HOW SATYAJIT RAY GOT FLOORED: 2ND IF POSTING

[Ranjan Yumnam]

There's an account related to me by Mr K. Ibohal Sharma, producer of
the Manipuri feature film, Imagee Ningthem that got registered in my
mind more than anything else he told me. It concerns the making of the
film and how it went straight to international film festivals to a
rapt audience and before an incredulous aficionados, critics and
filmmakers in India. Among them was Satyajit Ray, who probably was not
even aware of the existence of Manipuri cinema.

When news about the Manipuri film being critically acclaimed at the
Nante International Film Festival (in France) reached India, the
reigning kings of the Indian cinema like Satyajit Ray, Mrinal Sen and
others were shell-shocked. They had never heard of Aribam Shyam
Sharma, the director of the film nor had they watched any Manipuri
film of any consequence in their life. The Bengal Film Society
eventually contacted the makers of the Imagee Ningthem to screen the
film in Calcutta. "It was an honour for us. We stopped regular shows
in Imphal so that we can take the reel to other cities from where
requests have also come in for screenings," the octogenarian
producer-cinematographer told me.

Once in Calcutta, it was the turn of the Manipuri filmmakers to get
shocked by the reaction of the audience. It was clear the audience
didn't appreciate the film. The Manipuris didn't exactly expect a
standing ovation, but they were also not prepared for boos and sneers
from the Bengali crowd not used to the alien language and characters
on the screen. "People disappeared from the hall faster than the blink
of the eye, and those who remained were a handful of foreigners. "MK
Binodini, the storywriter, who came with high hopes was literally
reduced to tears and requested me to take her home," he recounted.
But before they went back to the hotel to retire for the night, they
decided to take a walk to the venue of the national film festival
being held in the city just for the heck of it and in part to drown
away their bitter experience at the theatre (Gorky Sadan). To their
surprise they found out that their film was declared the best feature
film in the national panorama. Tear of humiliation turned into tears
of joy instantaneously.

How did the doyens of the Indian cinema size up the film? "They
watched through the film without saying anything and left without
saying anything. They were clearly speechless," Mr Sharma recalled.

The film was invited to participate in major international film
festivals at New York and Tokyo.

This was in 1982. In the same year, Imagee Ningthem won the Grand Prix
at Nante International Film festival. Aribam Shyam Sharma had joined
the international mainstream even before making it big in the national
stage. His success story mirrors the trajectory of the evolution of
the Manipuri Cinema.

***************************


Ray's influence on early Manipuri cinema
By Satyajit Ray, I don't mean the person and his works only. The New
Wave cinema and the realism that was the hallmark of the Bengali
cinema also had a deep impact on the form and content of the early
Manipuri cinema. In fact, the first attempted Manipuri cinema, Mainu
Pemcha, was a collaborative effort between Bengalis and the Manipuris.
The film was based on a Manipuri play written by Ayekpam Shyamsunder
Singh and translated by Bidal Das Panchotiya into Hindi. For reasons
of commercial viability, the film had to be made not in the Manipuri
language but in Hindi. This reflected the sad reality that still
cripples the Manipuri film industry – which is the lack of a big
market.

A joint stock company was formed which was christened Shri Govindaji
Film production and after raising the funds started shooting from 1948
till April 1949 at the Kali Studio in Calcutta. Directed by Jyoti Das,
the cast included both Bengalis and Manipuri actors with the latter in
numerical preponderance. After completing a substantial part of the
film in Calcutta, they had to come back to Manipur as some scenes
required shooting in Meitei Yumjao (traditional Manipuri house).

An interesting thing happened in Manipur. The public who were already
thrilled with the prospects of seeing their favourite play on the
celluloid requested Biman Chatterjee (playing a Manipuri character in
the film) to demonstrate his acting skills at the Rupmahal Theatre,
which he obliged.

Unfortunately the film could not be completed due to financial
difficulties. In a last ditch attempt to revive the film, the producer
approached the Manipuri Maharaja to support the film. The Maharajah
was favourable to the idea but historical circumstances did not allow
him to devote attention to the film. 1949 was a chaotic year
coinciding with the end of the World War II, and for Manipur, the
question of her political existence hanged in uncertainty. The
question of whether the Kingdom of Manipur should join the Indian
Union generated a lot of public debate with even the institution of
monarchy perched precariously in the line of fire. It was a momentous
era that triggered the insurgency movement over the issue of the
legitimacy of the "annexation" of the Manipuri Kingdom into the Indian
Union by Sardar Patel's "clever handling".

