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Cinema : A recountal
MANIPURI
CINEMA: A RECOUNTAL
R.K
Bidur
The Lumieres first displayed their film to
a paying public in the basement of the Salon of Paris Grande
café on December 28, 1895. The official public screening
of a motion picture in the USA was on April 23 in 1896.
India has the first screening of film of July
7, 1896 at Watson hotel in Bombay. Two decade after the
invention of the novelty of cinema of the turn of the century,
moving picture came to Manipur. People called it "Basikop"
(a corrupted expression of bioscope), a highest form of
entertainment among the urban folks. Unlike screening in
the tent on the parks and empty lots of Bombay, Calcutta,
Madras etc.; screening of the films in Manipur was held
at the Royal Palace, the Cantonment (4th Assam Rifle) hall
and Victoria club hall, Bapupara. Bioscope came to Manipur
probably from the extension of period of era of film, art
and its dominance in Indian film market. Emergence of the
talkie gave all the more impetus to the ever-expanding cinema
business. Sound film was screened in Manipur from 1936,
not much than later than the release of the Indian First
Talkie film "Alam Ara" on March 14, 1931. "Prahlad"
a mythological film was first screened at Manipur talkie
house, which was popularly known a Kasturigee hall (Kasturi's
hall), as the owner of the hall was Kasturi chand Saraogi.
It was situated at a place near the present Hind Jalpal
hotel,Paona Bazar. Tickets for the cinema shows were printed
at Churachand printing works, Sagolband Meino Leirak. Before
long another cinema house came into existence at the Awang
Dukan, just two or three shops to the North of hotel Maharaj,
Thangal Bazar. People called it Ramkumargee Hall (Ramkumar's
hall). Probably it might be Imphal talkie house, some recall.
However there is no formal presentation of facts. It didn't
run shows for long. However a prominent cinema house established
before the war was Daina Talkie just on the very spot on
today's Friends Talkie. This hall was a partnership enterprise.
Vikharam, Jainarayan Maheshwari and Gurumayum Gunzani Sharma
of Sagolband Meino Leirak were the patners. It exhibited
pictures till the day just before the bombing of Imphal
on May 10, 1942. The last picture was Mei hari. Cinema houses
were rapidly set up in the 1930's. Sougaijam Nabakumar from
Moirangkhom constructed at a cinema house called Chitrangada
at the place where the Manipur State Road Transport Corporation
now stands. Dada Shaheb Palke's Raja Harichandra was screened
at this cinema house. It appeared that Sougaijam Nabakumar
purchased the single machine from Ramkumar. Report has it
that a Sadarji too exhibited bioscope shows at the place
west to Mesrs W. Ibohal & son, M.G Avenue. A talkie
house just at North of Singjamei Bazar was set up during
the 1939-40 period. All the cinema houses however ceased
to exit at the outbreak of war. During the years of war-between
mid and late forties, friends talkies, victory cinema, MNB
cinema was ultimately dissolved.
In the 1930s brisk business in cinema shows
created a strong apprehension in the minds of the socialists
in Imphal. The general feeling was the talkie cinema would
soon drain away the economy. Meetings were held at different
places in Imphal, agitations against cinema were launched.
There was a big rally of protestors on the road, condemning
the talkie cinema- singing and shouting all the way:
Talkie cinema we shall boycott
Motherland beckons us.
Ruthless cinema has put her in dire strait!
Let's cry in a chorus
Talkie cinema we shall boycott.
Keisham Kunjabihari who later became the editor
of 'Ngasi' a vernacular daily, was the lead singer and Longjam
Dinamani, Elangbam Leikai, the Dohar (who repeats the piece
of music by the lead singer, like Antiphonal singer) of
the Chorus. However the rise and spreads of cinema stop
it. Cinema thus came to stay and became very much part of
the Manipuri's life.
Manipuri cinema was begun when Maharajh kumar
Prijobarta made films of actuality in 1936. History of Indian
cinema gives an interesting account. The Lumieres hypnotized
Harichandra Sakharam Bhatvadekar, popularly known as Save
Dada, a Maharastrian and probably the first Indian filmmaker.
He possessed a motion picture camera and immediately started
to photograph various events and objects of certain interest
in 1898.
In the similar fashion, M.K Prijobrata too
was completely enchanted by the Charlie Chaplin films he
had seen regularly at raipur, central province (near Madhya
Pradesh) where he received his school education in the 1920s.
On his return to Imphal and acting on the advice of Col.
