From the Big Screen to Tilling the Soil

A certificate which has received pride of place in my mantelpiece is the Ambassador for Peace certificate awarded by a Norwegian organization for brokering peace with Ulfa, Tiwa and Gorkha militants. Pranjit Saikia who was once ULFA chairman Paresh Barua’s right hand is my right hand at present. He is helping me to bring other youths back to the mainstream. This is now my priority.

The chocolate hero of Assamese movies Pranjal Saikia wooed the audience with his versatile acting abilities. Having acted in blockbusters like Ajoli Nabou, Koka Deuta Naati aru Hati, Raag Biraag and Halodiya Soraye Bao Dhan Kaye to name a few, Pranjal achieved the pinnacle of success with the tear jerker, Xon Moina. The heartthrob of millions, Pranjal today is engaged in bringing the youth of Assam, who went astray, back to the mainstream. Excerpts from an interview:

Please tell us about your childhood and family background?

I was born in Jorhat. Our house was located near Tarajan Burahgohain Pukhuri, an Ahom era royal pond, and the Tarajan Sanmilani Mandir where the Natya Mancha was incorporated. I was admitted to Balya Bhawan and in kha (KG) standard was admitted to Silver Jubilee in Tezpur, a very reputed school even today. The Headmaster Benudhar Saikia was a disciple of Mahatma Gandhi and was a simple man with high ideals. He was always simply clad in white dhoti and an eri shawl or white cotton cloth was draped over the kurta. He was always barefooted. It was in Tezpur that I first had a brush with theatre. My aunt’s family was associated with the theatre world and her son Hiren Choudhury used to act in dramas. It was during that time that I saw the famous drama Bhogjhora at Tepur’s famous Bani stage where Phani Sharma and Bishnu Rabha had essayed roles.

In my childhood I had three major influences, dramatics, sports and social work.

In Jorhat our house was located at the backyard of the Tarajan Natya Mancha which was a part of the Tarajan Sanmilaani Mandir where Durga puja was held every year and dramas staged as part of the celebrations. Our house was almost a contiguous part of the stage with people dropping in for a cup of tea or drinking water from a earthen potkept for the purpose. I grew up watching my father being involved in the staging of the plays but as we were too small to enact roles we were asked to do odd jobs like painting the sets, hammering nails and helping in whatever way we could. It was in class 6 that we formed a group and began staging plays which had either mythological, historical or social themes. We also took up enacting comedies and were thrilled by the laughter we evoked. Most of the plays were based back in those days were based on Bengali drama translations.

From class 8 I began acting in plays and inevitably won the Best actor award in the competitions. It went on from there. In the University days I was offered many roles in plays and did regular performances.

Sports was my second major pastime.

We used to play, cricket, volleyball, badminton, and a board in Tarajan Sanmilani Mandir made do for a table tennis board.

I participated in school table tennis tournaments in the district, races, jumps and would win the first or second prizes. In Dibrugarh University our table tennis team was the champion for two years and in cricket our team was runners up two times. I also learnt bodybuilding, boxing, wrestling, and the Indian martial art of wielding a lathi.

Samar Bordoloi, who was a navy man was a body builder, boxer, wrestler and held the Mr Navy title, returned home to Jorhat after taking voluntary retirement and suggested that we open a wrestling club. I immediately asked him to make our courtyard the place for the club and we learnt bodybuilding and wrestling, Thus, was born The Gateway to Health Institute in our courtyard. Once we were into body building and boxing we would thrash those in the audience who indulged in obscenities and they were wary of further transgress.

I was also known for my social work. I would be helping out at weddings and shraddhas. I was known for making beautiful morols and gateways at weddings. Sports, dramas and creative activities were a part of my growing up years and there was time for little else.