The seventies assumed great significance in the history of Indian
cinema. Satyajit Ray, Ritwik Ghatak, Mrinal Sen pioneered the New wave
cinema and changed the cinematic landscape of the Indian cinema.
Mythologies and other formula films began to give way to socials.
Shyam Benegal, MS Sathu, Basu Chatterjee, Kumar Sahni and others
continued and took forward this tradition of filmmaking to greater
heights. The Manipuri filmmakers, meanwhile, were burning with the
ambition of carving out a niche for themselves. They were studying the
new phenomenon so that they were not left behind. The film society
movement took root in Manipur and got itself affiliated to Indian
Federation of Film Societies which had its headquarters in Calcutta.

After the botched attempt of Mainu Pemcha, K. Monomohan took upon
himself the task of making the first Manipuri feature film – Matamgi
Manipur (Today's Manipur). Like Mainu Pemcha, it was directed by a
Bengali director, Devkumar Bose, son of the celebrated filmmaker Devki
Kumar Bose. Adapted from a play Tirth Jatra written by by Arambam
Samarendra, the film had an all-Manipuri cast, and it was in this
sense a more indigenous venture than Mainu Pemcha. The film began
shooting in December 3 1971 and was wrapped up in January 1972.
Considering that it was the first experience for the Manipuri actors
before the camera, they performed beyond expectations. This was proved
when the two leading actors Rabindra Sharma and Y. Roma received the
Rashtriya Chalchitra Purashkar, which is better known as the President
Award. It must have been a record for any regional film industry for
its first film experiment to be getting recognised in such a manner.
"The Manipuris are natural artistes; they are gifted with the talent
of arts, music and dance," writes RK Bidur, a founder member of the
Manipur Cine Club and president of the Manipur's Film Critics
Association, referring to the success of the Matamgee Manipur.

******************************

The 90s—the beginning of the end of celluloid era
After a glorious history, celluloid era has effectively had its last
appearance in 1998. The following is the list of the films that were
made including the name of the director and producer during the period
1972-1998. Documentary films and VHS format movies are not included,
as are the digital films that are the rage now. These will be dealt
with in separate postings.

Manipuri celluloid films
Year Title Producer Director
1972 Matamgee Manipur, Karam Manmohan, Devkumar Bose
1972 Brojendrogee Luhongba, SN Chand, SN Chand
1974 Lamja Parsuram, G Narayan Sharma, A. Shyam Sharma
1974 Ngak-e-ko Nangse, Wangkhem Basanta, SN Chand
1976 Saphabi G Narayan, Sharma, A. Shyam Sharma
1979 Khuthang Lamjel, Thongam Haridas, GC Tongbra
1979 Olangthagee Wangmadasu, G Narayan Sharma, A. Shyam Sharma
1981 Imagee Ningthem, K Ibohal Sharma, A. Shyam Sharma
1981 Khonjel, M Nilamani, M Nilamani
1981 Wangma Wangma, Durlav, L Banka Sharma
1983 Sana Keithel, Thoudam Doren, MA Singh
1983 Paokhum Ama, Film Div. of India, A. Shyam Sharma
1984 Thaba, Khaidem Sakhi Devi, K Ibohal Sharma
1984 Langlen Thadoi, Khaidem Sakhi Devi, MA Singh
1984 Yairipok Thambalnu, H Gehendra, L Banka Sharma
1986 Iche Sakhi Thoudam Doren, MA Singh
1988 Kombirei, G Narayan Sharma, G Narayan Sharma
1990 Isanou, Gauhati Drsn, A Shyam Sharma
1990 Engallei, M Kumarjit, RK Kripa
1990 Paap, M Nilamani, M Nilamani
1992 Khonthang, Thoungamba, Oken Amakcham
1993 Sambal Wangma, Sobita, K Ibohal Sharma
1993 Thambal, Vishnu/Surjakanta, RK Kripa
1993 Madhavi, K Bhupendra, L Banka
1994 Mayophigee Macha, Thouyangba, Oken Amakcham
1995 Sanabi, NFDI/Drdrsn, A. Shyam Sharma
1995 Khamba Khamnu, Ch Shyamcharan, Ch Shyamcharan
1996 Kanaga Hinghouni, Chand Heisnam, Chand Heisnam/Vishwamitra
1997 Sanamanbi Sanarei, G Narayan Sharma, G Narayan Sharma
1997 Khamba Thoibi, M Nilamani, M Nilamani
1997 Chinglensana, Th. Binapani, Rajen Meitei
1997 Iraal Oirage, Chand Heisnam, Vishwamitra/Kishore Kr
1997 Yenningtha Amada, M Nilamani/Ashwini, M Nilamani/Ashwini Kr
1998 Amambasu Anganbani, Chand Heisnam, Vishwamitra/Kishore Kr
1998 Thawaigi Thawai, Thoungamba, Thoungamba/Thouyangba

[Ranjan Yumnam]

(If you wish to see the pictures accompanying this write-up, the same
is also available at http://manipuri-cinema.blogspot.com )

How Satyajit Ray got floored…
There's an account related to me by Mr K. Ibohal Sharma, producer of
the Manipuri feature film, Imagee Ningthem that got registered in my
mind more than anything else he told me. It concerns the making of the
film and how it went straight to international film festivals to a
rapt audience and before an incredulous aficionados, critics and
filmmakers in India. Among them was Satyajit Ray, who probably was not
even aware of the existence of Manipuri cinema.

