Made under the banner of Pixelray Films, the film offers an emotional portrayal of the conflict between idealism and pragmatism. As the weight of the couple’s past lingers in the background, so too does the broader question of what it means to invest in change, whether it’s for a relationship or a broken system. The film tries to say that meaningful change takes time, and it’s not enough to simply walk away from the problem. Change requires effort, persistence, and sometimes, even a willingness to believe in it.

The cast of the film includes Jatindra Nath, Bidisha Devi, Sankar Jyoti Bhuyan, and Nihar Barman. The cinematography is credited to Brojen Baruah and Dhurva J Bordoloi and the background music is credited to Madhurja Das. The sound designing and mixing is done by Abinash Saikia. Baartalaap is written, edited, produced & directed by Dhurva J Bordoloi with Bhaskar Kaushik as assistant director.

The link to view the film:
https://www.youtube.com/watch?v=KrS2pxVKKEw

On the occasion of the 20th anniversary of Maligaon’s Boripara-based acting and music institute ‘Gandharba’, a two-day second annual ‘Gandharba Drama Festival’ will be held on December 6 and 7, 2024, at the Karmashree Hiteswar Saikia Auditorium in Boripara, Maligaon, Guwahati, as informed by Gautam Kumar, President and Dhrubajyoti Kumar, Secretary of the event, in a press release. The festival will also dedicate each night in the memory of departed souls of renowned Assamese cultural personalities. The first day’s evening, dedicated to the memory of renowned artist Sudakshina Sharma, will open with ‘Dristanto’, a play presented by Gandharba, and written by Himjyoti Baishya, and directed by Dhrubajyoti Kumar. It will be followed by the play ‘Priyabandhu’, written and directed by noted playwright Naren Patgiri and presented by the Indian People’s Theatre Association (IPTA). Playwright Naren Patgiri will also release a book titled ‘Natya Prabaah’, written by prominent cultural journalist and writer Atul Majumder, and published by Gandharba for the first time.

The second day’s evening, dedicated to the memory of beloved actor Jayanta Das, will kick off with a Sattriya dance item by Bismillah Khan Award winner Dimpee Baishya. It will be followed by the performance of Abhijit Ranjan Bhattacharya’s ‘Halodhiya Manuh’, directed by Manmath Baruah, and presented by Natasurya, Guwahati.

In line with the 20th anniversary of ‘Gandharba’, Jiban Silpi Adya Sarma Memorial ‘Painting Competition’ from classes 1st to 6th will take place from 3.00 pm on 7th December, 2024, and on 8th December 2024, the 14th annual ‘Bhupendra Sangeet Competition’ will be held on an all Assam basis from 10.00 a.m (Below 15 years in section ‘A’ and above 15 years in section ‘B’). It is mandatory for the contestants to furnish an age certificate. The music accompanists will be provided by the organizing committee in the singing competition. It is advisable for the contestants to dress decently for the competition. The decision of the judges will be considered final and abiding. Gandharba’s anniversary will conclude with a cultural programme, followed by the presentation of cash prizes and certificates to the winners at the prize distribution ceremony on December 8.

The year’s most heartening news came in the form of the film adaptation of Natasurya Phani Sarma’s classic play ‘Keyo’ (Why?), which will be released at the end of January next year after Natasurya’s timeless creation made its way to celluloid courtesy of the persistent efforts of an unsung, yet zealous and prominent representative of the present generation of Rupkonwar Jyotiprasad Agarwala’s family.

Natasurya Phani Sarma’s classic play ‘Keyo’, scripted and directed by Aparup Agarwala under the banner of Tezpur’s Sree Haribilash Movies, has already completed the shooting portion in various locations of Tezpur, and most recently, it’s editing work, too, has been wrapped up in Guwahati. Touted as a milestone in the Assamese film industry, this film is the creative brainchild of Aparup Agarwala, the artistic son of late Bibekananda Agarwala, brother of Rupkonwar Jyotiprasad Agarwala.

