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.

কেনি বসুমতাৰীৰ পৰিচালনাত আৰু শৰ্মিষ্ঠা চক্ৰৱৰ্তীৰ প্ৰযোজনাত নিৰ্মিত, সৰ্বসাধাৰণৰ হৃদ​য় জ​য় কৰা অসমীয়া ছবি ‘জিয়া’ এতিয়া টেলিভিছন প্ৰিমিয়াৰৰ বাবে সাজু হৈছে। চিনেমাঘৰত সফল ভাৱে চলি থকাৰ পিছত, ছবিখনে এতিয়া প্ৰাগ নিউজত প্ৰিমিয়াৰৰ জৰিয়তে আন এক বিস্তৃত দৰ্শকবৰ্গৰ মন জয় কৰিবলৈ সাজু হৈছে।

‘জিয়া’ৰ সমাজিক প্ৰাসংগিকতা আৰু গভীৰ কাহিনীৰ বাবে ইয়াক বিশেষভাৱে শলাগা হৈছে। ছবিখনত এগৰাকী একক মাতৃৰ জীৱন আৰু সংগ্ৰামৰ গভীৰ চিত্ৰণৰ প্ৰসংগত জনপ্ৰিয় অভিনেত্ৰী ইলা অৰুণে শৰ্মিষ্ঠা চক্ৰৱৰ্তীৰ অভিনয়ৰ প্ৰশংসা কৰি, সকলোকে ছবিখন চাবলৈ আহ্বান জনাইছে। ছবিখন অহা ২৭ অক্টোবৰ, দুপৰীয়া ১২ বজাত প্ৰাগ নিউজত প্ৰিমিয়াৰ হ’ব। ইতিমধ্যে এই খবৰ
চিনেমাপ্ৰেমী আৰু দৰ্শকৰ মাজত ব্যাপক উৎসাহৰ সৃষ্টি কৰিছে।

এই বছৰৰ ১৭ মে’ত মুক্তি লাভ কৰাৰ পৰাই, ‘জিয়া’ৰ বাস্তৱ জীৱনৰ সংগ্ৰামৰ আৱেগিক আৰু প্ৰামাণিক চিত্ৰণে সমালোচকসকলৰ লগতে সাধাৰণ দৰ্শকৰ প্ৰশংসা লাভ কৰি আহিছে। ছবিখনে এগৰাকী দৃঢ়, তৰুণী একক মাতৃৰ জীৱনৰ কাহিনী বৰ্ণনা কৰিছে। শৰ্মিষ্ঠা চক্ৰৱৰ্তীৰ অপূৰ্ব অভিনয়েৰে প্ৰতিফলিত জিয়াৰ যাত্ৰাই দৰ্শকৰ মাজত গভীৰ অনুৰণন ঘটাইছে। সমালোচকসকলে ইয়াৰ শক্তিশালী কাহিনী আৰু জীৱন্ত চৰিত্ৰৰ বাবে ছবিখনক কেৱল এক চলচ্চিত্ৰ নহয়, এটি গভীৰ আৱেগিক যাত্ৰা বুলি অভিহিত কৰিছে।

চলচ্চিত্ৰ সমালোচক অম্বৰ চেটাৰ্জীয়ে ‘জিয়া’ক “সংগ্ৰাম আৰু জয়ৰ এক গভীৰ ব্যক্তিগত আৰু মাৰ্মান্তিক আখ্যান, য’ত অভিনয় আৰু পৰিচালনা উভয়ে উৎকৃষ্ট” বুলি অভিহিত কৰিছে। চিনেমা সাংবাদিক কল্পজ্যোতি ভূঞাই ছবিখনৰ বাস্তৱিক চিত্ৰণ আৰু মেলোড্ৰামামুক্ত উপস্থাপনৰ প্ৰশংসা কৰি কয়, “জিয়া অত্যন্ত বাস্তৱভিত্তিক আৰু সৰলভাৱে জীৱনৰ কাহিনী দাঙি ধৰে, য’ত
অভিনেতা-অভিনেত্ৰীৰ আন্তৰংগ ভাৱ-বিনিময়ে ছবিখন অধিক বিশ্বাসযোগ্য কৰি তুলিছে।”

