Himangshu Ranjan Bhuyan
(himangshur1989@gmail.com.)
Jyotiprasad Agarwala’s ‘Joymoti’ was not merely the first Assamese feature film; it was a grand endeavour to express the profound realisations of Assamese national identity through the medium of a new art form. Released in 1935, this film ushered in a new era in the artistic world of Assam, an era that enabled our language and culture to gain a distinct identity in the global arena. Behind the making of this film lay Rupkonwar Jyotiprasad’s unwavering determination, his far-sighted cultural vision, and his deep affection for art and creativity. At a time when modern arts had no foundation in Assam, when there was a lack of technical knowledge, trained artists, and infrastructure necessary for film production, the daring step taken by Jyotiprasad in such an adverse environment testified to his unparalleled mindset. Through his personal initiative, he established a temporary yet historic production centre named ‘Chitraban Studio’ in his own Bholaguri tea estate. The establishment of this studio symbolised his immense sacrifice and profound resolve, for it was not just a building made of bricks and cement; it was the cornerstone of the dream of the Assamese film industry. His actions proved that national inspiration and creativity do not require dependence on external aid; even relying on one’s inner strength can make the impossible possible. The journey of creating ‘Joymoti’ was a shining example of completely self-reliant Assamese thought, which dispelled the mentality of subjugation in the cultural sphere and encouraged independent thinking and creativity. Through this initial step, Jyotiprasad opened the path to giving Assamese art and culture a modern, dynamic, and universal form. The significance of his step was not limited to the field of art alone; rather, it inspired the entire nation toward a new self-establishment.
The primary basis of the story of ‘Joymoti’ was the historical play ‘Joymoti Kunwari’ by Sahityarathi Lakshminath Bezbaroa. Jyotiprasad depicted a tragic yet glorious chapter of the Ahom kingdom. The selection of this story stemmed from Jyotiprasad’s deep nationalist consciousness and patriotic ideology. Through the noble tale of Sati Joymoti’s self-sacrifice, he sought to instil the necessary national consciousness, love for the country, and moral values in the heart of every Assamese person in the context of the contemporary Indian freedom movement. The ideals of unyielding resolve, courage, and devotion to husband embodied in Joymoti’s character imparted a profound moral lesson to contemporary society and demonstrated that a woman’s sacrifice and bravery can change the history of a nation. Although Jyotiprasad kept Bezbaroa’s original story intact, he introduced certain artistic and emotional modifications in the screenplay to bring it to life in the visual medium, reflecting his own vision of transformation. His aim was to make the story more comprehensible and heart-touching for the general audience. He paid special attention to the depth of the story, the subtlety of characterisation, and the accuracy of historical facts. In this regard, he also sought advice from historians and archaeologists, as a result of which ‘Joymoti’ became not just a film but a living document of history and culture. Through Joymoti’s sacrifice, he eternally established the image of a national heroine, which remains an ideal for Assamese women even today.
In the production process of this great creation by Jyotiprasad, his multifaceted talent and technical knowledge were fully manifested. In addition to producing and directing ‘Joymoti’, he himself handled the responsibilities of screenplay writing, music composition, editing, and art direction—all these crucial departments. An individual demonstrating proficiency in so many diverse aspects of film production single-handedly is a rare example in the history of Assamese art. The training he received in film production in Germany equipped him with knowledge of modern techniques, which he applied in ‘Joymoti’. Particularly, the montage style used in the film and the subtle use of visual language reflected his international standards of vision. He emphasized rapid changes in camera shots and the use of special angles and lighting, which were rarely seen in Indian films of that time. However, technical shortcomings posed a major challenge. Due to the lack of sound recording equipment, he often had to dub the artists’ voices himself in many cases, which was a laborious and time-consuming task. Moreover, he constructed sets using locally available materials and exercised special care in selecting costumes, jewellery, and musical instruments to clearly reflect Assamese folk culture. He ensured that every scene bore the authenticity of Assamese culture. Each of these small steps proved that he was not merely making a film; rather, he was striving tirelessly to give it a completely indigenous and dignified artistic form. His creativity was multidimensional, and his dedication was a national ideal. Remaining free from the influence of the prevalent Bengali and Hindi cinemas of the time, he endeavoured to create a unique style and language for Assamese cinema.