Phani Sarma wrote the social drama ‘Keyo’ inspired by his experience as an actor, and the profound grief he felt at the news of his son’s untimely death while acting on the stage in upper Assam.

The story of ‘Keyo’ is based on the life of a struggling artiste, who spends his time and energy entertaining people with his artistic creations, but receives very little compensation from society for his efforts. Barely making ends meet, he can’t afford to call a doctor to attend to his seriously sick son, who needs medical attention. Stirring and heart-wrenching, ‘Keya’ depicts the utter frustration of an artiste as a result of financial crisis, and the gross negligence meted out to him by society.

“The story mirrors the sacrifice and the real life struggle of Natasurya,” said Aparup Agarwala, who makes his debut as a filmmaker. Throughout his illustrious journey, Phani Sarma endured immense financial struggles. A socially responsible artiste, Phani Sarma’s bitter disappointments in life resulted in the creation of the drama ‘Keya’, which is just as relevant today as it was when it was first performed. “The play itself is so relevant to the present scenario, grasping many of those socio-economic disparities and problems, which  beset modern society today,” Agarwala adds. Besides directing and scripting, Aparup Agarwala has also conceptualized and scored the film’s music.

Now that the film’s editing has been wrapped up, the work on the background score will commence soon. Director Aparup Agarwala initially planned to release the film on the day of Silpi Divas, celebrated annually on January 17, but several other Assamese films are expected to release on that day, so he is now thinking of releasing the film on 31st January, the day observed as the birth anniversary of Kalaguru Bishnu Prasad Rabha.

‘Keyo’ is cinematographed by the experienced Sumon Dowerah, art direction is by Kulen Borah, sound designing is by Debajit Gayan, editing executed by Jhulan Krishna Mahanta, costumes by Sumon Riya Phukon, choreography by Mitali Dutta Borthakur, and makeup by Arup Das. The film’s chief assistant director is Ronal. Musically arranged by Manash Hazarika, the playback singing has been done by Lonismita Devi and Dikshit Mahanta. The various roles in the film are enacted by a number of unfamiliar faces, including Partha Dutta, Primrose Saikia, Udayan Goswami, Naba Barua, Bhupen Sarma, Sujeet Sarma, Ujjal Saikia, Palashree Das, Preety Khound Mahanta, Prashanta Borah, Anima Kalita Bordoloi, Rasmita Bhuyan, Tilak Nath, Purbashree Agarwala, Minu Tibrewal, Bhargav Kalita Bora, among others.

A glittering star of the state’s cultural firmament fell from the sky, suddenly plunging the broad landscape into grief and mourning. Kulada Kumar Bhattacharjee, or Benuda as he is affectionately called – a much revered figure in the world of theatre, film and radio, passed away on November 1, at the age of 91, marking the end of an era in the cultural landscape of Assam. The nonagenarian Bhattacharjee was as youthful in mind and body as he was many years back, and was a great source of inspiration to many in the cultural field.

An icon endowed with many qualities, Kulada Kumar Bhattacharjee has left behind him an exceptional body of work in cinema and theatre. He was truly a pioneer who helped usher a new era with his innovative approaches and methods in almost every area of theatre. The veteran die-hard theatre activist worked day and night for the development of Assamese theatre and cinema enriched by intellectual ideas and vision. He has made unprecedented contributions to the world of performing arts in Assam with his rare knowledge of directing and acting, sound theatrical outlook and skill. The legendary Kulada Kumar Bhattacharjee was truly an artiste, whose veins flowed through the arts of drama, cinema, acting, directing, recitation.

An actor, director, producer, reciter, narrator, writer and social worker, Bhattacharjee’s life has been deeply embedded in the arts, which was for him an infinite creative outlet, a solace, and a lasting joy.

