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

Love is in full bloom, shimmering like a film reel dancing in golden light — and this time, it’s actor Nandish Singh Sandhu who’s found his perfect co-star! Known for his memorable performances in Uttaran and Phir Subah Hogi, Nandish has officially stepped into a beautiful new chapter of his life — one filled with love, laughter, and lifelong promises.

The actor recently took to social media to share the heartwarming news of his engagement to the stunning Kavita Banerjee, sending waves of excitement through fans and fellow celebrities alike. He unveiled a delightful series of pictures from their intimate roka ceremony, capturing a celebration brimming with affection, joy, and togetherness.

In the enchanting snapshots, the couple’s chemistry is undeniable. Nandish looked effortlessly dashing in a classic black suit, while Kavita glowed radiantly in a vibrant orange lehenga, embodying elegance and charm. Surrounded by close family members, the duo exchanged gifts and blessings, creating a heartwarming atmosphere straight out of a love story.

Adding a touch of sweetness, Kavita captioned her post “Hello Fiancé,” to which Nandish responded with the tender Bengali phrase “Ami tomay bhalobashi” — meaning “I love you.” Their adorable exchange instantly won hearts online, flooding the comments section with congratulatory messages, emojis, and warm wishes from fans.

A talented actress hailing from Kolkata, Kavita Banerjee has carved her own path in the entertainment world with impactful roles in popular shows like Rishton Ka Manjha, Bhagya Lakshmi, and Divya Prem: Pyaar Aur Rahasya Ki Kahani. Having moved to Mumbai to chase her dreams, she’s also impressed audiences with her performances in Ek Villain Returns and the hit web series Hiccups and Hookups.

Nandish, on the other hand, continues to shine across television and cinema. After winning hearts on TV, he made a successful leap to Bollywood with Super 30 and received critical acclaim for his performance in the celebrated web series Jubilee.

As their roka marks the beginning of this enchanting journey together, Nandish and Kavita’s love story glows with warmth, passion, and promise — a picture-perfect romance that feels straight out of a cinematic masterpiece. Fans can’t help but root for their happily-ever-after — the kind of love story that deserves a standing ovation!

Get ready, action fans—Kay Kay Menon is back! He’s returning as the fearless RAW agent Himmat Singh in the much-awaited Special Ops Season 2. The release was first planned for July 11, but after a slight delay, it’s now all set to premiere on July 18 on Jio Hotstar.

Let’s take a quick look back. The first season, released during the COVID-19 pandemic, became a big hit. It followed Himmat Singh’s 19-year-long mission to catch Ikhlaq Khan, the missing sixth mastermind behind the 2001 Parliament attack. The story began with an investigation into Singh’s work, leading to a thrilling tale full of secrets, betrayal, and danger.

The show also introduced a strong team of agents spread across the globe—from Farooq in Dubai to Juhi in Jordan. Each character had their own backstory, adding depth to the plot. Karan Tacker’s stylish Farooq, Meher Vij’s undercover agent, and Vinay Pathak as the loyal Abbas Sheikh all brought something special to the screen. And who can forget Sajjad Delafrooz’s powerful performance as the villain, Ikhlaq Khan?

Fans also enjoyed the prequel Special Ops 1.5: The Himmat Story, which gave us a closer look at Himmat Singh’s early life and career.

Now, in Season 2, Himmat and his team are back—but this time, the threat is more modern. They’ll be dealing with cybercrime and artificial intelligence, under the sharp direction of Neeraj Pandey and Shivam Nair.

So mark your calendars and grab your snacks! Special Ops Season 2 is ready to take us on another exciting ride. Let’s support our hero, Himmat Singh, as he tackles the challenges of the digital world.

“ভিলেজ ৰকষ্টাৰ্ছ”ৰ ধুনু ডাঙৰ হ’ল। কিশোৰী গৰিকীৰ সপোন কিন্তু একেই আছে, হাতৰ গীতাৰ খন এৰা নাই। গছ বগাই তামোল পাৰে, খেতি পথাৰতো পৰিশ্ৰম কৰে। “ভিলেজ ৰকষ্টাৰ্ছ-২”ৰ এটা সৌন্দৰ্য ধুনু। প্ৰথম খনৰ দৰে এই খনতো চৰিত্ৰটো নিৰ্মাণ কৰিছে ভনীতা দাসক লৈ। প্ৰথম খনৰ দৰে এই খনত ধুনু কেৱল পৰিচালকৰ “চৰিত্ৰ” হৈ থকা নাই, অভিনয় শক্তিৰে “চৰিত্ৰ”টোক দৰ্শকৰ ওচৰলৈ নিয়াত সহায় কৰিছে। বাস্তৱ অভিনয় (real acting), বাস্তৱ সংলাপ (Real dialogue), সংলাপ প্ৰক্ষেপন “চৰিত্ৰ”টোৰ নিৰ্মল সৌন্দৰ্য।