When news about the Manipuri film being critically acclaimed at the
Nante International Film Festival (in France) reached India, the
reigning kings of the Indian cinema like Satyajit Ray, Mrinal Sen and
others were shell-shocked. They had never heard of Aribam Shyam
Sharma, the director of the film nor had they watched any Manipuri
film of any consequence in their life. The Bengal Film Society
eventually contacted the makers of the Imagee Ningthem to screen the
film in Calcutta. "It was an honour for us. We stopped regular shows
in Imphal so that we can take the reel to other cities from where
requests have also come in for screenings," the octogenarian
producer-cinematographer told me.

Once in Calcutta, it was the turn of the Manipuri filmmakers to get
shocked by the reaction of the audience. It was clear the audience
didn't appreciate the film. The Manipuris didn't exactly expect a
standing ovation, but they were also not prepared for boos and sneers
from the Bengali crowd not used to the alien language and characters
on the screen. "People disappeared from the hall faster than the blink
of the eye, and those who remained were a handful of foreigners. "MK
Binodini, the storywriter, who came with high hopes was literally
reduced to tears and requested me to take her home," he recounted.
But before they went back to the hotel to retire for the night, they
decided to take a walk to the venue of the national film festival
being held in the city just for the heck of it and in part to drown
away their bitter experience at the theatre (Gorky Sadan). To their
surprise they found out that their film was declared the best feature
film in the national panorama. Tear of humiliation turned into tears
of joy instantaneously.

How did the doyens of the Indian cinema size up the film? "They
watched through the film without saying anything and left without
saying anything. They were clearly speechless," Mr Sharma recalled.

The film was invited to participate in major international film
festivals at New York and Tokyo.

This was in 1982. In the same year, Imagee Ningthem won the Grand Prix
at Nante International Film festival. Aribam Shyam Sharma had joined
the international mainstream even before making it big in the national
stage. His success story mirrors the trajectory of the evolution of
the Manipuri Cinema.

***************************


Ray's influence on early Manipuri cinema
By Satyajit Ray, I don't mean the person and his works only. The New
Wave cinema and the realism that was the hallmark of the Bengali
cinema also had a deep impact on the form and content of the early
Manipuri cinema. In fact, the first attempted Manipuri cinema, Mainu
Pemcha, was a collaborative effort between Bengalis and the Manipuris.
The film was based on a Manipuri play written by Ayekpam Shyamsunder
Singh and translated by Bidal Das Panchotiya into Hindi. For reasons
of commercial viability, the film had to be made not in the Manipuri
language but in Hindi. This reflected the sad reality that still
cripples the Manipuri film industry – which is the lack of a big
market.

A joint stock company was formed which was christened Shri Govindaji
Film production and after raising the funds started shooting from 1948
till April 1949 at the Kali Studio in Calcutta. Directed by Jyoti Das,
the cast included both Bengalis and Manipuri actors with the latter in
numerical preponderance. After completing a substantial part of the
film in Calcutta, they had to come back to Manipur as some scenes
required shooting in Meitei Yumjao (traditional Manipuri house).

An interesting thing happened in Manipur. The public who were already
thrilled with the prospects of seeing their favourite play on the
celluloid requested Biman Chatterjee (playing a Manipuri character in
the film) to demonstrate his acting skills at the Rupmahal Theatre,
which he obliged.

Unfortunately the film could not be completed due to financial
difficulties. In a last ditch attempt to revive the film, the producer
approached the Manipuri Maharaja to support the film. The Maharajah
was favourable to the idea but historical circumstances did not allow
him to devote attention to the film. 1949 was a chaotic year
coinciding with the end of the World War II, and for Manipur, the
question of her political existence hanged in uncertainty. The
question of whether the Kingdom of Manipur should join the Indian
Union generated a lot of public debate with even the institution of
monarchy perched precariously in the line of fire. It was a momentous
era that triggered the insurgency movement over the issue of the
legitimacy of the "annexation" of the Manipuri Kingdom into the Indian
Union by Sardar Patel's "clever handling".