Bhattacharjee started his creative journey as a temporary announcer and news reader of English language programmes of Akashvani Guwahati. Bhattacharjee was lucky enough to be admitted to the famous New Era Academy of Drama and Music in London from where earned his diploma in Acting and Stage Technique in 1960. After that, Bhattacharjee embarked on a three weeks intensive training course in production design at the British Drama League, now known as the British Theatre Association. The course provided him a strong foundation as a production designer and writer in the later part of his career. While being engaged with the course, he came across some old acquaintances. At the same time, he worked as a salesman in a bookstore. During the same period, he was entrusted to assist the professional in charge of the Bengali section of BBC, which offered him the opportunity to make extra money, while helping him to gain valuable experience. Throughout his sojourn, he remained focused on his priorities, and could barely ignore the growing pull of his true passion. In the same year, in 1960, he went on to study television direction and vision mixing at the famed Nord- und Westdeutsche Rundfunk und Fernsehen – a popular public radio and television broadcaster based in Hamburg in Germany, which stood him in good stead as he gained in-depth knowledge about television production.

His sojourn at the West End in London, a vibrant cultural hub of Europe, also gave him ample opportunities to visit theatre halls, museums and bookstalls, leading him to gain a deeper knowledge and a deep sympathy of the arts as a whole, while becoming acquainted with the great masters, from renaissance to the modern period.

After returning from London, Bhattacharjee joined Akashvani Guwahati as the Producer-in-Charge of drama in 1962. Meanwhile, during his tenure, he developed a close affinity with several renowned authors, most notably Durgeswar Borthakur, Mahendra Borthakur, Arun Sarma and Dr Bhabendra Nath Saikia. Akashvani Guwahati experienced a big surge in popularity when Bhattacharjee revived a number of classic Assamese stage plays besides introducing a regular forum for world classics in their stage format called the ‘Naat Chora’, which infused a new lease of life to the station. He not only produced but also played various roles in acclaimed plays performed in their entirety like ‘Matir Garih’, ‘Ben Hur’, Assamese adaptations of Shakespeare’s ‘Hamlet’ and ‘The Merchant of Venice’, ‘Roja Oedipus’ based on Sophocles’s ‘Oedipus the King’, ‘Bonhaah’ based on Henrik Ibsen’s ‘The Wild Duck’, Bhabendra Nath Saikia’s ‘Tirtha’, Arun Sharma’s ‘Jojati’ and ‘Parsuram’, etc.

Bhattacharjee’s ingenious direction and towering performance in the title role in Arun Sarma’s absurdist 1961 play ‘Sri Nibaran Bhattacharyya’, seen as a catalyst for change, produced a profound effect on the audiences, and was responsible for creating a culture for innovation. It was quite a creative productive period for him, where he experimented with a number of plays, incorporating different artistic concepts, and exploring the uncharted, while making significant changes in the scenery, lighting, meaningful background music, etc. He was the first theatrical personality in Assam to initiate modern techniques for the enactment of world classics, using local artistes to perform various characters that provided a rare aesthetic pleasure to the audiences.

After encountering interference with his ethics and artistic endeavours, he decided to leave AIR after working for three years. In the mid-sixties, Bhattacharjee joined hands with Arun Sarma and other friends to launch Asom Jatiya Natyasala Andolan Samiti, which became state-wide in scope and significance.

This unadulterated helmsman of Assamese society and culture made his film debut as an actor in 1961 with Dr Bhupen Hazarika’s ‘Sakuntala’, where he also worked as an assistant director. It was followed by performances in films like ‘Latighati’, ‘Chikmik Bijulee’, ‘Bhagya’ (dubbed from Hindi), ‘Prabhati Pakhir Gaan’, ‘Ramdhenu’, ‘Surjyasta’, ‘Cactus’, ‘Dikchow Banat Palaax’, ‘Maj Rati Keteki’, ‘Village Rockstars’, ‘Khyonachar’ among others, which are still well remembered today and testify to his talent. Some of the popular serials that he acted in include ‘Deuta’, ‘Jeevanar Batat’, ‘Aei Saharate’, ‘Papu Niku Sangbad’, ‘Tejal Ghora’ and ‘Trikaal’.

