This Joymoti lacks finesse
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- Published 30.03.07
Manju Borah’s Joymoti, a cinema-tic depiction of one of the most significant periods of Ahom history and the sacrifice of an Ahom princess for the welfare of her motherland evoked a mixed response during its premiere recently.
The director, with her research-based attempt, has made an effort to redefine Joymoti as a strong personality with courage, conviction and a socio-political foresight. Her statement before the king and the subjects in the court scene after her arrest reflect that essence.
The political situation of the state is also established well with the use of dramatic scenes involving the tricks and traps of Laluksola Borphukan and Aton Buragohain, the helplessness of the king, and the Mughal emperor’s calculated moves to capture Guwahati. However, the early exit of the character of Joymoti loosens her impact on the aftermath of the then socio-political happenings.
From the cinematic point of view, background narration alone cannot always serve the purpose of visuals. Similarly, there are occasions where the involvement of masses could have been projected in a better light.
Fatik Barua has done a good job with the set, costumes and make up. The courtroom is done up in a splendid manner.
The selection of the outdoor locales gives the impression of a job well done. However, the overall action lacks the required magnitude to paint the picture of a scene of war. The design and the pattern of music by Issac Thomas, one of the most outstanding musicians of the country, are enchanting except in some scenes where it seems a little inappropriate.
Raju Mishra’s cinematog-raphy is flawless. He deserves special mention for the low-light scenes. Actors Toufique Rahman (as Laluksola) and Bishnu Kharghoria (as Aton Buragohain) lead the show with their performance. Similarly impressive are Nita Basumatary (as Joymoti) and Rohan Doley (as Godapani).