প্ৰাগ চিনে বঁটাত শ্ৰেষ্ঠ ছবি, শ্ৰেষ্ঠ চিত্ৰনাট্য আৰু সংলাপ (কেনি বসুমতাৰী আৰু শৰ্মিষ্ঠা চক্ৰৱৰ্তী), শ্ৰেষ্ঠ গায়ক পুৰুষ (অংগৰাগ পাপন মহন্ত), আৰু শ্ৰেষ্ঠ আৱহ সংগীত (অম্বৰ দাস)কে ধৰি একাধিক বঁটাৰ সৈতে সন্মানিত ছবিখনে অসমীয়া চিনেমাত এক দীঘলীয়া প্ৰভাৱ
পেলাইছে। ছবিখনৰ জনপ্রিয় গীতবোৰ যেনে ‘সপোন সপোন লগা’ আৰু ‘এই সাধু’, ছবিখনৰ সফলতাৰ অংশ হিচাপে গণ্য হৈছে।

The acclaimed Assamese film “Jiya,” directed by Kenny Basumatary and produced by Sarmistha Chakravorty, is gearing up for its television debut. Having enjoyed a successful theatrical run, the film is now poised to reach a wider audience on TV. Celebrated for its exploration of socially relevant themes, “Jiya” has earned praise for its portrayal of a single mother’s life and challenges. Esteemed actress Ila Arun has lauded the film, encouraging viewers to watch and support its success. Scheduled to premiere on Prag News on October 27 at 12 noon, the film has already sparked excitement among fans and film enthusiasts. Since its release in May, “Jiya” has captured significant attention for its realistic depiction of life’s struggles and emotionally compelling storytelling. The narrative centers around Jiya, a resilient young woman portrayed by Sarmistha Chakravorty, whose journey resonates deeply with audiences. Critics have praised the film for its authentic narrative, strong performances, and relatable characters, often describing it as more than just a film—an emotional journey. Film critic Ambar Chatterjee described “Jiya” as “a deeply personal and poignant tale of struggle and triumph, highlighted by outstanding performances and adept direction.” Cine journalist Kalpajyoti Bhuyan commended the film’s subtlety, noting that “Jiya offers a direct portrayal of life without resorting to melodrama… The natural interactions between the actors enhance the film’s believability.” The film has garnered multiple awards at the Prag Cine Awards, including Best Film, Best Screenplay and Dialogue (Kenny Basumatary & Sarmistha Chakravorty), Best Singer Male (Angarag Papon Mahanta), and Best Background Score (Ambar Das), leaving a lasting impact on Assamese cinema. Its popular soundtrack, featuring hits like “Xopun Xopun Loga” and “Ei Xadhu,” has also contributed significantly to its success.

Barkha Singh’s career has been a compelling journey of diverse roles and evolving opportunities. Having established herself in films and the OTT space, she initially gained fame for her quintessential girl-next-door roles. Notably, she starred in projects like “Masaba Masaba,” “The Great Weddings of Munnes,” and “Please Find Attached” Season 3. However, Barkha now aspires to delve into the darker, more intense realms of acting, moving away from her familiar rom-com image. In a recent conversation with the Hindustan Times at the Garnier Green Academy event in Singapore, she shared her enthusiasm for this transition, highlighting her upcoming projects that promise a significant shift from her previous work. This change will showcase her in more grungy and serious roles, which she feels better suit her strengths as an actor.

Despite her eagerness to explore new roles, Barkha remains appreciative of the image that brought her success. She emphasizes that she is not abandoning her popular persona but is driven by the possibilities of diverse storytelling that the OTT platforms offer. She values the opportunities these platforms create not only for actors but for the entire entertainment ecosystem, including writers, directors, and viewers.

In addition to her acting career, Barkha Singh is recognized for her brand endorsements, particularly with Garnier India. Her association with Garnier has deepened her understanding of beauty, emphasizing the importance of healthy skin over superficial aesthetics. This alignment with Garnier’s sustainable skincare venture, ‘Green Beauty,’ has reinforced her commitment to promoting skincare that prioritizes skin health. Barkha’s involvement with Garnier has also reshaped her perception of beauty, highlighting a simple and natural approach, underscoring that genuine beauty stems from healthy skin.

