Mainstream Vs Regional Films:
A Profile Of The Manipuri Situation
- Part 2 -

By: Leimapokpam Damodar *

Manipuri Situation:

Manipuri cinema is comparatively very young, only 25 years old; we are celebrating its silver jubilee this year. Assam started its film movement since 1935. Though the first effort 'at establishing film industry in Manipur goes back to Mainu Pemcha (B&W, 35 mm) in the late 1940s the film could not see the light of the day due to various reasons, chief among which was lack of fund and complete dependence on technical matters from outside.

Were the producers of this film able to bring it out the period of the growth of Manipuri film would have been advanced by another about 25 years and we would have been able to celebrate today its golden jubilee. Karam Monomohan Singh, an adventurous entrepreneur, brought out the first Manipuri feature film Matamgi Manipur (B&W, 1972) under the banner of K.T. Films directed by Devkumar Bose which won the President's Medal in the 20th National Film Festival.

This film depicts the social modes of the time and was quite successful as a pioneering work. It was a precursor of many Manipuri films of the future on social reality. Monomohan also produced documentaries setting the trend for Manipuri non-features.

The late S.N. Chand, a noted music artiste, contributed to the film movement of this region with his features Brojendraji Luhongba and Ngak-e-ko Nangshe (both B&W, 35 mm). M.A. Singh, a graduate of FTII, joined the movement with his first feature Sanakeithel which bagged the Rajat Kamal for regional film in 1984. It was also screened in the Panorama section of IFFI 1983.

It was a serious film done with realistic approach quite different from the Bombay film. It was followed by his colour feature Langlen Thadoi (1984). M.A. Singh with his directorial skill and technical knowledge has much potential and possibilities; and he must continue to bring out films for speeding up alternate cinema movement in this region.

K. Ibohal Sharma's Imagi Ningthem (B&W, 35mm, 1981) under the direction of Aribam Syam Sharma came with a bang. It bagged many prestigious awards and recognitions: National Award 1982; Indian Panorama 1982; National Award for Best Child Actor 1982; Grand Prix at the Festival of The Three Continents, Nantes 1982, etc.

Ibohal's feature Sambal Wangma (1993) also won the National Award. G. Narayan Sharma, another film producer and director brought out features like Lamja Parsuram, Saphabee, and Kombirei, Sanamanbi Sanarei. His Olangthagee Wangmadasoo directed by Aribam Syam Sharma, a Rajat Kamal winning feature, 1980 was running in full houses in its 30th week with the Bombay commercial film Sholay in opposition.

Depicting Manipur caught in change, new valves, social conflict, it took on a personal meaning on man-woman relationship. Despite elements of Bombay commercial, it has a distinct regional flavour. M. Nilamani Singh, the late G.C. Tongbra, R.K. Kripa, L.Banka Sharma with their features on various themes added to the regional movement.

Sanakhya Ibotombi, NSD graduate and noted theatre director, brought out his Eche Sakhi (1987), a film quite different from the commercial. H. Kanhailal, well-known theatre director, made his theatre film Pebet (1980) the only film of its kind in the region, which was selected for Indian Panorama.

Among the crop of young filmmakers mention may be made of Oken Amakcham whose feature Khonthang (1992) entered into Indian Panorama 1993 and got invited to the Singapore International Film Festival and Mayophygee Macha (1994) won the Rajat Kamal 1995; Biswamittra and Chand Heisnam; Makhon Mani; Moirangthem Ashwinikumar; Laimayum Surjakanta; Chandam Shyamacharan; Binapani Thokchom and a host of others who have been trying to bring out films in an alternate language.

Aribam Syam Sharma

A phenomenon from the north east in the Indian regional and alternate cinema, Aribam Syam Sharma's contribution to Manipuri and Indian cinema is significant. With many of his features, short and documentary films having won national and international acclaims and recognitions, he is undoubtedly one of the finest filmmakers in India and a crusader for the emerging regional films in the alternate idiom.

Of about 30 films so far produced in Manipur he has to his credit 7 features apart from 14 non-features and documentaries. Some of his films are outstanding and unique for their sheer originality, simplicity, profound regional flavour, distinct film language which are at the same time universal in appeal.