In 1983, Kulada Kumar Bhattacharjee, one of the pioneers of mobile theatre, collaborated with Ratan Lahkar, producer of Kahinoor Theatre, in directing a series of thought-provoking plays. Bhattacharjee then staged ‘Matir Garhi’, Arun Sarma’s Assamese adaptation of ancient playwright Shudraka’s immortal classic ‘Mrichchakatikam’. Moreover, in 1988, Bhattacharjee directed renowned playwright Arun Sarma’s ‘Baghjal’ and ‘Parsuram’, and eminent dramatist Mahendra Borthakur’s ‘Soraguri Sapori’. In 2005, Kulada Kumar Bhattacharjee performed Mahendra Borthakur’s Assamese adaptation of Shakespeare’s classic play of jealousy, love and obsession – ‘Othello’, on the Kahinoor stage. The plays with their impeccable production values helped to break down barriers that distinguished commerce and art.

Besides getting closely engaged with the theatre world of Assam, he was deeply involved in making some of the most groundbreaking documentaries, over thirty of them, through ‘Debjani Chaliha & Associates’, while he was staying in Kolkata. The ones which made an indelible impression include ‘Delightful Nature’ (1972), ‘Pride of Nature’ (1972), ‘Mopin’ (1973), ‘Elephant Befriended’ (1974), ‘Men Behind Metal’ (1975), ‘Danger Ahead’ (1976), etc. The riveting Doordarshan serial ‘Tejal Ghora’ (1994), which he directed, is still remembered by viewers.

Kulada Kumar Bhattacharjee was the producer-director of Guwahati Doordarshan’s first telefilm, ‘Nishi Ujagar’ as well as the first Khasi tele-film ‘Ka Nong’. Bhattacharjee was also known for his unique prose style, which is reflected in his essays and articles, which is both intellectually stimulating and rewarding. He has penned a series of essays on theatre and cinema under the popular and influential column ‘Naatghar-Chobighar’. He has also authored books like ‘Dibru-Sadiya Relor Itihaas’, ‘Kharimatir Mer’ and ‘Jadav Prasad Chaliha Janma Satabarsha’. Having lived in London for many years, he could speak fluent British English. He was equally fluent in Assamese, Bengali and Hindi.

The weaknesses of the arts led this indefatigable filmmaker to wield the directorial megaphone even at the age of 85 for his much anticipated maiden Assamese feature film – ‘Naateshwari’, in 2019, but unfortunately, the film never saw the light of day. The film was to be shot entirely in Kamakhya. Kulada Kumar Bhattacharjee once spoke of his strong affinity for Kamakhya – the centre of ‘Shakti’ cult atop the Nilachal Hills, which has held a deep fascination since his childhood, stemming from his firm faith and unswerving devotion.

He served as the director of Jyoti Chitraban, Assam’s premier film and television institution, and trained many Assamese youngsters in the art of filmmaking. For his enormous experience and expertise, Bhattacharjee was selected as a jury member for the first two editions of the National Film Competition and the Indian Panorama.

It was his untiring zeal and energy that made it possible for Kulada Kumar Bhattacharjee to clinch the much deserving National Film Award in 2021 for his work as Best Narrator in the documentary film ‘Hatibandhu’, directed by Kripal Kalita.

