Music :: Its Role in Films
Manipuri Film Music In Particular

By: B. Jayantakumar Sharma *

Music plays a vital role in the development of sequences and dramatic mood in both plays and films. It enhance the dramatic essence more than words do. It appeals to the inner core of the heart and makes the scene meaningful and lively. In short, music is the language that can be followed by anybody in spite of any lingual obstacle.

Music is used in theatre and film in the different ways - title music, song, background music, sound effects and silence; and the music director, in his own capacity or in consultation with the film director or the producer has to look after all the music portions of the film. The insertion of suitable background music or the applying of proper sound effects and silence make the film more attractive and dignified.

The title music is a prelude to the picture. It tells, in the language of music the essence of the story and informs the audience of the thematic elements of the play or the film along with the presentation of Credit Titles. But, in a theatrical performance some orchestral compositions that may not be related to the theme of the story are played before the start with a filler to link with the motif of first opening scene. In every drop or change-over the same compositions are played. In films, of course, the background fnusic is a continuing process right from the beginning to the end of the picture.

Songs and dances are the substance of entertainment that attract the interest of the audience and break monotony. Songs in the form of the title-song, background or playback, may be utilised. They may be solo duet or group with the themes -narrative, descriptive, patriotic, devotional or romantic.

Beautiful songs increase the popularity of the picture. Nostalgic songs of yesteryears Hindi films like Mahal, Deedar, Aan, Urankhatoula, Sabab, Baiju Bawara, Basant-Bahar, Sangam, Madhumati, Awara, Barshat, etc. help the films attain their unforgettable quality. They remain always so fresh and evergreen. They may be compared with those of the present day films. With the advancement of the years, change in the value of creative arts is compulsory; taste is changing, so is music. But gold is gold.

The background is, perhaps, the most important dimension of music in films and plays. It enlivens the acting credibility of the artistes. The thematic essence is augmented by music. It creates the mood of the scene and impresses the sense of appeal in the mind. The background music enhances the suspense factor, particularly in the horror and scientific films.

A suitable background music, with the scenes visualised, strikes directly into the inner vision of the audience. But a picture or a play without any suitable background music is dull and unimpressive; like a house without any decor. Therefore, credible background music is of utmost importance in films, mostly, without which the dramatic experience will never be fulfilled.

Sound effect also comes under the category of music. Supplying of proper sound effect projects the dramatic eloquence. Sound effects like the chirping of birds, cooing of pigeons, rowing of boats, noise of men and women working in the field, din and bustle of the market-place, warbling of brooks, not only impress the audience but make the scene viable. Time and location can easily be denoted by sound effects.

The music of silence speak volumes. It creates suspense and tension. A suitable insertion of silence works wonders with the modulation of the plot. Silence is no less important a music as is the audible music. The dramatic effect created by silence in suspense or horror or war picture arouses a feeling of unusual sensation and thrill.

In the light of the these points we can analyse the music so far provided in Manipuri films. The industry itself is very young, having only 25 years of existence, and celebrating the Silver Jubilee for one year since last April, 1996. We cannot expect much. Music scoring is a new technique in our film world. We have very few technical expert and there is no scope here.

The first much awaited Manipuri film Matamgi Manipur saw the light of day twentyfive years back in 1972. During this span of twentyfive years we have had about 30 feature films and twenty-plus documentaries in celluloid. Since then, we have had a good number of composers like Syam Sharma, S.N. Chand, Pahari, Khun Joy, A. Shyam Singh, S. Tijendra, Hamom Naba, etc.

The first music director of Manipuri films is Aribam Syam Sharma who scores music in a number of films like Matamgi Manipur (1972), Lamja Parsuram (1974), Saphabee (1975), Kombeerei (1989), Ishanou (1990).

The enchanting song from Matamgi Manipur (Lyric- Kh. Phullendra) "Tha Tha Thabungton" (Singer- A. Kamala Devi) is a composition based on Manipuri folk tune. It is still afresh in the mind of every Manipuri music lover.