The seventies assumed great significance in the history of Indian
cinema. Satyajit Ray, Ritwik Ghatak, Mrinal Sen pioneered the New wave
cinema and changed the cinematic landscape of the Indian cinema.
Mythologies and other formula films began to give way to socials.
Shyam Benegal, MS Sathu, Basu Chatterjee, Kumar Sahni and others
continued and took forward this tradition of filmmaking to greater
heights. The Manipuri filmmakers, meanwhile, were burning with the
ambition of carving out a niche for themselves. They were studying the
new phenomenon so that they were not left behind. The film society
movement took root in Manipur and got itself affiliated to Indian
Federation of Film Societies which had its headquarters in Calcutta.

After the botched attempt of Mainu Pemcha, K. Monomohan took upon
himself the task of making the first Manipuri feature film – Matamgi
Manipur (Today's Manipur). Like Mainu Pemcha, it was directed by a
Bengali director, Devkumar Bose, son of the celebrated filmmaker Devki
Kumar Bose. Adapted from a play Tirth Jatra written by by Arambam
Samarendra, the film had an all-Manipuri cast, and it was in this
sense a more indigenous venture than Mainu Pemcha. The film began
shooting in December 3 1971 and was wrapped up in January 1972.
Considering that it was the first experience for the Manipuri actors
before the camera, they performed beyond expectations. This was proved
when the two leading actors Rabindra Sharma and Y. Roma received the
Rashtriya Chalchitra Purashkar, which is better known as the President
Award. It must have been a record for any regional film industry for
its first film experiment to be getting recognised in such a manner.
"The Manipuris are natural artistes; they are gifted with the talent
of arts, music and dance," writes RK Bidur, a founder member of the
Manipur Cine Club and president of the Manipur's Film Critics
Association, referring to the success of the Matamgee Manipur.

******************************

The 90s—the beginning of the end of celluloid era
After a glorious history, celluloid era has effectively had its last
appearance in 1998. The following is the list of the films that were
made including the name of the director and producer during the period
1972-1998. Documentary films and VHS format movies are not included,
as are the digital films that are the rage now. These will be dealt
with in separate postings.

Manipuri celluloid films
Year Title Producer Director
1972 Matamgee Manipur, Karam Manmohan, Devkumar Bose
1972 Brojendrogee Luhongba, SN Chand, SN Chand
1974 Lamja Parsuram, G Narayan Sharma, A. Shyam Sharma
1974 Ngak-e-ko Nangse, Wangkhem Basanta, SN Chand
1976 Saphabi G Narayan, Sharma, A. Shyam Sharma
1979 Khuthang Lamjel, Thongam Haridas, GC Tongbra
1979 Olangthagee Wangmadasu, G Narayan Sharma, A. Shyam Sharma
1981 Imagee Ningthem, K Ibohal Sharma, A. Shyam Sharma
1981 Khonjel, M Nilamani, M Nilamani
1981 Wangma Wangma, Durlav, L Banka Sharma
1983 Sana Keithel, Thoudam Doren, MA Singh
1983 Paokhum Ama, Film Div. of India, A. Shyam Sharma
1984 Thaba, Khaidem Sakhi Devi, K Ibohal Sharma
1984 Langlen Thadoi, Khaidem Sakhi Devi, MA Singh
1984 Yairipok Thambalnu, H Gehendra, L Banka Sharma
1986 Iche Sakhi Thoudam Doren, MA Singh
1988 Kombirei, G Narayan Sharma, G Narayan Sharma
1990 Isanou, Gauhati Drsn, A Shyam Sharma
1990 Engallei, M Kumarjit, RK Kripa
1990 Paap, M Nilamani, M Nilamani
1992 Khonthang, Thoungamba, Oken Amakcham
1993 Sambal Wangma, Sobita, K Ibohal Sharma
1993 Thambal, Vishnu/Surjakanta, RK Kripa
1993 Madhavi, K Bhupendra, L Banka
1994 Mayophigee Macha, Thouyangba, Oken Amakcham
1995 Sanabi, NFDI/Drdrsn, A. Shyam Sharma
1995 Khamba Khamnu, Ch Shyamcharan, Ch Shyamcharan
1996 Kanaga Hinghouni, Chand Heisnam, Chand Heisnam/Vishwamitra
1997 Sanamanbi Sanarei, G Narayan Sharma, G Narayan Sharma
1997 Khamba Thoibi, M Nilamani, M Nilamani
1997 Chinglensana, Th. Binapani, Rajen Meitei
1997 Iraal Oirage, Chand Heisnam, Vishwamitra/Kishore Kr
1997 Yenningtha Amada, M Nilamani/Ashwini, M Nilamani/Ashwini Kr
1998 Amambasu Anganbani, Chand Heisnam, Vishwamitra/Kishore Kr
1998 Thawaigi Thawai, Thoungamba, Thoungamba/Thouyangba