Actor: To be or not to be - Sevensisters Post

CLOSED DOOR: Assam?s cinema halls reflect the state of its film industry. Photo: Stephen Styris

Debarun Borthakur:

While differentiating ace actors from the mediocre, legendary Russian-American actor Michael Chekhov had once said, ?An actor has to burn inside with an outer ease?. Of course, he had a different context in mind but his golden words aptly reflect the state o f the actors of the Assamese film industry. These actors are bearing the brunt of a prolonged downturn in the Assamese film industry.

Dearth of cinematic projects, reluctance of producers to invest fearing heavy losses, inadequate number of dedicated theatres, competition from mainstream industries like Bollywood and its western counterparts, Assam?s cinema industry is facing acute challenges on a number of fronts. Yet, the protagonists of the industry are bearing it with dignity of a man retrenched because of recession yet p roud of his professional skills. Because they know deep down that voicing concern does not help matters. ?Pestering the government won?t always help as these issues demand consciousness on the part of the film fraternity. Sadly, I do not see it in the state,? said criticturned-filmmaker Altaf Mazid.

Mazid was also of the view that filmmaking in Assam had its share of glory in the past, but is now a pale shadow of itself. On state of actors in the state, Mazid said that there is no such thing called Assamese film industry and whatever regional films have been produced out of the state are result of individual endeavours. ?It?s definitely not like the Hindi film industry or Hollywood. Here it?s not only the actors who are suffering but everyone associated with cinema. You cannot survive in Assam depending simply on the arts, irrespective of the form you pursue,? he said adding that such issues have popped up not just in the state but are pan-Indian phenomena.

Mazid reasoned that absence of other modes of amusement in the past gave a fillip to filmmaking in the state and consequently employed many actors. ?Technology has played a key role. Back then, there was no satellite television, internet or other forms of amusement as we see today. Films were a sought-after mode of entertainment and people used to throng to theatres to have a glimpse of their society on reel. This led to many films being made and actors became stars overnight,? said Mazid, who is known for his cinematic endeavours like ?Lakhtokiar Golam? and ?Las Vegasat?.

However, with the advancement of technology, Hindi films and Hollywood flicks with massive distribution and marketing might have pushed the Assamese cinema to a brink. ?Competition is too big a word to describe the dire strait Assamese film industry finds itself in today,? said Mazid stressing that this was inevitable because of globalisation and technological development. ?Unfortunately, we failed to foresee the changing trends. We need to update ourselves by bringing in international themes, dynamic treatment and universal subjects to be at par with our illustrious cousins and pull audience back to the theatres,? he said. However, even if that is done, there are no cinema halls in Assam to screen regional films, he reasoned.

?Yes, the few that were there have shut shop. Today, the cinema hall owners ask for too much money to screen regional cinema. The distributors are also not bothered about the state of Assamese films. Even the government hasn?t given us any incentive,? complained veteran actor Nipon Goswami. Goswami has a point as the number of cinema halls which used to religiously screen Assamese films, have either closed down or have joined the multiplex trend of screening either Bollywood or western hits.

However, there are those who feel that blaming the government alone won?t solve matters. ?Did Picasso or Leonardo Da Vinci seek government support for their artistic endeavours?? asked Mazid stating that art has always been an individualistic pursuit and should continue to be that way.

The state government earmarked in its 2012-13 budget Rs2 crore for the state?s artist welfare fund. Even though the fund has helped artistes all over the state but doling out money alone won?t serve purpose, said Goswami. ?There are other things that need immediate attention. For example, we have been requesting the government to ask cinema hall owners to cut their fees so that producers benefit and, in turn, actors would be benefited. But the proposal has not cut ice with the government,? Goswami said.

