Entertainment with a message. That’s how one can sum up the latest Assamese movie – Jiban Bator Logori – to have hit the theatres after a long break. Ending what one may well term as a drought of Assamese films – the industry being in the doldrums for quite some time, with film producers losing interest in new ventures, thanks to the relentless non-cooperation and unfriendly attitude of theatre hall owners to screen Assamese films, even if it meant defying set norms of the Government of Assam – this Timothy Das Hanse offering is a refreshing gift to the Assamese movie lovers this festive season.

Released on October 2 in a record number of 25 cinema halls across the State – a first in the annals of the Assamese film industry, this Diphu-based Hills Motion Picture Association presentation has all the ingredients to attract cinelovers. Be it drama, tragedy, comedy, action, songs and dances et al, Jiban Bator Logori has it all and director Timothy Das Hanse has been successful in packaging all these in this over two-hour film that has a neat story with a powerful social message.

The film begins against a rural backdrop, with the story revolving round a school principal and his family. His twin son and daughter, who do exceptionally well in their high school examination, go to pursue higher studies in Guwahati city, where they excel in their mission, but at the cost of losing their original identity. They forget their roots and fly to America for greener pastures, without even bothering to formally part with their parents. While the daughter settles in America, the son gets a high profile globe-trotting job in Mumbai, where he marries a Marathi girl, who was, incidentally, born and brought up in Assam.

Back home, the now-retired principal’s wife dies of an ailment and he, too, falls ill, and this happens without the knowledge of their children, who have little time to communicate with their parents. However, the villagefolk are all along with this unfortunate family, through which the director tries to portray the age-old bond of fraternity in rural Assam, unlike the artificial relations in the materialistic urban society. The principal’s farmer friend and his school teacher wife are all too happy to offer selfless help to the former’s family. The farmer’s son and daughter, who are not good at studies, but have established themselves as self-sufficient youths in the village, are now like wards to the loving principal.

Hanse creates a sub-plot here to show how the village youth can earn a decent livelihood for themselves with the help of numerous Government schemes, instead of hankering after Government jobs. The director projects the son of the farmer, who gets recognition from the authorities as an ideal agriculturist for his dedication, as a progressive young man who takes advantage of the Government scheme to undertake modern farming. On the other hand, the girls, led by the farmer’s daughter, form a self help group to start a cottage food processing unit, thereby contributing to the economy of their village.

It was on the wedding day of the farmer’s daughter, married off to the agricultural official who helps out the village youth to be self-sufficient, that the principal’s son arrives at his native village, taking some time off his busy schedule to meet his parents before flying off on another foreign assignment. On the way, seeing the marriage ceremony at his old friend’s place, as he along with his Marathi wife alights from the four-wheeler, he is told by his father’s farmer friend that it was too late for him, as his mother had taken their names till her last breath. He offers his farmer uncle some money for the treatment of his ailing father, but the farmer refuses it, saying that if the village people could perform the last rites of his mother, they would also take care of his father. He now realises his mistakes, but he has no other option but to leave for his official engagement. However, the film ends on a positive note as the Marathi girl says, “I am a daughter-in-law of Assam. We will have to come back here.”

The high point of this beautifully made movie is undoubtedly the acting. The director successfully brings out the best of performances even from the actor in a bit role. Nipon Goswami, Arun Nath and Malaya Goswami are outstanding in the roles of the principal, the farmer and his school teacher wife respectively, while Beauty Barua has been a revelation as the principal’s wife. Bishnu Khargharia adds punch to the story with his typical portrayal of an opportunist and corrupt teacher. Kapil Bora as the principal’s son, Raag Oinitam as the ideal farmer’s progressive son and Biki as the agriculture official are in their usual best, while Shyamantika Sarma and Asha Bordoloi, with their lively acting, add vivacity to the film. Then, there are performers like Hiranya Deka, Atul Pachani, Debananda Saikia, Kishore Choudhury and Parinita, who give an authentic touch to the plot.

Other highlights of the film are its music and song and dance sequences, although the background score seems to be too loud at times. Choreographed aesthetically, the sequences of the songs that are soothing to the ears, help in the film’s progress as the director builds up the story. The costumes add colour to the film. But all these could not have been possible without the strict overall control of the director, as also fine cinematography by Sibanan Barua and slick editing by Debankur Borgohain.

Mridumoloy