Dr. Tylor, Civil surgeon of Manipur hospital, M.K Priyobrata
purchased an 8mm movie camera and went on filming socio-cultural
events and other happenings in the existing milieu and many
trips to places in and out of Manipur. He expressed in an
interview the object of filming was to preserved records
in celluloid for the future. He covering of Hiyang Tannaba
(Boat race of Royal boat) is texture with imagination and
expression- the two basic elements of cinema arts. The films
were shown to many people at the palace. R.K Joy showed
the films at Chitrangada Natya Mandir Hall at the homestead
of Ngangbam Shyamkishore, Yaiskullakpa with ticket sold.
M.K Priyobrata's films were not candid camera
work. He tackles the actuality shots with certain degree
of success and channels his massage through the given natural
materials. The war and he becoming Chief Minister of Manipur
at the end of war simply made him turn away from being a
filmmaker in his own rights. Some of his shorts films are
the archive of X-Cine studio, Paona bazar. Imphal.
With easy money coming form the war boom a
few a persons- Ayekpam Birmangol, Sougaijam Nabakumar, Sinam
Krishnamohon etc. tried their hands in producing a Manipuri
film in 1948. Rathin Sen, an employee of the calcatta Commercial
Bank, Imphal Branch was collaborated to make all sorts of
contact with Kali Studio, Calcutta and necessary arrangements.
Bithal Das translated Mainu Pemcha a famous play of Rupmahal
Theater into Hindi for making film out of it under the same
title. The prospect of marketability being the guiding factor,
the film had to be done in Hindi. Thambalgoubi Devi played
the title role. Liashram Netrajit, Kangabam Gojendra, Kwairakpam
Momon etc. were the other local artistes in the cast. Biman
Chaterjee, playing the role of Borajaoba, Shilla, Shuktidhara
etc. were the artistes from outside the state. The film
was made under the banner- Shri Shri Govinda Film Productions.
Ultimately they could not do beyond nine reels due to the
lack of sufficient fund for further investment. Some of
the nine reels were screened as Tailor at the Victory Cinema
and Imphal Talkies. Had the film been completed, it might
have been a milestone in the history of Manipuri Cinema
and impetus to the emergence of early Manipuri cinema and
filmmakers as well.
Kongrailakpam Ibohal Sharma, a professional
photographer, took up the unsuccessful mission of filmmaking
in early periods. He possessed a feverish interest in cinematography.
With almost a museum piece 16mm Bolex movie camera, Ibohal
Sharma shot even silent features Ningthemcha Ahum (1960),
Ichel (1961), Mongpham (1962), Cultural Heritage (1964),
Imphal Diary, part I & part II (1965-68). He was producer,
writer, cameramen, director, of all the films and set up
studio and laboratory equipped with indigenous devices of
means to get the films developed printed and edited. The
small fund he could amass was too meagre to make his film
talks. In those days there were no departments, no institutions
to take care of the film. Dialogue and music setting were
provided by playing a tape recorder all the back of the
screen, like pianos, harmonium, tabla etc. had been played
in the early silent film era of Indian cinema. He did not
make these for profit, but rather took them to different
localities for free shows. Ibohal Sharma experimented and
explored a vast range of techniques only to find means of
filmmaking indigenously and economically.
While, after the initial impetus was provided
by filmmakers- Satyajit Ray, Mrinal and Ritwik Ghatak, a
group of inspired filmmakers- Shyam Benegal, Girish Karnard,
Basu Chaterjee, Kumar Shahani, M.S. Sathyu, etc. were creating
a movement- 'India New Wave'- a genre radically different
from the formula film in 1970's, Manipuri cinema was just
born.
Karam Manmohan Singh (popular name- Karam Amumacha),
a spirited enterpriser produced for the first time a Manipuri
full-length feature Matamgee Manipur under the banner of
K.T. films and got it released on April 9 in 1972. As cinema
in other states has done in the beginning, Manipuri cinema
also drew its resources from the Manipuri theater which
ahs almost century old tradition. It was scripted from a
popular theater play and had also mostly theater artistes
in the cast. Adroil, artistic quality inherent in the people
and charming landscape are great potentialities of the Manipuri
cinema. No wonder, the first feature film Matamgee Manipur
bagged the President Awards in the National Film Festival
of India in 1973. Another notable film that closely followed
Matamgee manipur was Sajatia Film's Brojendrogee Luhongba
produced and directed by S.N. Chand and released on 14th
July in 1972 simultaneously at the Asha cinema and Friends
Talkies. Great poet, Dr. Lamabam Kamal, based the film on
the unpublished novel of the same name. Well edited, the
film captured the socio cultural image of typical Manipuri
life in the best traditional way. It begged the Manipuri
State Film Award in 1984.
Indian Film Industry enjoyed its Silver Jubilee
celebration from the 28th April to 18th may, 1939 in Bombay.