He has been able to make a distinct signatures of his own marked by profundity of cultural root, aesthetically satisfying appeal and above all a beautiful art-form. Instances, interalia, are Imagi Ningthem (1981), Olangthagee Wangmadasoo (1980) Ishanou (1990), Paokhum Ama (16mm, 1983), Sanabi (1995). Among his non-features mention may be made of Sangai-Dancing Deer of Manipur (16mm) which bagged many international awards.

Imagi Ningthem has a unique quality of simplicity and belief in human quality. It is, according to John Warrington, "despite technical imperfection......a minor masterpiece". Ishanou, in Syam Sharma's own words, "is a contemporary exploration of the Maibi (Shaminastic spirit medium) Phenomenon." Intimate, restrained and well researched, it is a film that situates.

Drawing on one of the most complex cultures of the country, this captures the complex ity in a cinematic idiom that looks deceptively charming but raises disturbing questions. An exposition of human problems with inner susceptibilities of regional character and identities, it manifests his?a absorption in Manipuri culture and commitment to it. Ishanou stands out as eastern India's response to the urge to return to the regional as does Aravindan in his works around dance traditions in the south. Syam has a conviction that alternate cinema should be distilled, among others, out of the cultural matrix. Only then they can be authentic.

While there are many deserving filmmakers, talented artistes and a great reservoir of cultural tradition the pace of growth and development of film in Manipur is slow and stunted because of several reasons the redress of which lies squarely on the authorities that be.

Among others, lack of adequate subsidies/grants to filmmakers; inadequate infrastructural facilities in the state which force producers to rush to places outside for technical help; lack of measures for alternate distribution channels to ward off anti-local film nexus between distributors and exhibitors are some of the prime reasons. Why should the government be so unresponsive is the question everybody is asking; and rightly so. Yes, food, roads and houses should be the first priority.

But promotion of culture is also important in as much as it creates unity, healthy outlook and a strong, dynamic and resilient state. To promote culture should be perceptively taken as an investment. We wonder if the government allocates .01 per cent of the state budget to culture which is the national percentage some years back. Because of lack of perception many cultural organisation founded by the government with the best of intentions have been languishing for no fault of them.

If this callous attitude continues God knows whither our culture may be heading. It is time we cultivate a dynamic attitude at a juncture when we are jumping to the 21 st century. We can add many other instances of shortfalls. The government should spell out a comprehensive film policy and take up necessary measures to ameliorate the ills speedily. Film society movement should be revived and promoted with generous grants and streamlined distribution.

To conclude, the future of the regional films lies only in enfranchising themselves from the clutches of the so-called mainstream cinema. Regional films should exude the quintessence of their cultural roots, identity, their life-style, ideals and aspirations, their sorrow and anguist with aesthetics that emerges naturally and inevitably from their ethoes and environs.

Such films should be throbbing with the pulse of the times. Though we can never pronounce the final word for an art-form like the cinema, regional filmmakers are expected to try to discover our identities in relation to our surrounding and times in terms of the cinematic language.

Vulgar and cheap aping of the large-budget commercial 'mainstream cinema' will not help evolve an alternate cinema. In a poor state like Manipur the motto should be small is beautiful. The question of a filmmaker's creativity is intimately connected with the masses too. The myriad minds of our filmmakers should be made interpretable in myriad ways of consciousness. The masses should be reconquered in such ways.

Manipuri film is young and yet we have the advantage for this; from this early stage we should be cautious and endeavour to go to the right direction by warding off the monster of formula-ridden mainstream commercials and address ourselves to make truly regional or alternate cinema. The dialectics and the struggle will go on, but triumph we must ultimately. And let us wish, in this venture help will come from those who can help.

References:

1) Aruna Vasudev: "Ideologies of Underdevelopment" in Indian Horizon, No. 1, Vol. 44; ICCR New Delhi, 1995.
2) Dutta, Utpal: Towards a Heroic Cinema, Calcutta 1994.
3) Souvenir of First State Level Seminar on State Film Policy organised by Film Society, Manipur, Imphal Cine Club, Manipur and Cine Development Co-op. Society Ltd; Imphal 1990



Concluded