Assam
Kulada Kumar Bhattacharjee was a much-revered figure in the world of theatre, film, and radio.

A glittering star of Assam’s cultural firmament fell from the sky, suddenly plunging the broad landscape into grief and mourning. Kulada Kumar Bhattacharjee, or Benuda as he is affectionately called, a much-revered figure in the world of theatre, film, and radio, passed away on November 1, at the age of 91, marking the end of an era in the cultural landscape of Assam. The nonagenarian Bhattacharjee was as youthful in mind and body as he was many years back and was a great source of inspiration to many in the cultural field.

An icon endowed with many qualities, Kulada Kumar Bhattacharjee has left behind him an exceptional body of work in cinema and theatre. He was truly a pioneer who helped usher in a new era with his innovative approaches and methods in almost every area of theatre. The veteran die-hard theatre activist worked day and night for the development of Assamese theatre and cinema, enriched by intellectual ideas and vision. He has made unprecedented contributions to the world of performing arts in Assam with his rare knowledge of directing and acting, sound theatrical outlook, and skill. The legendary Kulada Kumar Bhattacharjee was truly an artiste whose veins flowed through the arts of drama, cinema, acting, directing, and recitation.

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An actor, director, producer, reciter, narrator, writer, and social worker, Bhattacharjee’s life has been deeply embedded in the arts, which was for him an infinite creative outlet, a solace, and a lasting joy.

Bhattacharjee started his creative journey as a temporary announcer and newsreader of the English language programs of Akashvani Guwahati. Bhattacharjee was lucky enough to be admitted to the famous New Era Academy of Drama and Music in London, from where he earned his diploma in Acting and Stage Technique in 1960. After that, Bhattacharjee embarked on a three-week intensive training course in production design at the British Drama League, now known as the British Theatre Association. The course provided him with a strong foundation as a production designer and writer in the later part of his career.

While being engaged in the course, he came across some old acquaintances. At the same time, he worked as a salesman in a bookstore. During the same period, he was entrusted with assisting the professional in charge of the Bengali section of the BBC, which offered him the opportunity to make extra money while helping him gain valuable experience. Throughout his sojourn, he remained focused on his priorities and could barely ignore the growing pull of his true passion. In the same year, in 1960, he went on to study television direction and vision mixing at the famed Nord- und Westdeutsche Rundfunk und Fernsehen – a popular public radio and television broadcaster based in Hamburg, Germany, which stood him in good stead as he gained in-depth knowledge about television production.

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His sojourn at the West End in London, a vibrant cultural hub of Europe, also gave him ample opportunities to visit theatre halls, museums, and bookstalls, leading him to gain a deeper knowledge and a deep sympathy for the arts as a whole, while becoming acquainted with the great masters, from the Renaissance to the modern period.

After returning from London, Bhattacharjee joined Akashvani Guwahati as the Producer-in-Charge of drama in 1962. Meanwhile, during his tenure, he developed a close affinity with several renowned authors, most notably Durgeswar Borthakur, Mahendra Borthakur, Arun Sarma, and Dr. Bhabendra Nath Saikia. Akashvani Guwahati experienced a big surge in popularity when Bhattacharjee revived several classic Assamese stage plays besides introducing a regular forum for world classics in their stage format called the ‘Naat Chora,’ which infused a new lease of life into the station. He not only produced but also played various roles in acclaimed plays performed in their entirety, like ‘Matir Garih,’ ‘Ben Hur,’ Assamese adaptations of Shakespeare’s ‘Hamlet’ and ‘The Merchant of Venice,’ ‘Roja Oedipus’ based on Sophocles’s ‘Oedipus the King,’ ‘Bonhaah’ based on Henrik Ibsen’s ‘The Wild Duck,’ Bhabendra Nath Saikia’s ‘Tirtha,’ Arun Sharma’s ‘Jojati’ and ‘Parsuram,’ etc.

Bhattacharjee’s ingenious direction and towering performance in the title role in Arun Sarma’s absurdist 1961 play ‘Sri Nibaran Bhattacharyya,’ seen as a catalyst for change, produced a profound effect on the audiences and was responsible for creating a culture for innovation. It was quite a creative productive period for him, where he experimented with a number of plays, incorporating different artistic concepts and exploring the uncharted, while making significant changes in the scenery, lighting, meaningful background music, etc. He was the first theatrical personality in Assam to initiate modern techniques for the enactment of world classics, using local artistes to perform various characters that provided a rare aesthetic pleasure to the audiences.

