How Satyajit Ray got floored...
There’s an account related to me by Mr K. Ibohal Sharma (pic on the left), 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.
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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.
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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
