The early part of the last millennium proved to be a cultural curtain raiser for Indian film industry. More so is the case with Assam. Three years in particular are significant, viz., 1903, 1935 and 1951.

Similarly, two historical places also hogged the limelight as two illustrious sons of Assam were born in the same year, 1903, at Tezpur and Gauripur.

The father of Assamese films, Rupkonwar Jyotiprasad Agarwalla was born at Tamulbari tea estate in the eastern place of Tezpur while the pioneer of artificial lighting, realistic films with natural histrionics and diehard supporter of workers’ rights in the film studios in India, Pramathesh Chandra Barua was born at the western province of Gauripur.

Both these visionaries had many things in common. They were nationalists as well as ardent students of creative art. These famous film makers had their initiation into modern techniques of the trade in Europe.

What is more, the first film in Assamese, Joymoti by Agarwalla and Devdas — the first film in India to inculcate modern means like flashback montage and telepathy shots besides natural acting by artistes to portray common human dilemma via what is now termed subjective camera — by Barua were released in 1935.

While Jyotiprasad had set up a temporary studio, ‘Chitraban’ at Bholaguri tea garden, Pramathesh too constructed ‘Barua Studio’ beside his house in Calcutta.

Another important trait that was dear to both was their zeal to serve the downtrodden. This humanist strain more often than not compelled them to tread slippery steps away from their traditional and sophisticated families’ beaten track.

However, various factors forced Barua to shift his working place to Calcutta while Agarwalla chose to remain in Assam. This single aspect has also led cynics to pose, “What has Barua done for Assam?” Many have even dared to raise unwarranted questions about his roots and tilt towards Bengal.

Such debates, if they can at all be termed so, must be set at rest once and for all. The very fact that Barua was born to a ruling family in Goalpara district, reared in Assam’s natural bounty and also worked in her power corridors should suffice to silence doubting Thomases.

Noted folklorist and artiste Birendranath Datta summed up: “Pramathesh Barua was born into a situation where Bengali was the medium and lingua franca of the middle and upper classes as well as the zamindar families in Bengal and Goalpara. Moreover, the white collar workers in his father’s office were also from Bengal.

“This notwithstanding, doubting Pramathesh’s roots would be same as casting aspersions on the identity of the people of greater Goalpara. Since the days of Naranarayan, the Koch Kingdom included western Goalpara and a large section of North Bengal. Though Assamese is now the medium of instruction in Goalpara, the dialect there has much affinity with the one spoken in the nearby places in Bengal. It was, during the Koch king’s time, a cultural unit. So is it today to a certain extent. But that does not necessarily mean, the people in Goalpara are not of Assam.”

Barua adopted cinema since its silent days as a means to not just reflect the moods, clash of egos and mental strife of his protagonists but also as a tool to educate the masses. He always endeavoured to experiment with themes and techniques. His diaries show how he was aghast at the plight of the poor. He tried to highlight their woes in his work.

Barua said that he was disgusted with power struggle and hence embraced the world of creativity. By changing his course, he could deliver invaluable contribution to Indian creative form, to be precise cinema.

Pramathesh was very much influenced by the cultural environment of his home. In fact, his father and other members of his immediate family have contributed a lot of the broadcast as well as preservation of Goalpara culture outside Assam.

Needless to say, annals prove that this region has been the domain of kings from various dynasties like Kirats, Burmans, Shilasthambas, Palas, Kamatas, Kochs, Ahoms besides being under Pathan rule from 1498-1505. The Koch rulers had their domain here till 1581 while the Ahom rule extended in this province from 1659-1661. Earlier, the Kamata Kings ruled from 1305-1498. From 1765 it came under the British Raj.

The history of Gauripur’s Jamindar family has been vividly traced in renowned historian and sociologist Nagendranath Basu’s three volume book The Social History of Kamrup. As per its accounts, the father of Pramathesh Chandra Barua, Raja Prabhat Chandra Barua was the adopted son of Pratap Chandra Barua who is the lineage of Govinda Giri Bhuyan of the Kashyap Gotra. It was in 1856 that Pratap Chandra Barua’s family settled in Gauripur from Rangamati.

Pramathesh’s mother, Sarojbala, was from Sankardeva’s Vaishnava Sattra culture. The influence of Sankari tenets on Pramathesh was overwhelming. He was a vegetarian and his heart flowed with humanity, tolerance and love for fellow beings including all forms of animals. He was an avid lover of horses and horse races. Litterateur Phani Talukdar in his book on this glowing personality mentions that Barua used to make time amidst his tight schedule for tending his horses in Calcutta. He was a champion of animal rights. Though, the zamindari past time also included hunting, Barua tried to distance himself from this ‘sport’ in the initial stages and subsequently totally avoided it.