Will you please tell us more about your journey in the sphere of acting

In 1975 I shifted to Guwahati permanently. It was at that time that the Cultural Affairs department of the Assam government decided to do a repertory theatre for the first time. I answered an advertisement in a newspaper and auditioned at the Rabindra Bhawan. Seven of us – Chetana Das, Robin Neog, Hemanta Dutta, Khaleque Choudhury Purnima Devi and I were selected

Dulal Roy who had qualified from National School of Drama and later an editing course was our mentor and for two years I was attached to the Cultural Affairs department performing plays in different locations all over the state, Hiteswar Saikia, the then state Home Minister made arrangements for a Bedford truck to be given to us and we lugged all the different stage equipment and stage settings on the truck and also travelled with it to the different locations. The ladies usually went by car. At the place where the dramas were to be staged we first erected the stage before having a meal. I loved the work as learning on the job about different aspects instilled tremendous confidence in me.

It was in 1975-76 that I got selected as a VA artist for All India Radio as well and did several dramas on radio. In 1986 I became an A grade artist of AIR.

During that time Dulal Roy insisted that that I do a course at National School of Drama, New Delhi so that I could get wider exposure to what was happening in the world of drama. I went on a state government scholarship of Rs 200 as I missed the Central government interview for a scholarship of Rs 350 because of my shooting schedule for the movie Upapath. At NSD it was not just learning about acting and directing a movie but we had to undertake 13 subjects of study including makeup, setting, lighting, scenic setting, yoga, western drama, modern Indian theatre BV Karanth, a stalwart in drama in those days introduced us to folk, traditional and Sanskrit drama. exposure in these.

After three years of study I had to return as my father passed away in service and I had to take care of my mother and my younger brother and sister. My elder sister had got married by then. That was in 1981.

To run the family and pay the rent at Guwahati I decided to join the Bhramyaman theatre network of Assam in 1982 The mobile theatre of Assam is one thing which every artist should go through. The rigorous regimen of having to perform shows in different locales, in front of different audiences and in hot and cold weather calls for a different discipline of mind and body as well as hones one’s acting abilities. This is what I feel.

How did you enter the world of films?

I made two black and white movies before joining NSD. One was Shiva Thakur’s Phaguni and the other Hemanta Dutta’s Upapath.

Prior to these Samarendra Narayan Dev offered me a bit role in the Kazirangar Kahini which he was shooting at the time and in which my sister Manjula was acting. I was in college then and had to escort her to the shoots. Samarendra, who I called Babulda, had then offered me a part but I refused and told him that I was not willing to do that kind of role and preferred drama to coming before the camera just to be seen on the big screen. It was after that Shiva Thakur offered me a part in Phaguni.

During the summer vacation after the first year at NSD I acted in Ajoli Nabou under Nip Baruah’s direction. Ajoli Nabou was a runaway hit and people came from distant villages to the cinema halls in the towns by hired buses. It made me known and I became very popular. After my return from NSD I worked in several movies including the box office hit, Koka Deuta Naati aru Haati. At that time I was working simultaneously in movies and theatre.

What else have you been associated with?

In theatre I think I’ve performed 4000 times before audiences in a five year period. In AIR also I have done about 70 plays. All these have helped me acquire experience and has given me an edge in my field of work. This is probably why I have been selected as an executive member of Sangeet Natak Akademi. I have also been an NSD expert committee member, FTII Pune, Governing Council member and Central Censor Board member.

When I was a member of the Sangeet Natak Akademi between 2016 to 2018, I was able to get for Assam 19 awards and recognitions. This is a huge tally of honours for Assam as Bhupen Hazarika as chairman of the Akademi could garner only about four awards for our state.

After I came out in 2019 I got the Sangeet Natak Akademi award for acting. Seema Biswas was the only actor from Assam to get this award prior to me.

Please share with us some memorable moments while making movies

In Shiva Thakur’s Phaguni there was a song Mur aunxi Raati Phesa Kuruliaye … in which I had to essay a role of a son, whose father drowns in the river and the tokori which the father plays floats back to the son. The song was sung by Jayanta Hazarika and the music lent by Upen Kakoti. It was from my perspective that the song was choreographed.

