BHUBANESWAR: The odyssey of Odia filmdom - from being woven around mythology to multi- dimensional storylines, low budget to crores of investment, three to four films a year to 25 to 30 in a row - chronicles stories of the ups and downs theindustry has been through over a period of time. City Express tries to get a peek into the mind of the insiders to find out the reasons for rejoice or remorse
The initial days
In 1934, almost 20 years after the release of first Hindi cinema Raja Hindustani, Mohan Sunder Dev Goswami made Sita Bibaha, based on the epic Ramayan with a total budget of `30,000. It was the fruit of the relentless struggle by a handful of people who shouldered the responsibility of carrying the legacy of Odia cinema ahead despite all odds that Odia films started being made at intervals. The result: people of Odisha got exposed to the largest medium of entertainment. During our times, dedication, sincerity and completion of films were priorities not money , says noted actor Jharana Dash. The characters were infused with life by the artist. At present, the filmmakers function with the motive of making quick money. They are even copying frame-to-frame or mixing different frames of released Telugu, Tamil and Hindi movies,’’ the veteran actor adds.
The glorious years
Till the beginning of 60s only 24 films were made. But the release of Sri Lokanath in 1960 which bagged the first ever President’s award, broke all records and inspired many filmmakers. Based on the socio-fantasy story of Aswini Kumar Ghosh, the film was directed by Prafulla Sengupta. Films like Jayadev, Nuabou, Matira Manisha, Arundhati, Malajahna, Naba Janma, Stree, Adina Megha made during 1960 to 1970 made for a glorious period in the history of Odia cinema. The decade witnessed films based on the novels of popular novelists Kanhu Charan Mohanty (Kaa, Abhinetri), Basanta Kumari Patnaik (Amadabata), Upendra Kishore Das (Mala Janha) and Kalindi Charan Panigrahi (Matira Manisha). The films were flavoured with the essence of Odia tradition and culture but today’s films lack these elements.‘’The filmmakers are spoiling the culture,’’ said Late Sarat Pujari who made a tremendous mark with his acting prowess. Be it a love story, thriller, family drama or issue oriented film, the justification of composing all together is missing, he had said a few days before his demise.
Recognition galore
During the 80s, the artistic and aesthetic excellence of Odia cinema reached its zenith by being recognised at national and international levels. Nirad Mohapatra’s Maya Miriga (1984) won the National award and got an official entry at various international film festivals. A total of 119 films were released during this period.
Change in trend
The influence of Hindi films on Odia films started showing immediately after the success of Punarmilana (1977) which was a remake of Hindi film Chhoti Behena. The popular songs Mu Richshaw bala...and Bhaina bhaina..were also said to be copied. Soon after, Sisir Mishra’s Samaya Bada Balwan was copied from Amar Akbar Anthony. But a number of original movies were also made during that period like Swapna Sagar, Kaberi, Hakim babu, Phoola Chandana, Jhiati Sita pari and some parallel cinemas. ‘’People in general are not able to connect with the Odia link. Odia cinema is no more Odia at all. It is a remake and recreation of an existing product,’’ says actor-director Prashanta Nanda. The 90s was hit by TV boom and multicrore Hindi cinemas compared to low budget poor quality Odia cinema. Major banners were also disillusioned about the type of cinema that would click. To add to it, the boom of Jatra industry also affected. Fearing failure, Odia producers started copying from regional cinema as a trend. Though Daiba Daudi (Aradhana), Santana (Beta), Nari bi Pindhi Pare Rakta Sindura (Khoon Bhari Maang) were all remakes, they could not fill the coffers. The trend of remaking got a jolt when Siba Lenka had to pay ` 15 lakh as fine for making Suhaga Sindoor, which was a copy of Hindi film Hum Apke Dil Mein Rahte Hein and released simultaneously. The original filmmaker had filed a case against him.
Efforts in vain
In 2013 even with 39 releases, the highest number ever in a year, producers failed to achieve audience appreciation. Producers are busy counting in quantity and not judging the quality, says Manmohan Mohapatra who bagged national award for eight consecutive years. ‘’Though there are no buyers for a good movie, few people like Susanta Mishra and Himanshu Khatua are still trying, ‘’ he said. To revive Odia glory and originality, efforts from both Government and private sector are needed which can fill this cultural vaccuum. ‘’There is a dearth of producers who can believe in a director’s vision,’’ he adds. At present, some serious movie makers have started making good original movies, says new age actor Sabyasachi Mishra. The dilemma is the number of theatres which is much less in comparison to other states, he adds. With success of films like I Love You (2005), Pagala Premi (2007) and Prashanta Nanda’s Jianta Bhoota (2010),the fraternity feels good times will prevail soon. ‘’This remake trend will end soon and day is not far when the educated mass would not mind spending money watching a Odia cinema in a multiplex,’’ says Veteran director- cinematographer Raju Mishra.