The 1890s witnessed the emergence of motion pictures on the global scene. Few decades later, India also made cinematic history with its first full length feature film, ‘Raja Harishchandra‘, released in 1913. Since then, movies became the new favorite past time, and with the introduction of ‘talkie’ films, they gained even more popularity.
Bollywood movies began taking the Manipuri audiences by storm, impressing them with its over-the-top dialogues and monumental soundtracks. However, Manipur had yet to produce its first home-grown film, which arrived in the year 1972, with Debkumar Bose’s ‘Matamgi Manipur’. Although made in the Meitei language, with Manipuri actors on the screen, Debkumar Bose was a Bengali film-maker and hence, the distinction of ‘Manipur’s first film directed by a Manipuri’ remained unclaimed.
This is when ‘Brojendrogi Luhongba’ entered the scene. Based on Dr. Lamabam Kamal’s short story of the same name, the film was directed, produced and scored by Sapam Nodia Chand (SN Chand), who also adapted the screenplay. The film was released on 26th January, 1973, coinciding with India’s 34th Republic Day. The film was partially shot in Kolkata (then Calcutta), while the majority of the filming took place in Manipur. It also featured extensive sequences of Churachandpur, where Brojendro (played by SN Chand) was transferred to a government hospital in the film.
Cast
- Sapam Nodia Chand as ‘Brojendro’.
- Y Ramola Devi as ‘Malti’.
- Oinam Biramangol as ‘Brojendro’s maternal uncle’.
- Uma Hijam as ‘Rita’.
- Indu as ‘Brojendro’s mother’.
Synopsis
Brojendrogi Luhongba (1973) tells the tale of Brojendro (SN Chand), a freshly minted MBBS graduate returning home to Manipur from Kolkata. His mother, a single parent, has arranged his marriage without his consent, leaving him feeling trapped.
Torn between love and loyalty, Brojendro reluctantly accepts the union but vows to ignore his bride, Malti (Y Ramola Devi). On their wedding night, he abandons her to watch a dance performance, then promptly leaves for Churachandpur as a doctor, devastating Malti.
As Malti struggles with depression, Brojendro meets nurse Rita at his new post. However, recognizing his past mistakes, he rejects Rita’s subtle advances, acknowledging Malti as his rightful partner.
Overcome with remorse, Brojendro returns home but hesitates to face Malti directly. Instead, he attends a leikai musical ceremony, where he spots a captivating woman. Entranced, he wonders, “Who is this beauty?” Only upon returning home does he discover the stunning woman is Malti.
The film culminates in a tender reunion, weaving a narrative that explores themes of duty, love, and redemption.
Character Analysis
1. Brojendro
Brojendro, the protagonist, is a complex figure, embodying the tensions between tradition and modernity. As an educated individual influenced by Western ideals, he questions the conventional norms of his society. However, this progressive façade crumbles when he callously disregards his wife Malti’s emotions. Despite marrying Malti solely to appease his single mother, Brojendro’s refusal to acknowledge his wife’s presence, let alone engage with her, exposes a troubling strain of toxic masculinity. His actions demonstrate a stark lack of empathy, prioritizing his own desires over Malti’s well-being.
Yet, in a redeeming arc, Brojendro confronts his mistakes and undergoes a transformation. He eventually embraces Malti with love and understanding, signaling a growth from self-centeredness to emotional maturity.
2. Malti and Rita
The contrasting characters of Malti and Rita serve as a poignant commentary on the societal dichotomy of 1970s Manipur. Malti, the conventional Meitei woman, embodies tradition and obedience. She acquiesces to her parents’ decisions, suppressing her own desires. Trapped between her mother-in-law’s cultural expectations and her husband’s modern values, Malti becomes a voiceless scapegoat, struggling to assert her identity.
In stark contrast, Rita represents the empowered, modern woman. Educated and articulate, she engages in philosophical discussions, viewing life as an art. Unapologetically expressive and clear in her intentions, Rita embodies freedom and autonomy.
3. Brojendro’s mother:
Brojendro’s mother embodies the quintessential old-fashioned Meitei matriarch, beaming with pride over her son’s accomplishments as a doctor. Her unwavering faith in Brojendro leads her to assume he’ll acquiesce to her plans, resulting in the unilateral wedding arrangement.
When Brojendro queries her decision, she confidently asserts that no parent wishes harm upon their child, convinced that her judgment is infallible. Through her interactions, we see: A sharp, high-pitched voice; articulate and dramatic dialogue delivery.
Songs of Brojendrogi Luhongba (Marriage)
As was the norm in Indian movies of the era, films were incomplete without actors lip-syncing to songs sung by playback singers in the background. Brojendrogi Luhongba also featured two songs: ‘Ahing, Nungshirabi Ahing,’ sung at a night club in Calcutta, and the semi-classical ‘Mayai Kaaraba Amuba Leichil’, performed alongside a captivating classical dance. The first song evoked late 1960s and early 1970s Bollywood numbers, reminiscent of ‘Ye Jo Muhabbat Hai’ (Kati Patang, 1970; Rajesh Khanna, Kishore Kumar). Notably, the second song’s unusually high pitch was thrilling to experience in the theater.
Glimpses of Manipur’s past through the lens of Brojendrogi Luhongba
Brojendrogi Luhongba serves as a cultural time capsule, preserving aspects of Manipuri society. The film provides a unique window into traditional cultural practices, now largely forgotten. Additionally, it showcases stunning locations, some of which have undergone significant transformations over the years. The film’s opening scene, showcasing Manipur’s breathtaking landscape, serves as a poignant reminder of our progress. The title, written in Meitei Mayek, besides English and Bengali, is a testament to our ancestors’ love for the language.
The film’s culturally rooted scenes are a standout, particularly the Heijingpot sequence featuring ‘pena khongba’ in the courtyard. It also highlights lost customs, such as ‘male keina senabas,’ now replaced by female participation. Scenes featuring iconic locations like Shree Shree Govindajee Temple and Khwairamband Keithel in the film serve as a nostalgic reminder of the transformations these sites have undergone over the years.
Moreover, the film’s portrayal of vibrant cultural practices, such as ‘Pena Khongba’ and ‘Basok Sakpa’, alongside scenes of devotees praying at Shree Shree Govindajee Temple, stands out as a poignant testament to the deep-seated love for tradition and faith that defined the era. This cultural richness is a stark contrast to the rarity of such devotion in contemporary times.
The film’s musical numbers, inspired by Bollywood’s 1970s style, are notable. Two songs stand out: one set in a Kolkata club, and a classical dance performance rendered by renowned playback singer Aarti Mukherjee.
Conclusion
Although slightly slow-paced with sparse background music, ‘Brojendrogi Luhongba’ will remain a landmark in Manipuri cinema history as the first Manipuri film directed by a native filmmaker. The dialogue deliveries may feel somewhat dramatic, understandable given the actors’ theatrical roots. However, the compelling screenplay and picturesque locations make this film a timeless classic, worthy of preservation for future generations to appreciate.
Daniel Yumkham | Film Critic and Researcher
Passionate about history and Manipuri culture, Daniel shares film reviews and research on:
-Manipuri Cinema (Instagram : thefilmdiary )
-Regional History and Traditions.