Other songs from this film like "Eigi Punshi Nang-ga kari Thoknei Eiga" (Singer- A. Budhachandra) are equally praise worthy. Remarkable songs from Lamja Parsuram (Lyric- Kh. Phulendra Singh) "Lamja Lamja Kougene Nahakpu" (Singer- A. Shyam Singh), "Nangdi Chatle Taklamdana" (Singer- A. Kamala Devi); from Saphabee (Lyric- Konsaba Ibochou) "Khoyumgumna Shaklotpa" (Singer-A. JamunaDevi), "MapokLang-on-Khudingda" (duet, Singers- A. Jamuna Devi and A. Shyam Singh) and from Kombeerei "Ha Kombee Laibak Chaobi" (Singer- A. Shyam Singh) "Kombeerei Yaral Patki Kombeere" (duet, singers - A Kamala Devi and Khun Joy), "Ho Khoimu Lamdanba Khoimu" (Singer- A Kamala Devi; Lyric- Konsaba Ibochou, for all the songs) still haunt the psyche of Manipuri cine-goers. They are remarkable indeed, and A. Shyam Sharma is the doyen of Manipuri film and light music.

Another epoch maker in the domain of Manipuri Light Music is N. Pahari Singh. Songs from the films Ngak-e-Ko Nangse (1974), Khut-thang Lamjel (1979), Khonjel (1981), Sanakeithel (1983), Yairipok Thambalnu (1984), Sanamanbi Sanarei (1995) are his immortal contributions.

The last of which I had the good fortune to share. Pahari's evergreen songs from Ngak-e-Ko Nangse (Lyric-B. Jayantakumar Sharma) "Namo Namo Tulasi Maharani" (Singer- Y. Bilashini Devi), "Thadokpinuko Natung Injaribini" (duet, Singers - Y. Bilashini Devi and N. Pahari Singh), "Eigi Yum Ase Hanghoure" (Singer - N. Pahari Singh), "Pari Chingung-gee Hari Khonglakle Tao" (Singer- A. Jamuna Devi) are still singing in the memory of the listeners.

Other songs from Khut-thang Lamjel (Lyric-G.C.Tongbra) "Eina Shiraga Hayeng Mongphamda" (Singer- N. Pahari Singh), from Yairipok Thambalnu (Lyric- B. Jayantakumar Sharma) "Ita Manja Kada Chatlai" (Singer-A. Kamala Devi), "Nuja Nungshi Nungon-lamadam", and "Ha Thambal Nungshirabi" and "Yairipok Lamdam Lamnungshida" (Singer-N. Pahari) surpass the barrier of time and ushers into the present day.

Songs from films like Olangthagee Wangmadasoo (1979, Music- A. Shyam Singh and Khun Joy), Wangma Wangma (1981, Music- A. Shyam Singh), Ingallei (1990, Music- Khun Joy), Kanaga Hinghouni (1996) and Khamba Thoibi (1997) deserve special mention.

S.Tigendra's compositions "Kari Khalli Ningol Pukning" (Singer- Udit Narayan), "Urirei... "(Singer-A. Bimola Devi) for the film Madhabee (1993) emit a new wave in the history of Manipuri film music.

Other film songs for which particular mention has not been made, have their own merits. They are in consonance with the sequence. Our music directors try with their utmost skill to have anew vista in the horizon of Manipuri film music. And we are satisfied with their energetic venture. But folk element is a matter of controversy among the ingenuous public. To lay hand in folk films is a formidable task. One who is versatile on folk music with a thorough knowledge of light music, may be able to cope with this problem.

Any way, the Manipur film music has a very bright future. We have enough talents - composers, singers, lyricists, musicians. Sincerity, credibility, and seriousness are some of the qualities for improvement of film music. Like drama, films may also be classified into four main categories, namely social, historical, mythological and folk. And a music director has to do justice in all these spheres of music.

When we observe minutely the role of music in our films, background music seems to be neglected in most cases. This is one of the serious problems for low-budget regional films resulting to haphazard completion. Our so-called music director have no hands in the application of background music except in the tune composition. They compose the tunes, take proper rehearsals with the singers, record the songs and hand over the cassettes to the producers.

This is the end of his labour as a music director, leaving the whole thing to the producer. The reason is very simple. After picturisation, processing is done outside, either in Calcutta or Mumbai as we do not have any facility for processing here.

When the proper editing is over, the background music is to be composed by an outside expert, who, with all his expertise, does not understand the cultural ethos of the people of this place, making the whole labour a misnomer. This is only because we do not have proper studio facilities for film processing. We have to wait for our own time.

With our small population and the subsequent small market, we cannot be over-enthusiastic. But this is the thrust area and we have to work on it whatever the time-frame might be.

We are optimistic in our views. We have come, so far, over a span of 25 years in filmdom. We are moving forward steadily. Our stride, in spite of limited resources and lack of infrastructures, is in progress.

I conclude with great expectation that we have immense treasure hidden in the hills and in the plains. We have to dig out the treasure and utilise it in proper place and make our film music a distinct feature.

This is the land of music. And music is our tradition.