–পৰিচালকে কাহিনীৰ গতিত “প্ৰথম খন”ৰ কিশোৰী ধুনুক “ভিলেজ ৰকষ্টাৰ্ছ-২”ৰ দৰ্শকক মনলৈ আনি দিছে সাহিত্যৰ ভাষাৰে, “ভিলেজ ৰকষ্টাৰ্ছ”ৰ ছিকুৱেন্সৰে। ধুনু সলনি হোৱা নাই, বয়স বঢ়া ধুনুৰ সপোন বোৰ একেই আছে। মুকলি মন লৈ গছত উঠি তামোল পাৰে, সাঁতোৰে, ৰক বেণ্ডত গীটাৰিষ্ট হিচাপে শৈশৱৰ জীৱনটো অব্যাহত ৰখাৰ সপোন দেখে, সাংগীতিক সপোন পূৰণ কৰাৰ পথ বিচাৰে। কৰ্ম শক্তিক বিশ্বাস কৰে ধুনুই।
কিন্তু জীৱনটো ধুনুই বিছৰা বাটে নাযায়। তিতা আৰু টেঙা মুহূৰ্তবোৰৰ সন্মুখীন হয়। হতাশ নহৈ তাই এসময়ৰ সুখী শৈশৱক এৰি যোৱাৰ দুৱাৰমুখত থিয় দিয়ে। আশা কৰে এই বাৰ খেতি বানে নিলে, প্ৰথম বাৰ কৰিছিল বাবে সফল নহ’ল! অহা বাৰ হ’ব!

–এই “বিশ্বাস” মাকৰ পৰা পোৱা। মাকক ভাল পাই, তুলনা কৰে আকাশৰ সৈতে। “আকাশতকৈ ডাঙৰ কি?” মাকক সোধে ধুনুই। মাকে কিবা এটা কোৱাৰ আগতে তাই আৰু কয়– “মাতা”। মাকৰ কপট বিৰক্তি- একে কথাকে কিমাননো কৈ থাকে। এই সংলাপে প্ৰথম খন “ভিলেজ ৰকষ্টাৰ্ছ”ৰ সৈতে দ্বিতীয় খনৰ সংযোগ আনে আৰু স্পষ্ট কৰে মাক-জীয়েকৰ সম্পৰ্ক হৈছে ৰূপালী গল্পটোৰ এটা অৱলম্বন। কামৰূপৰ ছয়গাঁৱৰ ভাষা আৰু পৰিবেশত নিৰ্মাণ ৰূপালী গল্পটোৰ গতিত আঞ্চলটোৰ বান সমস্যা আহিছে, বানপীড়িতৰ লগতে অঞ্চলটোৰ লোকৰ জীৱনসংগ্রাম, সামাজিক-অৰ্থনৈতিক, প্ৰাকৃতিক ছবি আনিছে পৰিপাটিকৈ– কেমেৰাৰ ভাষাৰে, সাহিত্যৰ ভাষাৰে।কাহিনীৰ গতিত দেখা যায় ধুনুৰ দেউতাকক বানে নিছিল। মাকে অকলেই ধুনু আৰু এক মাত্ৰ পুত্ৰ সন্তানক ডাঙৰ কৰে, খেতি-বাতি চম্ভালে। পুত্ৰ সন্তান অবাটে যায়, মদ খায় যতে-ত’তে পৰি থাকে। মাটিৰ দালালৰ জালত পৰে। সি খেতিৰ মাটি বিক্ৰী কৰি বাইক এখন দিয়াৰ কথা কয়, মাকক। মাকৰ কথা– মাটি বিক্ৰী নকৰে। ধন শেষ হ’ব, বাইকত মামৰে ধৰিব, কিন্তু মাটিয়ে খুৱাব, বছৰি শস্য দিব। মাকৰ ওচৰ চপা, কৌশলেৰে মাটি ক্ৰয় কৰিব খোজা দালালকো খং কৰে মাকে, কয়– খেতিৰ মাটি কোনোপধ্যে এৰি নিদিয়ে। ধুনুক মায়েকে কয়– “মই তোৰ মায়েৰে, মাটিখিনিও মায়েৰে।”

