An article by Worngachan Shatsang
Films are mirrors to society. They reflect the language, lifestyle, thinking, and morality of the society and the realities of the time that they were set in. As such, films act as time capsules, providing us insight into the social and cultural orientation of the societies where the films were set.
Most of these films were made before the ban of 1993 by the NSCN-IM on film screenings. They were shot on camcorder cameras with VCR tapes, with only a few being fully digitised. As such, most of the films made during that time which were not digitised, were eventually lost in time. This endeavour allowed me to digitise these films and document the works and stories of the pioneering filmmakers in the region.
Aside from just identifying these films, one of the tasks was to add subtitles to the films for it to be accessible to a bigger audience once it is sent to the NE Archive at St. Anthony’s College in Shillong.
The whole process was an eye-opening journey that opened my eyes to the film culture that existed over three decades ago and how the film industry was back then. Here are a few takeaways from working on those films.
Ringmi stands in front of rows of cassette tapes of tangkhul music and songs which was produced in the first wave of the Tangkhul film industry (pre 1993 ban).
In conversation with Ringmi Raleng, one of the pioneer filmmakers of the Tangkhul Film Industry
Acting
Although the actors from that era didn’t have any formal training in theatre or acting, most of the actors were naturals who were able to deliver great acting on cue. Many improv acts can also be seen in many of the films showing the ability of the actors to improvise instead of following the script to the dot.
For example, in the film “Kateowa Kaphungli Kahakka otshot”, there is a particular scene where the protagonist goes hunting with his uncle. The uncle walks towards a river and a bird flies out of the unknown. Instead of getting startled or asking for a retake, the camera rolled on and the uncle improvised and continued acting as if the bird was supposed to fly off.
Terminologies and Language Used
The language spoken in the films tends to be a little more inclined to the older Tangkhul dialect which boasts a richer use of vocabulary. Hence, some of the words used in these films can seem foreign to the audience today.
One of the films, “Khayiwon”, which is in the process of digitization is supposed to include a number of Tangkhul vernacular that isn’t spoken by the locals anymore, according to the director of the movie Ringmi Raleng. A lot of words associated with the rites and rituals of the pagan traditions of the Tangkhul society are used in the film. The same can be said for the film “Manho” where a lot of old Tangkhul vernacular is also used.
Social Commentary
As discussed, films are often mirrors of the society in which they are set. Many of the films from the era can be regarded as social commentaries on contemporary society at that time.
The film ‘Ramcho Ramrin’ deals with the wave of nationalism and patriotism that was prominent in the latter half of the 20th Century as the Nagas continued their fight for liberation from the Indian government. The reality of how certain Nagas were warming up more towards the Indian government is also portrayed in the film. Films such as ‘Manho’ discussed the traditional practices of the Tangkhul Nagas which are highly patriarchal in nature.
The overall inclination of the Tangkhul nagas towards tragic stories and elements can also be seen reflected in the films where most of the films have a generally tragic ending rather than a happily ever after ending.
Technicals (Audio and Visuals)
Most of the films were shot on handheld camcorders and the original audio were also used instead of using an external audio equipment for the dialog or the ambient voice. Because of this, there can be some inconsistencies in the film audio levels. Most of the sound effects have also been adapted from generic pre-recorded sound effects which were available in those times. There is no indication to show the use of any form of foley sounds.
In many conversations with the film directors, it is noticed that the films were shot without proper screenplays and the editing was done without proper equipment. As such, in some of the films, there are inconsistencies in the story sequence in some of the films wherein a certain scene appears out of place and where certain scenes are repeated. However, with the permission of the film directors, these inconsistencies were corrected during the addition of subtitles.
What could have been
The art of filmmaking was lost to the Tangkhul community for more than a decade due to the ban of 1993. Many of the filmmakers talk with a certain sense of regret and unfulfilled dreams when they talk about how the Tangkhul film industry would have been today had there not been any blanket ban on film screenings and filmmaking. Their reaction is justified when comparing the contemporary Tangkhul films to the films that were shot in the era. Without any pause in the industry, the Tangkhul film industry could have reached greater heights.
Today, one can only wonder what the film scene would have looked like had those years not been lost to the ban. However, we remain hopeful while the Tangkhul film industry slowly gets back up on its feet.
Rows of VHS tapes of movies that were either shot/directed/produced or marketed by Ringmi. Most of the films aren't properly digitized yet.
*This project has been funded by The Northeast India AV Archive and supported by the Sasakawa Peace Foundation. Worngachan Shatsang is a member of Prologue Library, Ukhrul, one of the collaborators of The Northeast India AV Archive.
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