One of the prime tasks of a responsible filmmaker, i.e., most trenchant analysis of contemporary societal dilemmas, was nearly mastered by Manmohan Mahapatra, arguably one of the pioneers of purposive new-wave cinema. Not he, but his meticulously crafted characters loom large in all his films. Not the characters’ traits, qualifications, social class, showmanship or reputation, but their mere existence is the ground which dominates the films. Surrealistic touch of Mahapatra is evident unfailingly in all his movies. That desire to draw a line outside the boundary, which stands contrary to conventional films based on factious utopian themes, characterizes his genius. To quote the great storyteller Conan Doyle, ‘it’s quite elementary.’
(Mahapatra passed away on January 13. He was 69) Is life not all about experimenting? Is life not about breaking the formulae? Blame it on as bland a factor as monotony or as creative a facet called rebelliousness. Mahapatra sticks to his guns with a conviction which is honest i.e., he must not get allured into the commercial gimmicks, will not project events which have none or least common denomination and which is not reflective of a perception framed by his own self.
Most of his films are based on a thin story line, comprising a series of moments, which have a cumulative effect on the onlooker, where the characters, the situations, the minor story elements all ensemble in to an experience. He deliberately underplays the dramatic point of the film, in fact the de-emphasis of drama happens to be an integral part of his cinema. His films rarely use close up. It is mostly with mid shots along with elliptical cutting that he creates an ambience which has a distinct style.
Born on 10th November 1951 in Khordha, Odisha, he joined the Film and Television Institute of India, Poona. After completing his studies in FII, he made his first feature film, “Seeta Raati” in 1976, which could not be completed till 1980, due to financial problems. This film won the ‘Rajat Kamal’ in the National Film Awards in 1982; it also happens to be the first Odia film to be selected for the prestigious ‘Indian Panorama’ section of the International Film Festival of India, New Delhi.
It may be mentioned those who keep a wee bit track of Odia cinema and its ‘humanist appeal’, simply cannot ignore the contribution of Mahapatra, the lone fighter of Odia cinema, close to the aspirations of film lovers in Odisha. Mahapatra, who began his creative odyssey with path-breaking film, Seeta Raati (1982) has continued to make films, despite heavy sods and odds, and has made thirteen feature films in a span just two decades. If his Seeta Raati shows his imagination and innovatives ideas, other films such as Neeraba Jhada (1984), Klanta Aparanha (1985), Majhi Pahacha (1987), Nisidhaa Swapna (1988), Trisandhya (1988), Kichi Smruti Kichi Anubhuti (1989), Andha Diganta (1990), Agni Veena (1991), Vinna Samay (1993) and Muhurta (2002) have surely proved his agility and aesthetic sensibilities, shifted through various social plots, its conflicts, mainly based on agrarian milieu.
His films made in authentic agrarian ambience far supercede his films made on urban themes. He, like his batchmates Girish Kasaravalli, Balu Mahendra and Ketan Mehta, has never faltered in his mission linked to his moral temperament and social concern affecting our multi-layered society. His recent film ‘Bhija MatiraSwarga’ is yet another attempt to look into the changing times and new perspectives of life bothering our new generation.
In several films Manmohan’s opening shots seek to establish the apparent peace and concord of the village. The much idealized picture of the village as a place of beauty and serenity, of harmony with one’s neighbours and with the land itself, is suggested very clearly in the opening shots of, for example, Sita Rati, Nirab Jhada and Klanta Aparanha. Indeed, so effective is Manmohan’s creation of the visual image that the village becomes palpably real – even smells and the warmth of the breeze seem to be perceptible. The lush greenery, the ponds, the winding paths, the cattle silently grazing and the dogs sleeping, the clucking of hens and the old men sitting gossiping in the forecourt of the ancient temple all help to create an atmosphere that would substantiate the idealised picture of ruralbeauty.
Rightly, he has been conferred with the Jayadev Award, the highest State honour in films for one’s contribution to Odia cinema. The Utkal University of Culture conferred on him an honorary doctorate degree in 2017. Mahapatra passed away on January 13. He was 69.