সাহিত্যৰ ভাষা সিমানেই ব্যৱহাৰ কৰিছে, যিমান প্ৰয়োজন। কোনো ছিকুৱন্সতে নাটকীয় পৰিবেশ নিৰ্মাণ কৰা নাই, কাহিনীৰ গতিয়ে সুযোগ দিয়াৰ পাছতো। বিপৰীতে কেমেৰাৰ ভাষাক গুৰুত্ব দি চুই যোৱা ছিকুৱেন্স ৰছনা কৰিছে। উদাহৰণ: বানে বুৰোৱা সময়ত অসহায় গঞাক ওঁঠত সংলাপ দি হৈ-চৈ কৰোৱা নাই। একাঠু বাঢ়নী পানীৰ মাজতে ধুনুই বিছনাত তোলা চৌকাত আহাৰ সিজাইছে। ধুনুক জোকে ধৰিছে, ভৰিৰ পৰা জোক এৰুৱাইছে। খেতি পানীত ডুব গৈছে। খেতিপথাৰত একাংশ গঞাই মাছ ধৰিছে। মাছ ধৰা কামটো বান আক্ৰান্ত গৃহিনীয়ে পছন্দ কৰা নাই, তেওঁলোকৰ “পৰিশ্ৰম” যে পানীৰ তলত!
–কেইটা মান অকৃত্ৰিম শ্বটেৰে নিৰ্মাণ কৰিছে বিষণ্ন
“সময়”, পৰিৱেশ।

কাহিনীৰ গতিত প্ৰকৃতি আহিছে। উন্নয়নৰ নামত প্ৰকৃতি ধ্বংসৰ বাস্তৱ ছবি খন আহিছে, হাড়গিলা সংৰক্ষণৰ কথা আহিছে (ধুনুই মাকৰ মৃত্যুৰ পাছত মাকক হাড়গিলাৰ ঠোঁট-মুখৰ কিৰিটী পিন্ধা ৰূপত পথাৰৰ সোঁমাজত দেখা পায়। বুদ্ধিদীপ্ত ছিকুৱেন্স)। মানুহ-প্ৰকৃতিৰ সংযোগ আন ছিকুৱেন্সেৰেও কৰিছে। যেনে: মৃত মাতৃক ধুনুৱে অনুভৱ কৰিছে গছ এডাল আঁকোৱালি ধৰি।

–এই খিনিতে উল্লেখ কৰিব পাৰি চিনেমিটিক ভাষা প্ৰয়োগত, সাহিত্যৰ ভাষা ব্যৱহাৰত পুনৰ তেওঁৰ মৌলিকতা স্পষ্ট কৰি দিছে। “মৌলিকতা” মনত ৰাখিয়ে পৰিচালকে মন জোকাৰি যোৱা ছিকুৱেন্স নিৰ্মাণ কৰিছে ৰূপালী সৌন্দৰ্যলৈ ৰূপান্তৰ হোৱাকৈ। যেনে: ধুনুৰ মাতৃৰ মৃত্যুৰ সময়ৰ ছিকুৱেন্সটো। এখন অট’ৰিক্সাৰে চহৰৰ হাস্পতাললৈ নিয়াৰ বাটত অসুস্থ মাকৰ মৃত্যু হয়। কাৰণ চহৰলৈ নিয়াৰ একমাত্ৰ বাটটো বন্ধ হৈছিল, উভালি পৰা গছ পৰি থকাত। এবাৰ অসহায় ধুনুৰ গছ আঁতৰাবলৈ কৰা নিষ্ফল চেষ্টা, আনবাৰ মাকৰ নিষ্প্রাণ দেহ সাৱটি কৰা বিলাপে দৰ্শকক চুই গৈছে। এই ছিকুৱেন্সটোত নিশ্চয় পৰিচালকে স্পষ্ট কৰিব বিচাৰিছে গাঁৱৰ উন্নয়নৰ প্ৰকৃত ছবি এখন। –এই খিনিতে ক’ব পাৰি, ৰীমা দাসে কেৱল ধুনুৰ সপোনৰ কথায়ে কোৱা নাই, ৰূপালী গল্পটোত ধুনুৰ দৃষ্টিৰে (বা ধুনুক কেন্দ্ৰ কৰি পৰিচালকৰ দৃষ্টিৰে), তাইৰ “সৰু পৃথিৱী” খন দেখুৱাইছে।

–ভালে মান ইতিবাচক দিশ থকাৰ পাছতো, সাৰ্থক চিনেমা বুলি কোৱাৰ বাট মুকলি হৈ থকাৰ পাছতো ক’ব নোৱাৰিম “ভিলেজ ৰকষ্টাৰ্ছ-২” ত্ৰুটি মুক্ত। কাহিনীৰ গতিত ভিন্ন বিষয় বস্তু গুঠাৰ সময়ত “গতি মন্থৰ” হৈছে, ৰূপালী গল্পটোক কিছু শিথিলতাই চুইছে। আৰু কাহিনী চিনেমা খনক “তথ্যচিত্ৰ”ৰ পৰা মুক্ত কৰিব নোৱাৰাটো আনা এটা ত্ৰুটি। এই ত্ৰুটি কিছু পৰিমানে ঢাকি ৰাখিছে ভনীতা দাসৰ লগতে বসন্তী দাস, জুনুমণি বড়ো, বলোৰাম দাস, আৰু মনাবেন্দ্ৰ দাস আদিৰ অভিনয়ে। –হয়, ধুনুৰ লগতে প্ৰতিটো চৰিত্ৰৰে নিৰ্মাণ কৰ্ম পৰিপাটি।

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।