Pramathesh was born on October 3, at the strike of midnight hour in 1903. A mendicant had earlier in January that very year told his parents in Delhi when they went to seek his blessings for a child that they would be begetting a son who would carry the name of the family to new heights. This trip was to participate in Lord Curzon’s Delhi durbar on the formers’ invitation. Pramathesh’s other siblings are Niharbala, Nilima, Prakritish and Pranabesh. He was lovingly called ‘Moni’ by his parents. He had a separate study room in Matiabagh palace. All steps were taken to groom him — culturally as well as academically.

During his youth, he had set up a socio-cultural theatre group in Gauripur. This GYMA Club was later christened the United Club. He used to take initiative in staging various plays like Khasdakhal (where he looked after its direction, lighting, music and also acted), Chandragupta, Surashi, Europer Rani, Samaj Durgadas, Biraz Bose, Phulsor Nurjahan, Prafulla, Banganari, Bibah Bibhrat, Kinnari, Phelaramer Swadeshekota and Shinghal Bijoy among others. Besides enacting the lead role, he also acted in the women’s characters.

In fact prior to his full-fledged attachment to the movie world and clearing his degrees with honours in Physics from Presidency College in Calcutta, Pramathesh built up an environ for amateur theatre in Gauripur, obviously with influence from the vibrant theatre movement in then Calcutta.

He had a pachyderm called Jungbahadur who used to be his companion in his hunting safaris. Phani Talukdar refers to Barua’s family sources while mentioning that Pramathesh had first hunted a Royal Bengal Tiger on March 8, 1915 when he was twelve years of age. And, on June 2 he had shot a Cheetah. Altogether Pramathesh hunted in the family safaris 52 Royal Bengal Tigers besides many Cheetahs, bears, deers, wild buffaloes, rhinos and birds. When Jungbahadur died, the mortal remains were buried in Gauripur, and his tusks as well as head bone were preserved in the Matiabagh residence. Pramathesh was a snap shooter. However, there is an interesting anecdote which says that on a rare occasion Pramathesh missed his target. Jungbahadur too got so surprised that he moved his trunk backward to feel whether the shot really was based by Pramathesh.

After completion of his early schooling at home, Pramathesh was sent to Hare school where he enrolled himself in the IXth standard. He was attracted to the world of acting during this period.

In 1921, at the wish of his mother, Pramathesh married the eldest daughter of Birendranath Mitra (resident of Bagbazar, Calcutta), Madhurilata. Madhurilata provided the rudder to his ship which had to weather many storms — professionally, personally as well as socially. She always proved to be the beckoning light for his struggling spirit and ever restless vigour.

Noted writer and a friend of Pramathesh’s brother Prakritish, Sheelabhadra said, “Madhurilata was so broad-minded and kind to all that she was the cynosure of all eyes.”

The founder principal of Pramathesh Chandra Barua College in Gauripur and folklorist Birendranath Datta corroboroted, “She imbibed the Goalparia culture. Actually, Madhurilata baideo could speak chaste Goalparia better than any local resident.”

Though Pramathesh married twice more — Amala Bala Barua and co-artiste in Devdas Jamuna Barua — he always respected, adored and loved Madhurilata. His will bequeaths to all his wives and six sons adequate lifelong financial security.

Pramathesh tried to concentrate on zamindari affairs after his return from first trip to Europe and demise of his mother in 1926. He could then attract the attention of the British regime by his astute statesmanship and typical stand in favour of his ryots’ rights during a meeting with Simon Commission in Calcutta. He was then elected unanimously to Assam Bidhan Parishad.

After the demise of his father, Pramathesh handed over the charge of zamindari to his brother Prakritish and dedicated himself to the world of creativity.

It was in 1930 during his trip to London and Europe that he used the opportunity to learn modern techniques of movie lighting from Mr Rozars, cameraman with Paris-based Fox Studio, as a light boy. He had been to London with his younger brother in-law (husband of Nilima Barua) Santosh Kumar Barua, maternal cousin Sailesh Chandra Barua and family physician Lalmohan Ghosh for removal of stones from his urinary track. The surgeon was Dr Troater who had done a similar operation on King George-V.

Pramathesh was lucky to get a reference letter from Kabiguru Rabindranath Tagore to Fox Studios recommending Barua for the training. This stint came in handy as Barua became the pioneer in using artificial lighting in Indian films.

Till then, sun’s rays were used with the help of reflector for lighting purposes in film making. Pramathesh for the first time in the country used a 40,000 watt lighting and also designed the sets and costumes required for such improvisation.