The most difficult and significant challenge Jyotiprasad faced while making ‘Joymoti’ was breaking the barriers of social obstacles and orthodoxy. In the conservative society of Assam at that time, women performing on public stages or screens was considered a major social sin. Many families could not even imagine allowing their daughters or daughters-in-law to act, and those who came forward had to face severe social condemnation, ostracism, and threats. In such a dark environment, selecting Aideu Handique for the lead role of ‘Joymoti’ and persuading her to act despite all societal pressures was a monumental victory in Jyotiprasad’s cultural struggle. Aideu Handique, by sacrificing the happiness and peace of her personal life and bravely accepting all societal condemnations, stepped forward to portray this historic character, which opened a new door for Assamese women. Her role conveyed to women that they are not merely subordinate to men; rather, they too can play significant roles in art, literature, and culture. This event shook the foundations of orthodox conservatism in society and paved a new path for progressive thinking. Jyotiprasad led this cultural revolution. He was not just a filmmaker; he was a social reformer who sought to bring about social change through the medium of art. His step in bringing women artists forward was a new dawn in Assamese cultural life. He had analysed the environment of that time so subtly that he knew true societal development was impossible without women’s freedom.
Unfortunately, despite so much sacrifice, struggle, and high standards of production, ‘Joymoti’ could not achieve commercial success. Jyotiprasad had to face a loss of nearly 50,000 rupees spent on making the film, a huge amount for that time, which deeply affected his personal life. The reasons for this commercial failure were numerous and complex. Firstly, the number of modern and permanent cinema halls in Assam at that time was very limited, and transportation systems were also underdeveloped. The film was screened in many places in temporarily constructed sheds or drama theatres, which compromised the quality of presentation. Secondly, Jyotiprasad’s artistic vision and high technical standards may not have easily attracted the general audience of that era. Viewers were accustomed only to ordinary plays and yatras, so they could not readily accept the new audio-visual language of talkie films. Many found it difficult to understand, as he intended the film not merely as a medium of entertainment but as an intellectual and artistic one. The depth of the film’s content and the use of modern techniques like montage created a gap between him and the general audience. But this financial loss could not break Jyotiprasad’s mental strength. He demonstrated that commitment to art and culture transcends monetary gains and losses. It is because of his sacrifice and continuous efforts that ‘Joymoti’ today is not just a film; it is an eternal symbol of national hopes and aspirations. Even after this loss, he made another film like ‘Indramalati’, maintaining the continuity of the Assamese film industry. His unwavering resolve proves that his goal was not merely to earn money but to show the Assamese nation a new path through a new artistic medium. It is because of his sacrifice and continuous efforts that ‘Joymoti’ today is not just a film; it is an eternal symbol of national hopes and aspirations. His actions also proved that personal loss must be accepted in the greater interest of the nation on the path of creativity.
In conclusion, Jyotiprasad Agarwala’s ‘Joymoti’ is an invaluable pillar of Assamese culture and history. It is not only glorified as the creation of the first Assamese feature film but was a vibrant expression of Assamese nationalist consciousness, the women’s liberation movement, and cultural self-reliance. His journey to this extraordinary achievement was an epic of a great struggle, in which he dedicated all his wealth, time, and energy. In exchange for this sacrifice, he gave the Assamese nation a new identity, a new language, and a new path. It is the result of Jyotiprasad’s far-sighted attitude and creativity that Assamese cinema has been able to secure a distinct place today. Calling him the father of Assamese cinema not only acknowledges his true contribution but also pays respect to his sacrifice and work. The message of national heroism and woman’s noble sacrifice that he conveyed through ‘Joymoti’ remains relevant even today. This film will forever inspire Assamese artists to present the stories and culture of their nation, land, and people on the world stage. Jyotiprasad’s contribution has provided a stable and modern foundation to Assamese society’s art and culture, for which he will always be remembered.