চলিত সপ্তাহত আনুষ্ঠানিকভাৱে আৰম্ভ হৈছে বৰলুইত প্ৰডাকচনৰ বহু প্ৰত্যাশিত অসমীয়া বোলছবি ‘ডিফলু’ৰ দৃশ্যগ্ৰহণ। উল্লেখ্য যে, ছবিখনৰ প্ৰথম পৰ্যায়ৰ দৃশ্যগ্ৰহণ অহা ২০ দিনৰ ভিতৰত যোৰহাট জিলাৰ তিতাবৰৰ সমীপত সম্পূৰ্ণ কৰা হ’ব। ইতিমধ্যে চুটি ছবিৰ জৰিয়তে সমগ্ৰ বিশ্বজুৰি ব্যাপক প্ৰশংসা লাভ কৰিবলৈ সক্ষম হোৱা তেজপুৰস্থিত বৰলুইত প্ৰডাকচনে শেহতীয়াকৈ পূৰ্ণদৈৰ্ঘ্যৰ ছবি নিৰ্মাণৰ দিশত আগবাঢ়ি প্ৰডাকচন হাউছটোৰ বাবে এক নতুন অধ্যায়ৰ পাতনি মেলিছে।

মন কৰিবলগীয়া যে, ‘আকাশ বিচাৰি- ইনটু দ্য স্কাই’ আৰু ‘ৰং- দ্য কালাৰ’ৰ দৰে বহুল প্ৰশংসিত চুটি ছবিৰ বাবে পৰিচিত বৰলুইত প্ৰডাকচনে ‘ডিফলু’ৰ জৰিয়তে প্ৰথমবাৰ খোজ পেলাইছে পূৰ্ণদৈৰ্ঘ্যৰ ছবি নিৰ্মাণত। পৰিস্থিতিগত হাস্যৰস আৰু আৱেগৰ গভীৰ মিশ্ৰণেৰে নিৰ্মাণ কৰিবলগীয়া এই ছবিখনে ছবিপ্ৰেমী দৰ্শকক এক অনন্য স্বাদ প্ৰদান কৰিব বুলি আশা কৰা হৈছে।

অমৃতা গগৈ আৰু সুব্ৰত দেউৰীয়ে মুখ্য চৰিত্ৰত অভিনয় কৰা এই ছবিখনৰ আন আন গুৰুত্বপূৰ্ণ চৰিত্ৰত দেখা যাব অৰুণ নাথ, মৃদুলা বৰুৱা, অৰুণ হাজৰিকা আৰু পূৰ্ণদা হাজৰিকাৰ দৰে প্ৰবীন অভিনেতা- অভিনেত্ৰীক। ইয়াৰ উপৰিও ‘ডিফলু’ত অভিনয় কৰিছে ড° হিতেশ বৰুৱা, সীমাশ্ৰী বৰা, ৰাজীৱ দুৱৰী, অংকুৰ বৈদ্য, অনিৰ্বান কলিতা, কণিকা নাথ, প্ৰিয়াংশী কাশ্যপ, জ্যোতিষ্মান বৰা, দিব্য প্ৰতিম ভাগৱতী, দেৱজিৎ বৰা, প্ৰবাল বৰা আৰু নিলোফৰ নাজবিন আদিৰ দৰে ন-পুৰণি কলা-কুশলীয়ে।

ছবিখনৰ কাহিনী, পৰিচালনা আৰু সম্পাদনা কৰিছে নেকিবে; আৰু চিত্ৰনাট্য আৰু সংলাপ লিখিছে দেৱজিৎ বৰাই। উত্তম কলিতাৰ চিনেমাট’গ্ৰাফীয়ে অসমৰ মনোৰম গ্ৰাম্য সৌন্দৰ্য্যক কেমেৰাৰ ফ্ৰেমত বন্দী কৰিবলৈ সক্ষম হৈছে। জেকিবৰ সংগীত আৰু আৱহ সংগীতে জীপাল কৰি তুলিছে ছবিখনৰ প্ৰতিটো দৃশ্য। উল্লেখ্য যে, জেকিব হৈছে এই ছবিখনৰ প্ৰযোজকো। উদয় শংকৰৰ নৃত্য পৰিচালনাই বৰ্ণনাটোত এক আকৰ্ষণীয় আৰু সুন্দৰ উপাদান যোগ কৰিছে। অন্যহাতে ‘ডিফলু’ৰ মুখ্য সহকাৰী পৰিচালক হিচাপে আছে জীতুল ৰাজবংশী আৰু তেওঁক সহযোগ আগবঢ়াইছে দেৱাশীষ ডেকা আৰু আফিৰন নিশাই। ছবিখনৰ সাজ- সজ্জাত আছে জুৰি  কলিতা আৰু মেক-আপত আছে পিজুমণি শৰ্মা, প্ৰডাকচন চম্ভালিছে উৎপল কলিতাই। ইফালে ‘ডিফলু’ৰ জনসংযোগ আৰু ছ’চিয়েল মিডিয়া পৰিচালনাৰ দায়িত্বত আছে গুৱাহাটীস্থিত জনসংযোগ আৰু প্ৰচাৰ ব্যৱস্থাপনা পৰামৰ্শদাতা লাইফছ পাৰ্পল।