The silver lining in the clouds came when the state government announced that a part of the amusement tax, which goes to the government?s coffer, would be given to the producer of the film as subsidy. ?But did you know that the producers have not received a single penny till now?? Goswami questioned. When contacted, secretary of cultural affairs department Swapnanil Barua, informed Seven Sisters Post that they haven?t received any information about any film producer filing an application claiming their dues. ?I don?t think any film producer has filed any application. First they need to approach the nearest district superintendent of taxes after which the finance department will calculate the money and hand it over to us. We haven?t received any information from the tax department either,? said Barua adding that even the producer of the 2012 hit flick ?Ramdhenu? hasn?t filed any application. ?The producers of this movie have even not filed for any claim despite their connections,? he informed SSP.

Another issue of concern to the actor has been artistes? pension. There are three welfare funds in the state to provide financial aid to the artists. They are the State?s Artistes Welfare Fund, Artists Welfare Fund run by a body of actors and the Indian Motion Picture Association Fund (IMPA), which has been dysfunctional for some time now, informed Goswami. ?At the Artiste Welfare Fund, we have helped many artists with a minim um of Rs15,000 and above depending on their needs. But this isn?t enough if one is to consider inflation,? said Goswami, who is a part of the administrative body of the fund. A source in the Artiste Welfare Fund informed SSP on the condition of anonymity that there are no applications pending to be worked upon. ?Our team consists of doctors and film artistes. Whenever we receive applications, we look into matter seriously and help artistes,? said the source.

He further added that repeated requests have been made to the government to increase the money allotted for artists? pension but felt they are falling into deaf ears. ?We did try a lot to help artist in the state have some kind of financial security, but haven?t been successful. I even called up cultural minister Pranati Phukan in this regard, but she kept on assuring me without any results,? Goswami said. ?The principal problem with Assamese cinema is the lack of b usiness knowledge of state?s film producers. They should formulate a plan to sell regional films in the international market. And this applies to every aspect of filmmaking. Whether it?s the script or technical facet of filmmaking,? said Mazid.

To understand the plight of Assamese cine actors in the current scenario, the data provided by Central Board of Film Certification (CBFC) put things in perspective. According to CBFC, there were 1,255 films produced all over India in 2011 in different languages to which the Assamese film industry contributed just seven. So, how do actors survive? Although they have other options such as digital films, serials, soaps, commission programmes in Doordarshan and of course, the mobile theatre groups, but many consider them as less satisfying compared to working in films. But with little options to choose from, they usually end up being a part of them.

?There is indeed a stark difference between working in a film and in soaps, serials and a mobile theatre. Even though mobile theatres give an actor a sense of financial security, working in films is more about seeking satisfaction as an actor. And being associated with films throughout my life, I would always opt for the latter,? said Goswami, who recently worked in a cinematic venture by Mohibul Haque titled ?18.11 ? A Code of Secrecy? along with artistes like Asrani and Prem Chopra. ?You cannot compare the kind of remuneration and respect you get in the Hindi film industry as an actor. We have a lot to learn from them if we are to revive our industry,? he said.

The tragedy of being Gunasindhu Hazarika

The story of Gunasindhu Hazarika has attracted the sympathy of most towards those connected with the Assamese film industry. His was indeed a heart-rending tale. Hazarika died in poverty in 2011 after knocking at several doors for assistance. A flamboyant man, he left for Mumbai at an early age to learn filmmaking. After continuous struggle in Mumbai and Kolkata, wherein he was associated with two Hindi films and even a Bhojpuri film, he finally found his calling in Assamese filmmaking with ?Maniram Dewan?, ?Lolita?, ?Adalat?, ?Moromi? and ?Toramai? as assistant director. He also made children film ?Abuj Bedona?.

He, however, lost his eyesight while making a feature film ?Nayanmoni? and the world turned upside down for him. Finding no way out, he opened a PCO at DC Court in Guwahati and led a hand to mouth existence with his wife. The PCO was completely damaged in the serial bomb blasts on October 30, 2008. He tried his best to reopen it but failed. His electricity connection was cut due to his failure to pay his dues. He could not pay his rent to the Assam State Housing Board for several months living a life of anxiety. He was offered financial assistance by a number of private organisations, but it was little too late for him.

Source: http://sevensisterspost.com/?p=28108

sharia law sharia law new hampshire primary results ron paul molly sims hostess brands nh primary