Barkha Singh’s ongoing journey reflects a blend of gratitude for her past roles and excitement for future challenges, as she navigates new territories both in the entertainment industry and brand endorsements.

আব্দুল মজিদৰ দ্বিতীয় পৰিচয় — নাট্যকাৰ । আমাৰ ধাৰণাত ‘ পৰিচাল আব্দুল মজিদ’ৰ আঁৰতে থাকিল দ্বিতীয় পৰিচয় । নাটকৰ দক্ষ পৰিচালক গৰিকীয়ে ‘ মৰম তৃষ্ণা’ (১৯৬৮) ৰে চিনেমা পৰিচালনাত হাত দিছিল । চিনেমা খনত ব্যৱহাৰ কৰা , খগেন মহন্তই গোৱা ‘ দিগদাৰী দিগদাৰী মহা দিগদাৰী, গাড়ীত চাকৰি কৰা মহা দিগদাৰী … ‘ গীতটো বেচ জনপ্ৰিয় হৈছিল । চিনেমা খনৰ তিনিটা গীতত পাৰবীন চুলতানাই আৰু এটা গীতত শ্যামল মিত্ৰই কণ্ঠদান কৰাটো আছিল সেই সময়ৰ চৰ্চিত বিষয় । সংগীত পৰিচালনা কৰিছিল বিবেকানন্দ ভট্টাচাৰ্যই। কিন্তু সংগীতৰ দৰে চৰ্চালৈ নাহিল চিনেমা খনৰ কাহিনী , পৰিচালনা শৈলী ইত্যাদি । ‘ মোৰ প্ৰথম পৰিচালনা দৰ্শকে ভাল নাপালে । সেই সময়ত ভূপেনদাই মোক দেখিলেই মাতিছিল — ‘কিহে ফ্লপ মাষ্টাৰ?’ সেয়া আছিল মৰমৰ মাত । দ্বিতীয় চিনেমা খনৰ সংগীতৰ কাম ভূপেনদাই কৰিছিল । … ‘ — আব্দুল মজিদে কৈছিল । ( কেইমাহ মান ‘ আজিৰ অসম ‘ৰ সম্পাদনা বিভাগত কাম কৰিছিলো । কাকত খনত প্ৰকাশ পোৱা ‘ সাত নম্বৰৰ সন্ধানত ‘ কেন্দ্ৰীক খবৰ এটা পৰিচালক গৰাকীয়ে সহজ ভাবে লব পৰা নাছিল । আৰু মোক খং কৰিছিল । খং কৰাৰ পিছ দিনা পুণৰ পৰিচালক গৰাকীয়ে ফোন কৰি মোৰ সৈতে ৩০ মিনিট মান সময় কথা পাতিছিল । সেই দিন কথা প্ৰসংগত এনেদৰে কৈছিল।) দ্বিতীয় পৰিচালনাৰ নাম — ‘ চামেলী মেমচা’ব ‘ ( ১৯৭৫ ) । চিনেমা খন দৰ্শকে ভাল পাইছিল । শ্ৰেষ্ঠ অসমীয়া চিনেমাৰ শিতানত ৰাষ্ট্ৰীয় চলচ্চিত্ৰ বঁটা লাভ কৰিছিল । ড° ভূপেন হাজৰিকাই শ্ৰেষ্ঠ সংগীত পৰিচালকৰ শিতানত ৰাষ্ট্ৰীয় চলচ্চিত্ৰ বঁটাৰে অসমলৈ গৌৰৱ কঢ়িয়াই আনিছিল । (২০১৩ চনত গোৱাত অনুষ্ঠিত ৪৪তম ভাৰতৰ আন্তঃৰাষ্ট্ৰীয় চলচ্চিত্ৰ মহোৎসৱৰ “Focus: North East” শাখাতো চিনেমা খন প্ৰদৰ্শিত হৈছিল।) ‘ ভূপেনদাই চিনেমা খনৰ সফলতাৰ খবৰ শুনাৰ পিছত মোক কৈছিল , বিফলতাৰ পিছত সফলতা আহিবয়ে ! সফলতাৰ আশাৰে বিফলতা সদায় মনত ৰাখিব লাগে । সেই দিনা মই বুজিছিলো — ফ্লপ মাষ্টাৰ বুলি ভূপেনদাই মোক মোৰ বিফলতা মনত পেলাই দিছিল। ‘ — আব্দুল মজিদে কৈছিল।