মৌলিক অসমীয়া কাহিনীৰ পৰ্দাত সাৱলীল উপস্থাপনেৰে ইতিমধ্যে অভূতপূৰ্ব জনপ্ৰিয়তা অৰ্জন কৰা বৰলুইত প্ৰডাকচনে এইবাৰ তেওঁলোকৰ প্ৰথমখন পূৰ্ণাংগ অসমীয়া ছবি ‘ডিফলু’ৰ জৰিয়তে দৰ্শকক এক নতুন সোৱাদ দিবলৈ আগবাঢ়িছে। এই প্ৰডাকচন হাউচৰ পূৰ্বৰ সৃষ্টিসমূহে সমাজৰ প্ৰাঞ্জল চিত্ৰণ আৰু অসমীয়া সংস্কৃতিৰ গভীৰ উপলব্ধিৰ বাবে ছবিপ্ৰেমী আৰু সমালোচক উভয়ৰে পৰা প্ৰশংসা লাভ কৰিবলৈ সক্ষম হৈছে। প্ৰথমবাৰৰ বাবে ডাঙৰ পৰ্দাত ভুমুকি মৰা বৰলুইত প্ৰডাকচনে ‘ডিফলু’ৰ জৰিয়তে মনোৰঞ্জন প্ৰদানৰ সমান্তৰালভাৱে অঞ্চলটোৰ চহকী ঐতিহ্য আৰু সময়ৰ প্ৰেক্ষাপটত সমসাময়িক সংঘাতক উজ্বল কৰি তুলি দৰ্শকক এক অনন্য অভিজ্ঞতা প্ৰদানৰ লক্ষ্য নিৰ্ধাৰণ কৰিছে।

২০২৫ চনৰ গ্ৰীষ্মকালত মুক্তি পাবলগীয়া এই ছবিখনে ইতিমধ্যে প্ৰদৰ্শন কৰিছে দৰ্শকৰ হৃদয় জয় কৰাৰ ক্ষমতা। ‘ডিফলু’ৰ প্ৰাণৱন্ত চৰিত্ৰ, মধুৰ হাস্যৰস আৰু গভীৰ আৱেগিক ৰঙে নিশ্চিতভাৱে দৰ্শকৰ হৃদয় চুব। আধুনিকতা আৰু পৰম্পৰাৰ মাজৰ উত্তেজনাৰ মাজেৰে চৰিত্ৰসমূহৰ ব্যক্তিগত যাত্ৰাক এনেদৰে চিত্ৰিত কৰা হৈছে যে কেৱল অসমৰ পৰিসীমাতে নহয়, ছবিখনে দেশৰ আন প্ৰান্তৰ দৰ্শকৰ মনতো গভীৰ ছাপ পেলাবলৈ সক্ষম হ’ব।

Shooting of the Assamese feature film ‘Dipholu’ by Borluit Productions has officially started this week. The first schedule is set to be completed within the next 20 days near Titabor in Jorhat district of Assam. This marks a significant milestone for the Tezpur-based production house, which is widely acclaimed for its short films as it now ventures into the broader canvas of feature-length cinema.

