Manish Jaisal
Assistant Professor at Mandasaur University
The director, screenwriter, producer Haobam Pavan Kumar, a resident of Imphal, Manipur, has brought together an aspect of the history of Indian cinema that a film audience and the film’s greats will never forget. Pawan, who was a disciple of Manipuri cinema’s Areebam Sharma, has done many important works as a cinematographer in Manipur and the country after doing a diploma in screenwriting and directing from the Satyajit Ray Film and Television Institute, Kolkata.
Kumar’s debut feature film Loktak Lairembee (Lady of the lake) won the National Film Award for Best Film on Environment Conservation/Preservation at the 64th National Film Awards, 2016. He also won ‘German Star of India’ at the 14th Indian Film Festival in Stuttgart, Germany for the film in 2017.
Kumar’s documentary ‘AFSPA 1958’ in 2006 was one of the highly critical and widely appreciated films across the globe to showcase the harsh reality of the ill effects of Arms Forces Special Power Act in Manipur state. He has been associated with starting with shows like orchids and Manipur for TV KANGLA, LAIPHADIBI – A FOLK DOLL, UREI – THE TREE FLOWER, MANIPUR-AN EXOTIC DESTINATION, CINEMA IN MANIPUR – 3 EPISODES, ESHING (Water), NUPEE (Women), ROOTS TO GROWTH. Pawan inspiration comes from the films of Andrei Tarkovsky, Wong Kar-Wai, Yasujiro Ozu and Krzysztof Kieślowski.
Kumar’s combination of fiction and documentary in one movie where the community affected itself is acting is phenomenal, and opens new posiibilities of engaging with the production of movies.
Interview:
Q- What kind of changes do you see in Manipuri cinema industry? How was your film journey?
Manipur and Assam are the only two northeastern states where cinema has been making for many years. However, cinema is also being made in Nagaland, Sikkim, Tripura, Meghalaya. But I do not see any type of cinema industry type in any other state except Assam. In the era of celluloid films, only one or two films were made here in the northeastern states. And digital films were not even eligible for the National Award. In such a big difference, people have been making films in digital medium and now digital films are being included in the National Award. You can also say that Manipur is the first digital film making industry in the northeastern states. But here theaters are also negligible regarding film screenings. So I would not like to call it as Manipur’s film industry here. My own cinema started with a documentary. In those days Doordarshan used to finance it. But today they are all closed. Doordarshan’s own condition is not right O A TV channel named Arun Prabha is left, we have some hope. After that I also made feature films for passion. But the lack of audience and cinema hall, made me realize that the producers here have many challenges of film making. The viewer has no option other than DVD and Doordarshan. I have now started making films for Global Audiences. My feature film LOKTAK in Berlin and Busan has premiered. And I am lucky that the release of my film was also done on a digital platform. But there are only two shows in the cinema hall.
Q- Talking about the cinema of the Northeast, Assam is being seen separately. What difference do you see in the cinema of the North Eastern states?
Even though people see Assam’s cinema being different, our director Aribam Shyam Sharma’s film Imagi is the first film to be seen by people globally and also received the Golden Montgolfiere Award. At the same time, Aribam Sharma’s film Ishanu, which goes from the northeast in Cannes, is the only one. And my film also became the first film to go to Berlin. So an important character from Manipuri cinema needs to be seen which is, what we are making is for our language, civilization and culture. The dance up in Jo Raas Leela in the film Ishanu is a different experience that audiences all over the world see. It is important in the small-eyed artist whose face is expression less, how the classical slave is being shown in Raas Leela. In our culture too, the faces of the gopis who are in Dhaka during dance can be seen in similar films. It would not be wrong to say that we have more use of body languages than face. For which we have to show more and more shots in the long shot itself. This difference is seen in the films of Manipur.
Q – The people of Bollywood and Tamil telugu are using the northeastern states as an element. What is your comment on this?
There has been a lot of difference in Bollywood in these ten years. That is why new subjects need new location and newness. That’s why they are coming here. And not just North East, they are going to every corner of the world. Because there is a lot of pressure in the market. They are just the target of money, so they are not thinking about how to shoot without thinking about its loss.
Q- What kind of changes are seen with the introduction of new OTT platform (over-the-top online streaming services on internet)?
According to what I am seeing in Manipur in the last 5 to 10 years, I doubt how long the producer will make films out of his pocket? That is why the production of the film has been very less in these years. And those who are making or say those who have learned to make films are going towards documentary. And because of this, a new trend has also come that documentaries are being given the title of serious Filmmaker. That is why not even the producers are coming forward. And with the coming of the OTT platform, there is not much difference. While films have started to be made more with the introduction of this OTT platform in other states of the Northeast, but film production in Manipur is becoming less. I am lucky that is why I am separating myself from it. My film came on Tata Sky, Mami, Channel 4, Netflix, etc. If your film is in Manipuri and no award is received then it is difficult to get in these OTT platforms.
Q- What are the subjects on which film in Manipur needs time?
My stories are based on contemporary themes of films. These days I am filming on the ethics of Manipur. I see Mini India in Manipur. Naga and Kuki also need their land now. I am working on such new subjects. Despite a lot of trouble here, you will also get to see unique things here. And I can also say that the documentary culture is going to live here. Because there are 29 official tribes here.
Q – People associated with the film are migrating to Mumbai Tamil Telugu. Why so ?
People from technical fields like graphic design, music industry, visual effects are going there. Because the job opportunity is very low here, there are not even satellite channels, so these people are going there. Now the actors are also going there.
Q – What is the role of the government?
I have been the executive member of the Manipur State Film Development Society for 3 years. Conversations go on, paperwork is done, things do not come to the ground. In Assam, the government is also doing finances for three international film festivals and films, but nothing like this here. I myself have received the National Award four times but every next film has to run around. No producer accompanies a commercial film. Still the central government has helped me. I was helped by the Berlin premiere. But what is happening here in cinema in Manipur, I cannot call it positive. My wife earns, that’s why everything is going on.
Q- What is the role of women?
There are women in acting but less in other aspects of filmmaking. But she has a distinct identity in the society of Manipur and across the country.
Q- How does future of Manipuri cinema looks?
I started 15 years ago. After coming back from Satyajit Ray Film and Television institute, SRFTI, I wanted to do something different. I see that my juniors are also doing well. Are also in the mass media. That is why I am seeing the future of Manipuri cinema as positive. Better results will come if theater and finance are facilitated. A Naga community filmmaker from Manipur is earning a good name. The arrival of the mall will be better and the arrival of the inox PVR and OTT platforms..
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