This technique he used for his silent film Aparadhi. The storyline was his and it was completed on November 28, 1930, at his Barua Film Unit in No 14 Baligunj Circular Road. The cameraman was Krishna Gopal (KG) and the stars included besides Pramathesh, Prabhabati Barua, Nirmal Banerjee, Samar Ghosh, Radhika Mukherjee, among others. Aparadhi was Pramathesh’s maiden work as producer.
 He formally entered the film world in 1926. Veteran film maker and Phalke awardee Dhirendranath Ganguli made him join his organisation ‘The British Dominian Film Limited’. Both had got acquainted in Santiniketan.

Pramathesh was also granted fellowship from Calcutta University. In 1949, he was feted at a meet at India House in London by then Indian High Commissioner, VK Krishna Menon. Subsequently he was nominated as the organisational convenor of the newly-constituted Indian Film Society. The Trust Board formed to decide upon the objectives of this organisation had as its chairman Pandit Jawaharlal Nehru and VK Krishna Menon as its patron.

Pramathesh was also a member of the organisation of British film experts — The British Cinematograph Society. Mentionably, he was the first Indian and non-European to be a part of this august body.
 Pramathesh delivered speeches twice through the British Broadcasting Corporation (BBC). Moreover, he actively participated in various cultural programmes including directing chorus at the famed Kingsway Hall in London. He even acted in Tagore’s dance drama Barshamangal.

In 1930, after being elected to the Assam Bidhan Parishad, he was even offered a cabinet post by then British Governor. But the nationalist in him spurned the offer. Instead he took up the post of chief whip of the State’s Swarajya Party, influenced as he was since his students days by Chittaranjan Das and other freedom fighters.

Pramathesh in those early days of film making knew the value of marketing films in other regions besides abroad. This is evident from his diaries. He always strived for excellence and in the process was the bridge between the present and the future. He never disregarded his past or heritage.

Though circumstances bogged him down, his association with New Theatres in 1933 at the instance of Birendranath Sarkar proved to be a watershed for Indian films in general. He successfully produced several films including his masterpiece Devdas based on litterateur Sarat Chandra Chattopadhyays protagonist. Later on, he also worked with Krishna Movietone in 1940 and MP Productions as well as Associated Pictures, among others.

He tried to produce educational documentaries with Rank Organisation, an European unit. However, he could not complete the series owing to failing constitution.

He breathed his last on November 29, 1951 at his home in 12/3 Maulin Street. His last rites were performed at Keoratala cremation ground in Calcutta. Twenty days later, his ashes were immersed in the Godadhar and at Neematighat in the Brahmaputra in the presence of a large number of fans.

In 1963, a two-day commemoration meet was held in Guwahati when an exhibition of Pramathesh’s work was organised. Two of his film — Devdas and Uttarayan were also screened in the District Library auditorium. A souvenir edited by Jogesh Das was also brought out. Noted personalities including Chandraboti Devi from Calcutta came here and dwelt on Pramathesh work. Artiste Benu Misra did a large oil painting of Barua. This painting now adorns the principal’s chamber of Pramathesh Barua College in Gauripur, informed Datta.

Steps are on to organise a yearly memorial lecture in his name. On his death anniversary this year, the first memorial lecture would be held, Among the speakers shortlisted are Mrinal Sen, Soumitra Chatterjee, Chidananda Das Gupta and Apurba Sarma.

There is also a move to organise local functions to highlight Barua’s contribution through the local centres of the Directorate of Culture in Assam. The committee organising the birth centenary of this illustrious personality has also decided to move the State Government for dedicating the local unit of Cultural Directorate in Gauripur in the memory of Pramathesh.

BARUA'S FILMS
Silent Films
l Kamanar Aagun, Takai Ki Na Hoi, N’ti boy, Aalik Babu, Panchashar, Maraner Pare, The Border Thik and Charitrahin  — produced when he was with the British Dominion Films Limited.
l He acted as a villain in Bhagyalakshmi under the banner of Indian Cinema Arts. It was directed by Kaliprasad Ghosh.
l Aparadhi with his storyline from his Barua film unit with direction by Debaki Basu. Released on November 28, 1931.
l Akada from the same house. It was directed by Sushil Mazumdar. Released on April 2, 1932. Both the last three films were released in Chitra Cinema Hall, Calcutta.

Films With Dialogue
l Bangla 1983, Ruplekha, Mahabbat Ki Aasu, Devdas (Bengali – March 30, 1953) and the Hindi version released on September 21, Abasesha, Grihadah, Manzil, Mayn, Mukti, Aadhikar, Rajat Jayanti, Zindagi, Shap Mukti, Mayer Pran/Uttarayan, Shesh Uttar and Jabab.

Incomplete Work
l Agragami (1947), Mayakanan (1947), Iraqi Akra (Hindi), Aabhimans, Doctor, Pandit Mashai, the series of educational documentaries with Rank Organisation of J Arthur besides Pandit Mashai.

Courtesy: The Assam Tribune (2002)