আব্দুল মজিদে পৰিচালনা কৰা আন ৫ খন চিনেমা — বনহংস ( ১৯৭৭/ নিৰোদ চৌধুৰীৰ একে নামৰ উপন্যাসৰ আধাৰত ) , বনজুই (১৯৭৮ ) , পোনাকণ (১৯৮১ ) , উত্তৰ কাল (১৯৯০) আৰু সাত নম্বৰৰ সন্ধানত (২০১৬ / জেহিৰুল হুছেইনৰ একে নামৰ চুটি গল্পৰ আধাৰত ) ।

সংযোজন : আব্দুল মজিদৰ জন্ম ১৯৩১ চনৰ ১৬ নবেম্বৰত , যোৰহাটৰ পুৰণি বালিবাটত । শিক্ষা যোৰহাট মোক্তাৱ স্কুল , যোৰহাট বেজবৰুৱা হাইস্কুল , যোৰহাট গৱৰ্ণমেণ্ট হাইস্কুল আৰু যোৰহাট জগন্নাথ বৰুৱা মহাবিদ্যালয়ত । কৰ্ম স্থান : বিদ্যুৎ পৰিষদ । কায়িক মৃত্যু ২৪ ছেপ্টেম্বৰ , ২০১৭ ত ।
পৰিচালনা কৰা ধাৰাবাহিক আৰু তথ্যচিত্ৰ :
“নামঘৰীয়া”, “অজাগা”, “জোৰ পুৰি হাত”, “দাপোণ” (২টা খণ্ড), “অগ্নিগৰ্ভ”, “হাতোৰা”, “শেগুন পুলি ৰুব কোনে”, “ৰাম-ৰহিম”, “ৰোমন্থন” ইত্যাদি ।

সংযোজন : পৰিচালক ববী শৰ্মা বৰুৱাই ‘ অদম্য ‘ৰ পূৰ্বে ২০০৬ চনত প্ৰথমটো চিনেকৰ্ম কৰিছিল ।বিষয় : অসমৰ চাহ জনগোষ্ঠী । পৰৱৰ্তী সময়ত “সোণতৰা”, “চহৰৰ গধূলি” আদি গীতৰ দৃশ্য এলবাম , কেইবা খনো তথ্যচিত্ৰ , টিভি ধাৰাভাহিক পৰিচালনা – নিৰ্মাণ কৰে। কোৱা হয় চুটি চিনেমা “ৱেটিং ফৰ এ ক’ল”, “দেউতা এণ্ড মিৰ’ৰ” আদি পৰিচালক গৰাকীৰ চিনেকৰ্মৰ বুনিয়াদ । এই বুনিয়াদত পোন হৈ ক্ৰমে — অদম্য (২০১৪ ), সোণাৰ বৰণ পাখি (২০১৬ ) আৰু য়েছে দৰজে ঠংচিৰ ‘মিচিং’ নামৰ উপন্যাসখনৰ আধাৰত পৰিচালনা কৰে “মিচিং – দ্য এপাৰেশ্যন “। চিনেমা খনে লাভ কৰে শ্ৰেষ্ঠ শ্বেৰদুকপেন ভাষাৰ চিনেমাৰ ” ৰাষ্ট্ৰীয় চলচ্চিত্ৰ বঁটা, ২০১৯ ” । ‘ সোণাৰ বৰণ পাখি ‘য়ে ইণ্ডিয়ান ফিল্ম ফেষ্টিভেল লছ এঞ্জেলেচ, ২০১৭ – ত লাভ কৰে শ্ৰেষ্ঠ চিনেমাৰ গ্ৰেণ্ড জুৰী বঁটা । আৰু শ্ৰেষ্ঠ চিনেমাৰ দৰ্শক বঁটা লাভ কৰে ঢাকা আন্তঃৰাষ্ট্ৰীয় চলচ্চিত্ৰ মহোৎসৱ – ২০১৭ত । চিনেমা খনৰ বিষয় গোৱালপৰীয়া লোকগীতৰ শিল্পী প্ৰতিমা বৰুৱা পাণ্ডে ।