Filmworld
Surviving in showbiz by making northeastern films: Manju Borah
By
Natalia NingthoujamNew Delhi, July 4
Lack of resources and
advanced technology in northeast India notwithstanding, National
Award-winning filmmaker Manju Borah has been able to survive in the film
industry for almost two decades. She credits it to her choice of
themes, which are deeply rooted in the region.
"Northeast is
diverse and has a rich culture. I know that movies don't have
geographical boundaries, but if I don't make films from this part of the
country, I don't think I will get attention.
"I am surviving in
the industry because I make northeastern films. I pick up stories from
our society and that is why people find them interesting," Borah told
IANS from Guwahati.
Her first feature film "Baibhab - A scam in
verse" (1999) was honoured with Special Jury Award at the 47th National
Films Festival 2000.
Citing the example of her last film "Ko: Yad
- A Silent Way" (a Mising language film), she said: "So many people
appreciated it as I presented the Brahmaputra river well in the film...
that is eye-catching. I don't think that my film was a great piece of
work, but because of the theme and location, I got noticed."
This
time, she has managed to draw the attention of people of Montreal with
"Dau Huduni Methai" (Song of The Horned Owl). It will be screened at the
prestigious Montreal World Film Festival, which will begin from August.
"In
the film, I have exposed the Bodo land...their lifestyle and tradition.
That's why I am getting the attention. Otherwise, technically we are
not that advanced and there are budget issues. So, these (stories and
location) are our assets," said Borah.
"The film will be screened
in the Focus on World Cinema section. It won't be competing, but I
thought getting this opportunity itself is a prestigious thing," added
the filmmaker.
But filming it wasn't a cakewalk for her.
"We
shot in the Meghalaya-Assam border for about 22 days. Unfortunately,
the region is affected with insurgency. One of the Army officers warned
me not to work there. I told him that I am a cultural activist too and
that the boys are our own boys; so I don't think they will create a
problem in my work.
"I refused to take security with me...In the
last two days of shooting, things got very bad. There were encounters. I
had to quickly finish my work. The location is very beautiful. It was
the harvesting time.
"So, it was golden in colour and the hills
looked beautiful. People were so nice and friendly. But it's the
socio-political situations that are causing problems there," said the
filmmaker, who likes to work with fresh talent.
As much as she loves presenting stories of her homeland, she wants a change in the way films are distributed in the region.
"Hindi
films get priority here...Maybe, that is the taste of the new
generation or maybe it's the whole design of distributors. Maybe, they
prefer Hindi films so that they can earn more money because regional
films' viewership is very less.
"In the northeast, viewers are
not purely Assamese or Manipuri...it is a complex pattern of inhabitants
and we speak many languages. So ultimately for a regional film, it is
difficult to get a good number of viewers.
"The screening timings
are also very odd. So, there is no scope to recover the cost. Since my
last film, I have decided not to release my films in theatres here (in
Assam)," said Borah, who is content with sending her films to fests or
for private screening or television.
What about Bollywood?
"I
am afraid of the big artists who throw tantrums. If a good production
company approaches me, I will work in Mumbai too," she said.
(Natalia Ningthoujam can be contacted at [email protected])