I have very good memories of shooting with elephants in two movies both related to Pratima Pandey. One was Gaja Mukta where I enacted the role of Chandan, an adopted son of Pratima Pandey’s father, Lalji. Lalji was played by Soumitra Chatterjee, The other actors were Tom Alter and Moon Moon Sen. It was a wonderful experience working with a mammoth animal. In another movie, Sonar Boron Pakhi directed by Bobby Sarma Baruah I played the part of Pratima Pandey’s father. Here too I acted with another elephant and both times I had no problems with such huge animals which were quite intelligent. There are other memories while shooting for Nip Baruah’s movies of turning completely black because he shot most of his movies outdoors under the blazing July sun. This was because he wanted to shoot nature at its green best. Add to that the reflectors in front of which we had to shoot back in those days, made us totally dark skinned. And there are also memories of shooting for Pahari Kanya in Karbi Anglong, the most beautiful scenic locales.

There are so many things to narrate about our times. There were no costume designers, no choreographer. We used to wear whatever we had in our wardrobe. I used to buy a few clothes before a new shoot but I liked to work in movies that did not require many changes of costumes.

You have worked in such hit movies like Koka, Deuta Naati aru Haati and Halodiya Soraye Bao Dhan Khaye. Please tell us something more about your hit films

Xon Moina was my most memorable cinema till date. It was the story of a sportsman who was looked upon as the black sheep of the family but it was he who ultimately sacrificed his career in cricket by selling his kidney to get money so that his sister could get married. There was no one in the theatre halls, who did not shed tears at his sacrifice. All Munin Baruah’s films were commercially successful and I consider him to be the best filmmaker in Assam.

What is your opinion of the new age cinema

If one was to look at Dr Bezbaruah, it is a superhit movie. It’s a remake of the old one but there is new execution, it is fast paced and ultra modern. People now do not have the patience to sit through slow paced movies which take time to develop the story. The making should be modern. The cinematic language has now changed. People cannot relax and enjoy the movie like earlier years. The new age caters to the new age But that does not mean we should give up the lyricism which existed in Assamese movies of yesteryears, the scope of activity, the societal and familial bonding --- the ethos which makes up Assam. The director should know all about movie making, gilding everything with a modern touch.

As a senior what advice would you like to give the next generation

Now the artists are matured. Mur Xekh Gaan was a very good movie, Amuthi Puthi is a smartly made movie with new execution. Likewise, Mumba Rides, Balconyt Bhagawan and Bridge are all very well-made realistic movies with newness in execution. I liked all of them and especially Mur Xekh Gaan, which I felt people should have gone and watched. But these movies have not made money. It is not always what they want that the new directors will get. It is also our responsibility to teach them about how to go about making a movie. However, these should be modern..

Are you working in any new projects?

After Munin Baruah’s death I received several offers but I have become detached. I will still go on working in dramas but will be more selective while making another movie. Now I am engaged in organic agriculture and the motive is to bring those youths who had gone to the jungles, back to the land they left behind. I tell them to drop the gun in favour of tilling the soil. I insist that they come back and lay claim on the land they had left behind. This is my priority right now. I have asked they to go for organic farming. I am also working against drugs with DASTR -- Development Action for Social Transformation in Rural – the organisation which is engaged in bringing the militants overground.

Will you tell us about your awards and achievements

I have been felicitated by many organisations and have received a few lifetime achievement awards. I have received the highest award of Assam Natya Sanmilan and also the Natasurjya Phani Sharma award 2022 from Assam government.

One recognition which I value is the one given by a Kolkata organization, Theatre Shine.

I am also associated with the Sikkim Theatre Training Centre, an NSD wing I take interviews orientation classes at the Sikkim Gangtok NSD. A certificate which has recived pride of place in my mantelpiece is the

Ambassador for Peace certificate awarded by a Norwegian organization for brokering peace with Ulfa, Tiwa and Gorkha militants. Pranjit Saikia who was once Ulfa chairman Paresh Barua’s right hand is my right hand at present. He is helping me to bring other youths back to the mainstream. This is now my priority.