After encountering interference with his ethics and artistic endeavors, he decided to leave AIR after working for three years. In the mid-sixties, Bhattacharjee joined hands with Arun Sarma and other friends to launch Asom Jatiya Natyasala Andolan Samiti, which became state-wide in scope and significance.

This unadulterated helmsman of Assamese society and culture made his film debut as an actor in 1961 with Dr. Bhupen Hazarika’s ‘Sakuntala,’ where he also worked as an assistant director. It was followed by performances in films like ‘Latighati,’ ‘Chikmik Bijulee,’ ‘Bhagya’ (dubbed from Hindi), ‘Prabhati Pakhir Gaan,’ ‘Ramdhenu,’ ‘Surjyasta,’ ‘Cactus,’ ‘Dikchow Banat Palaax,’ ‘Maj Rati Keteki,’ ‘Village Rockstars,’ ‘Khyonachar,’ among others, which are still well remembered today and testify to his talent. Some of the popular serials that he acted in include ‘Deuta,’ ‘Jeevanar Batat,’ ‘Aei Saharate,’ ‘Papu Niku Sangbad,’ ‘Tejal Ghora,’ and ‘Trikaal.’

In 1983, Kulada Kumar Bhattacharjee, one of the pioneers of mobile theatre, collaborated with Ratan Lahkar, producer of Kahinoor Theatre, in directing a series of thought-provoking plays. Bhattacharjee then staged ‘Matir Garhi,’ Arun Sarma’s Assamese adaptation of ancient playwright Shudraka’s immortal classic ‘Mrichchakatikam.’ Moreover, in 1988, Bhattacharjee directed renowned playwright Arun Sarma’s ‘Baghjal’ and ‘Parsuram,’ and eminent dramatist Mahendra Borthakur’s ‘Soraguri Sapori.’ In 2005, Kulada Kumar Bhattacharjee performed Mahendra Borthakur’s Assamese adaptation of Shakespeare’s classic play of jealousy, love, and obsession – ‘Othello,’ on the Kahinoor stage. The plays with their impeccable production values helped to break down barriers that distinguished commerce and art.

Besides getting closely engaged with the theatre world of Assam, he was deeply involved in making some of the most groundbreaking documentaries, over thirty of them, through ‘Debjani Chaliha & Associates,’ while he was staying in Kolkata. The ones which made an indelible impression include ‘Delightful Nature’ (1972), ‘Pride of Nature’ (1972), ‘Mopin’ (1973), ‘Elephant Befriended’ (1974), ‘Men Behind Metal’ (1975), ‘Danger Ahead’ (1976), etc. The riveting Doordarshan serial ‘Tejal Ghora’ (1994), which he directed, is still remembered by viewers.

Kulada Kumar Bhattacharjee was the producer-director of Guwahati Doordarshan’s first telefilm, ‘Nishi Ujagar,’ as well as the first Khasi tele-film ‘Ka Nong’.

Bhattacharjee was also known for his unique prose style, which is reflected in his essays and articles, which is both intellectually stimulating and rewarding. He has penned a series of essays on theatre and cinema under the popular and influential column ‘Naatghar-Chobighar.’ He has also authored books like ‘Dibru-Sadiya Relor Itihaas,’ ‘Kharimatir Mer,’ and ‘Jadav Prasad Chaliha Janma Satabarsha.’ Having lived in London for many years, he could speak fluent British English. He was equally fluent in Assamese, Bengali, and Hindi.

The weaknesses of the arts led this indefatigable filmmaker to wield the directorial megaphone even at the age of 85 for his much-anticipated maiden Assamese feature film – ‘Naateshwari,’ in 2019, but unfortunately, the film never saw the light of day. The film was to be shot entirely in Kamakhya. Kulada Kumar Bhattacharjee once spoke of his strong affinity for Kamakhya – the center of the ‘Shakti’ cult atop the Nilachal Hills, which has held a deep fascination since his childhood, stemming from his firm faith and unswerving devotion.

It was his untiring zeal and energy that made it possible for Kulada Kumar Bhattacharjee to win the much-deserved National Film Award in 2021 for his work as Best Narrator in the documentary film ‘Hatibandhu,’ directed by Kripal Kalita.

 

Prantik Deka is a cultural journalist based in Guwahati. He can be reached at: [email protected]