AASAMI MOVIE STILLS

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Aideu Handique Phunu Barooah. The film, shot between and , [1] was released by Chitralekha Movietone in and marked the beginning of Assamese cinema. Joymoti had known that her husband alone was capable of ending Sulikphaa-Laluk’s reign of terror. Then, in , popular Assamese story-writer, novelist, engineer, actor, screenwriter and documentary film director Arnab Jan Deka , recovered the original intact print of the film, containing the entire footage, at a Studio in Bombay. Retrieved from ” https: Arnab Jan 9 April This page was last edited on 5 September , at The significant similarities with the Russian montage reflect an element of influence.

This unplanned accomplishment made Jyotiprasad Agarwala the first Indian filmmaker to have introduced Dubbing and Re-recording Technology in Talkies. He floated newspaper advertisements for actors and actresses, mentioning brief outlines of the film and descriptions of the characters. The bungalow, where he composed the music for Joymoti on his organ, still stands – albeit in a dilapidated condition. During filming, the rainy season was to prove a challenge to developments in the technical process, with Jyoti Prasad having to suspend shooting for several days at a time, due to insufficient light in the absence of outdoor electricity. Meanwhile, some reels of another remaining print of the film maintained by Hridayananda Agarwala has been restored in part by Altaf Mazid. A failed expedition to recover the first Indian dubbed film”. Set in 17th-century Assam , the film recounts the sacrifice of Joymoti , an Ahom princess tortured and killed by the Ahom king Borphukan for refusing to betray her husband Gadapani by disclosing his whereabouts.

Joymoti had known that her husband alone was capable of ending Sulikphaa-Laluk’s reign of terror. The significant similarities with the Russian montage reflect an element of influence. Archived from the original on 27 October During filming, the rainy season was to prove a challenge to developments in the technical process, with Jyoti Prasad having to suspend shooting for several days at a time, due to insufficient light in the absence of outdoor electricity.

Meanwhile, some reels of another remaining print of the film maintained by Hridayananda Agarwala has been restored in part by Altaf Mazid. Unable to marshal the actors once again from their native places due to various constraints, he hired sills sound studio and dubbed the voices of all male and female characters.

Laluk was murdered in November by a disgruntled body of household retainers. Filming was eventually completed in Augustand Joymoti released in early after Jyoti Prasad had completed his own editing. Legislative Assemby should aasamk resolution”. The documentary thereby saved the reels, which have been copied and remastered since.

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Arnab Jan 9 April Joymotia study of the culture and history of Assamcarried with it the bright possibility of a film tradition.

This grew into a museum. The ministers, now roused to a sense of patriotism, sent out movke parties for Gadapani who, gathering his strength, returned from his exile in the Garo Hills to oust Sulikphaa from the throne.

Aideu Handique Phunu Barooah.

Tea was manufactured by day, and by night actors performed at their rehearsals. Named Chitraban, the studio was built using local materials such as wood, bambooand banana stumps.

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After a prolonged search and detailed interviews, he discovered Aideu Handique in a remote village near Golaghataasmi the role of Joymoti: The film was released on sstills Marchat the Raonak Theatre, and was inaugurated by the Assamese writer Lakshminath Bezbarua. Over the next few years, he sought shelter at Sattras Vaishnav monasteries and the adjoining hills outside the Ahom kingdom.

Somehow the print, together with other films, travelled from Lahore and resurfaced in India’s film capital. Retrieved 18 April Omvie garden, where Jyoti Prasad single-handedly laid the foundation stone of Assamese cinema, now lies abandoned.

The film is noted for its constantly changing angles, unique sets built from scratch on a tea plantation, with local materialsand other stylistics tactics employed by the imaginative Jyoti Prasad in this his film debut.

Shooting was carried out under sunlight by using reflectors. Views Read Edit View history. He imported a Faizi sound-recording system from Lahoreand the first camera into Assam from Mehta of Calcutta. Joymoti or Joimoti Assamese: Following the Second World War Joymoti was lost and almost forgotten. Apart from the acting, Jyoti Prasad also taught his actors certain film-making techniques—such as developing, processing, printingand editing —and shared with them his knowledge of various film shots like mixed shot, fade outzoomdissolve, back projection, and model shooting.

Joymoti was the wife of the Ahom prince Gadapani. Joymoti’s self-sacrifice would bear fruit in time: He floated newspaper advertisements for actors and actresses, mentioning brief outlines of the film and descriptions of the characters.

A still from Tamil movie ‘Aasami.’

This matter was also debated at Assam Legislative Assembly, and Secretary, Cultural Affairs Department of Assam Government, convened an official meet to discuss this matter together with other issues pertaining to development of Assamese films.

Set in 17th-century Assamthe film recounts the sacrifice of Joymotian Ahom princess tortured and killed by the Ahom king Borphukan for refusing to betray her husband Gadapani by disclosing his whereabouts. Although shooting at the Chitraban Studio started in Aprilit faced an initial delay as Jyoti Prasad was unable to find a suitable young woman to play “Joymoti”, as well as actors for a few other roles.

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This was inspired by Jyoti Prasad’s desire to liberate cinema from that “uncertain” reputation. The 17th-century costumes used in the film were designed by Jyoti Prasad, and the make-up was done by the actors themselves, assisted by Sonitkowar Gajen Borua.

Although never a commercial success, Joymoti was noted for its political views and stlls use of a female protagonistsomething almost unheard of in Indian cinema of the time.

On a single day, he recorded six thousand feet of film. To furnish the royal court of the Ahoms, he used regal utensils such as maihanghengdangbhogjarabata, sariyaand banbata. Then, innovie Assamese story-writer, novelist, engineer, actor, screenwriter and documentary film director Aasamk Jan Dekarecovered the original intact print of the film, containing the entire footage, at a Mogie in Bombay.

A special property room was constructed, in which Jyoti Prasad Agarwala collected traditional costumes, ornaments, props, hats, etc. Srills of the cast were encouraged to keep up their physical exercises to stay fit. The bungalow, where he composed the music for Joymoti on his organ, still stands – albeit in a dilapidated condition. Technicians were brought in from Lahore; ice, transported from Calcutta.

In Arnab Jan Deka again wrote in detail about this entire episode in the prestigious Assamese literary journal Prantik. For other uses, see Joymoti.

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According to Natasurya Phani Sarmamoovie played a key role in the film, Chitraban was not merely a studio, but a film-training institute in itself. A Festival of Friendship” Vol. The film was taken to Lahore for editing, at which stage Agarwala discovered there was no sound for one half of the film. The film was not well received, consequently suffering a debilitating financial loss. He sought out a film-making trio, Bhupal Shankar Mehta and the Faizi Brothers from Lahore, as cameraman and sound-recordists.

This unplanned accomplishment made Jyotiprasad Agarwala the first Indian filmmaker to have introduced Dubbing and Re-recording Technology in Talkies. From Wikipedia, the free encyclopedia. Once back in Assam, he decided to make his first film.