Manipuri cinema in hardly a industry. It is yet to have
in its own infrastructure, not to talk of productions, distributions
and exhibition- the doctrine of unity, However it sees 25th
years of its existence, reckoning from the April 9 in 1972,
the date on which when Matamgee Manipur was released. Some
theoreticians express their strong point of views that Matamgee
Manipur was no doubt, first seen in Manipuri feature, nevertheless
it may not beyond the controversy seeing that film had hired
the director from outside Manipur- Deb Kumar Bose of Bengal
film industry, who also did the screenplay of the film;
even the assistant director was one Manoj Sen. The film
was produced under supervision of Devaki Memorial Unit,
Calcutta. Further, they state the fact that no regional
film in Indian Cinema has ever begun first with its director
from elsewhere.
The first Oriya film "Sitar Vivah"
was written and directed by Mohan Sunder Deb Goswami of
Puri in 1934. So also the father of Assamese cinema is Rupkumar
Jyotiprasad Agrawal in whose fond memory the film studio
at Kahlipara had been dedicated. His ancestral tea-estate
at Bholguri was vvirtually turned into film studio when
Jyoti made Assam first feature "Joymati" in 1935.
Taking cue from the great pioneer Hiralal Sen,
J.F. Madan made Bengal first feature "Bilmagol"
in 1919.
All in all, Sajatia Films' "Brojendrogee
Luhongba" may have the logicality for claiming the
place of honour. In fact it too was released in 1972, only
two months later than "Matmgee Manipur". It bears
the maks of immense contribution and selfless service to
Manipuri cinema by the film's director, S.N. Chand. He quit
attractive Government service only to be producer, scriptwriter,
music director, singer, actor and the director of "Brojendrogee
Luhongba". He sold his properties and few lakhs worth
to finance the production, unmindful of the returns and
looked after the entire production unit.
Disputes as to which the first feature film
produced in Manipuri may persist. However, which may be
the first, one can say without any fear of controversy that
the Manipuri Cinema rightly celebrates its Silver Jubilee
in 1966-67. For, by simple arithmetic, it is quite 25 years
from 1972- the year in which both" Matamgee Manipur"
and "Brojendrogee Luhongba" were produced.
Manipuri cinema is proud of having 31 feature
films (including 2 short features) to its credit within
span of 25 years, the numbers of films surpassing the numbers
of years.
Manipuri cinema started with films of social
and folktales-myth genres Filmmakers seemed more to learns
film syntax. Their approach to action, narration, make-up,
and lighting, direction all were fashioned after theater
plays or all India Hindi film. The decade of the 1970's
witnessed production of Manipuri films almost every year.
Two of the films "Saphbee" and "Olamghtagee
Wangmadasoo" won the coveted Rajat Kamal in the National
Film Festivals of India. It might be ascribed to the rich
cultural heritage, beautiful tradition and above all the
artistic skill of the Manipuris.
A notable features in the Manipuri cinema is
the traditional folklore and legends being brought into
limelight through film medium. However, films are so crudely
made that they simply destroy the charm and beauty of folk
art. A class of people who got cinema solely for thrill,
suspense and entertainment has only patronized films so
structured. At the same time our socials too may not be
fair. Some make an attempt to present a new cinema seeking
new contemporary meaning of Manipuri society, caught in
the whirlpool of tradition on the one hand and pulled by
the alluring force of modernity of the other. However most
of the films of this genre to go safe with folk themes and
family drama rather than going down to the core of socials
problems like drug abuse, addicts. Otherwise G. Narayan
Sharma's "Sanamambi Sanarei" and the director
duo, Chan and Bishwamittra's "Kanaga Hinghouni"
are the significant films.
Aribam Shyam Sharma, leading filmmakers not
only of Manipur but also of the North-East set a new trewnd
in depicting social realism when he made "Imagee Ninghtem",
one of its finest films so far in the in 1981 under the
banner of X-cine Productions, produced by K.Ibohal Sharma.
Foreign delegates made wonderful discovery of Manipuri cinema
in "Imagi Ninghtem" screened in the Indian Panorama
and Filmotsav '82 in Calcutta.
The film was first entered in the Nantes Film
Festival in France and bagged the Grand Prix. He then went
on making two outstanding films Ishanou and Sanabi that
created a great sensation in the Indian cinema. Shyam Sharma
adopts a cinematic style marked by location shooting, maximum
elimination of the melodramatic elements and deglamourisation
of the film. We only wish he would successfully revolutionized
the Manipuri Cinema to open the new vista.
A small group of young director emerging in
1990s a notable feature of Manipuri cinema, however are
caught in the cobweb of god and bad cinema and they are
not sure of themselves to which the steps they would take
next.
If the state government is
mooting upon having a broad based cultural policy, it should
come up with a definite film policy within the guidelines
of the National film policy. Then only can the Manipuri
film industry will come into the realistic shape.
Courtsy:Manipur
Film Development Corporation (M.F.D.C).
