Bobby Sarma Baruah’s Rador Pakhi based on Assamese writer and health advocate Sarmistha Pritam is a heartfelt account drawn from the real-life incidents of Pritam, who suffers from spinal atrophy and yet lives life to the fullest. Having had screenings at International Film Festival of Melbourne, 55th IFFI in Goa, Bangalore International Film Festival, Pune International Film Festival, Third Eye Film Festival, it has touched the hearts of many. We go behind the scenes of making the film while speaking to her.
What about Sarmistha Pritam’s life touched you the most?
I was moved by Sarmistha Pritam’s life, the way she has lived in spite of her battle with spinal muscular atrophy (SMA). Despite contracting it at 8 years old, Sarmistha has managed to overcome this ordeal without succumbing to depression or despair. Most of us have the freedom to do things of our own volition; however, Sarmistha needs assistance for the most basic tasks. In spite of such needs, the fact that she has managed to see the bright side, draw, write, and just make the most of her days is something we should all strive towards.
Since it’s based on real-life incidents, was there space for creative liberty?
I did have some creative liberty, even though the movie was based on a real person. When I asked Sarmistha Pritam for written permission, she gave me room to make changes. We renamed the protagonist Jyoti because she was worried that people around her might be uncomfortable seeing real events on screen. Our goal was to show her life in a positive light.
What kind of research and training was undertaken by the actors?
The lead character, Jyoti, based on Sarmistha was played by Sulakhyana Baruah. I guided her on how she should observe her muse. But what stood out was her interest and zeal in playing this character. She was the one who came up to me and told me that, ‘Yes, I know it will be challenging but I also know I can do justice to this character.’ It’s a tough character to play, layered with pain, emotions, and a lot of intricacies in every facet of her life. Serious actors covet roles like thes,e and Sulakhyana was no exception. She gave it her all towards understanding what life is like for Sarmistha on a minute level. Every character, leading or supporting, was trained to ensure that they did justice to the script and above all, Sarmistha’s story.
How is Assamese culture reflected through the movie?
The story is set in an Assamese village. Everything from the house to the courtyard and backyard is steeped in Assamese society and culture. We did our best to ensure that the environment and household Sarmistha was brought up in was recreated faithfully. The costumes were on point, with her mother wearing a mekhela sador. Traditional and folk music were employed including art forms like Ojapali, to make it feel authentic. Given our story is about a girl who is mostly limited to her bed and house, we did our best to depict Assamese culture within these confines.
Do you feel Assamese cinema is getting the national or global recognition it deserves?
Definitely. As a filmmaker, I do not like making a distinction. I believe cinema is a visual medium, regardless of the language the characters are speaking. So as long as the visual element is spot-on, audiences have no issues connecting with the subject matter. Films depict human stories whose problems and emotions remain largely the same, everywhere. You don’t have to know how to speak Assamese or Malayalam to connect with a film from those regions.
Nonetheless, I would like to highlight how much Assamese cinema has grown over the years. Assamese cinema has found platforms on several film festivals, not just nationally but globally as well. And as a regional industry, the market within India has grown exponentially, reflecting the growth on an international scale. Assamese cinema as a platform for storytelling has also come a long way, with audiences genuinely interested in watching great films that have a story to tell. People have started taking Assamese cinema seriously again after the industry hit a bit of a rough patch in between. As a filmmaker, I believe the growth and attention is definitely warranted and deserved. After all, good cinema in any form should be appreciated.
Are you conceptualising any new film?
As a filmmaker, I am always working on something or the other. Sometimes, I get an idea for a film while I’m in the midst of making one already. I am working on a new project called Guti Fulor Gamusa. This cinema is in pre-production right now, and I hope to begin filming by next year. It will also depict Assamese folk culture and festivals.
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