Known for their acclaimed short films ‘Akaax Bisari – Into the Sky’ and ‘Rong – The Colour’, Borluit Productions is making its foray into feature films with ‘Dipholu’, which promises a captivating mix of situational comedy and emotional depth.

The film features a stellar cast with Amrita Gogoi and Subrat Deori playing the leads along with veterans like Arun Nath, Mridula Barua, Arun Hazarika and Purnada Hazarika. Othercast members include Dr. Hitesh Baruah, Simashree Bora, Rajib Dowari, Anirban Kalita, Kanika Nath, Priyanshi Kashyap, Ankur Baidya, Jyotishman Bora, Dibya Pratim Bhagabati,
Debajit Bora, Prabal Bora and Nilofer Nazbin and among others.

The film’s story, direction, and editing are helmed by Nekib, while Debojit Bora is responsible for the screenplay and dialogues. Cinematography by Uttam Kalita captures the scenic beauty of rural Assam. The music and background score, composed by Jekiv, who is also the film’s producer, further enhance the film’s emotional tone. The choreography by Uday Shankar adds an elegant and graceful element to the narrative.The chief assistant director is Jitul Rajbongshi, supported by Debasish Deka and Afiron Nisha. Costumes are designed by Juri Kalita, with makeup by Pijumoni Sharma, and
production management overseen by Utpal Kalita. Life’s Purple, a Guwahati-based PR and Reputation Management Consultancy, is handling the film’s PR and social media campaigns.

Borluit Productions, known for its commitment to telling authentic Assamese stories, is making its feature film debut with ‘Dipholu’. The production house has been widely praised for its earlier works, which showcased a deep understanding of Assamese culture and societal issues. With ‘Dipholu’, Borluit Productions aims to expand its reach, delivering a cinematic experience that is not only entertaining but also reflective of the region’s rich
heritage and contemporary struggles.

Scheduled for release in the summer of 2025, ‘Dipholu’ is poised to captivate audiences with its relatable characters, humour, and emotional depth. The film’s exploration of the clash between modernity and tradition, alongside the personal journeys of its, is expected to resonate with viewers both within Assam and beyond.

Legendary Artist and Actor Kris Kristofferson Passes Away at 88

Photo: Jack Robinson/Condé Nast via Getty Images

Kris Kristofferson, an icon of music and film, passed away at 88 in his Maui home. Known for his multifaceted career, Kristofferson’s impact spanned decades, capturing themes of guilt, pride, and despair in his work. His legacy in both industries is illustrious, showcasing a talent that balanced elegantly between music and film.

Kristofferson’s break came when his song “The Pilgrim, Chapter 33” was referenced in Martin Scorsese’s Taxi Driver. With hits like “Sunday Morning Comin’ Down,” “Help Me Make It Through the Night,” and “Me and Bobby McGee,” Kristofferson cemented his place in music history. Parallelly, films such as Pat Garrett and Billy the Kid, Alice Doesn’t Live Here Anymore, and the 1976 adaptation of A Star Is Born showcased his acting prowess.

Born in Texas to a military family, Kristofferson pursued a unique path. A Rhodes Scholar, he also served as a helicopter pilot, eventually abandoning the military to chase his songwriting dreams in Nashville. His perseverance paid off when Johnny Cash recorded his song “Sunday Morning Comin’ Down,” sparking his recognition.

His Hollywood journey began unintentionally, debuting in Cisco Pike. By the mid-’70s, Kristofferson was a sought-after talent, working with major directors like Martin Scorsese and Sam Peckinpah.

As part of the supergroup Highwaymen alongside Johnny Cash, Waylon Jennings, and Willie Nelson, Kristofferson found enormous commercial success in the ’80s. Throughout his life, he championed progressive causes, using his platform to voice support for civil rights and environmentalism.

Kristofferson’s unwavering dedication to authenticity in both his music and acting set him apart. Unlike contemporaries who juggled music and film, Kristofferson maintained a consistent standard of excellence. His legacy endures through his diverse array of roles and timeless music, showcasing a career marked by truth and artistry.