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Assamese cinema
Assamese cinema, also known as Jollywood, is the Indian film industry of Assamese language. It is based in Assam, Northeast India. The industry was born in 1935 when Jyoti Prasad Agarwala released his movie Joymoti. Since then the Assamese cinema has developed a slow-paced, sensitive style. In the beginning the industry were called Jollywood, for Agarwala's Jyoti Chitraban Film Studio.
Despite its long history and its artistic successes, for a state that has always taken its cinema seriously, Assamese cinema has never really managed to break through on the national scene despite its film industry making a mark in the National Awards over the years. Although the beginning of the 21st century has seen Hollywood-style and Bollywood-style Assamese movies hitting the screen, the industry has not been able to compete in the market, significantly overshadowed by the larger industries such as Hollywood and Bollywood. "A rare peep into world of Assamese cinema",In 2017, Village Rockstars was selected as India's official entry to the 91st Academy Awards.In 2019,Bulbul Can Sing won the Special Mention at Berlin International Film Festival.In 2025, the film Roi Roi Binale became the highest-grossing Assamese film of all time, breaking previous box-office records.
The origins of Assamese cinema can be traced back to Rupkonwar Jyotiprasad Agarwala, who was also a noted poet, playwright, composer and freedom fighter. He was instrumental in the production of the first Assamese Film Joymati in 1935, under the banner of Chitralekha Movietone. Aideu Handique was the heroine of this movie. Due to the lack of trained technicians, Jyotiprasad, while making his maiden film, shouldered the added responsibilities as the scriptwriter, producer, director, choreographer, editor, set and costume designer, lyricist, and music director. The film, completed with a budget of 60,000 rupees was released on 10 March 1935. The picture failed. Like so many early Indian films, the negatives and complete prints of Joymati are missing. Hridaynath Agarwala restored a few reels of the film, and he donated them to the government of Assam. Altaf Mazid subtitled whatever was left of the prints, added narration to it, and killed the film's background music. Critic Bitopan Borbora protested that devastating act. . Despite the significant financial loss from Joymati, the second picture Indramalati was filmed between 1937 and 1938 finally released in 1939. Pramathesh Barua released his Assamese version of Devdas in 1937. It was the last of the 3 language version following Bengali and Hindi.
Agarwala made another film after a gap of two years, titled Indramalati. It was his second and last film. The eminent composer and singer of Assam, Bhupen Hazarika, played a prominent role in the film. With the passing away of Jyotiprasad, the Assamese film industry witnessed a temporary lull for a couple of years.
However, things changed with the onset of World War II. Taking advantage of the situation, Rohini Kr. Baruah made a film on a relevant historical theme titled Manomati (1941). This was followed by films such as Parvati Prasad Baruwa’s Rupahi (1946), Kamal Narayan Choudhury’s Badan Barphukan (1947), Phani Sarma’s Siraj, Asit Sen’s Biplabi, Prabin Phukan’s Parghat, and Suresh Goswami’s Runumi.
In the 1950s, Piyoli Phukan won a National Award. The film was produced by Gama Prasad Agarwalla under the banner of Rup Jyoti Productions. It was directed by Phani Sharma, with music composed by Bhupen Hazarika. The story depicted the life of freedom fighter Piyoli Phukan, who revolted against British rule and was executed for treason. The film was considered technically advanced for its time.[clarification needed]
In 1955, a new talent, Nip Barua, made his directorial debut with Smrit Paras. His subsequent films Mak Aaru Moram and Ranga Police won several state awards and silver medals at the national level. Bhupen Hazarika also produced and directed his first film, Era Bator Sur.
Prabhat Mukherjee made Puberun (1959), a film on the universality of motherhood, which was screened at the Berlin Film Festival.
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Assamese cinema
Assamese cinema, also known as Jollywood, is the Indian film industry of Assamese language. It is based in Assam, Northeast India. The industry was born in 1935 when Jyoti Prasad Agarwala released his movie Joymoti. Since then the Assamese cinema has developed a slow-paced, sensitive style. In the beginning the industry were called Jollywood, for Agarwala's Jyoti Chitraban Film Studio.
Despite its long history and its artistic successes, for a state that has always taken its cinema seriously, Assamese cinema has never really managed to break through on the national scene despite its film industry making a mark in the National Awards over the years. Although the beginning of the 21st century has seen Hollywood-style and Bollywood-style Assamese movies hitting the screen, the industry has not been able to compete in the market, significantly overshadowed by the larger industries such as Hollywood and Bollywood. "A rare peep into world of Assamese cinema",In 2017, Village Rockstars was selected as India's official entry to the 91st Academy Awards.In 2019,Bulbul Can Sing won the Special Mention at Berlin International Film Festival.In 2025, the film Roi Roi Binale became the highest-grossing Assamese film of all time, breaking previous box-office records.
The origins of Assamese cinema can be traced back to Rupkonwar Jyotiprasad Agarwala, who was also a noted poet, playwright, composer and freedom fighter. He was instrumental in the production of the first Assamese Film Joymati in 1935, under the banner of Chitralekha Movietone. Aideu Handique was the heroine of this movie. Due to the lack of trained technicians, Jyotiprasad, while making his maiden film, shouldered the added responsibilities as the scriptwriter, producer, director, choreographer, editor, set and costume designer, lyricist, and music director. The film, completed with a budget of 60,000 rupees was released on 10 March 1935. The picture failed. Like so many early Indian films, the negatives and complete prints of Joymati are missing. Hridaynath Agarwala restored a few reels of the film, and he donated them to the government of Assam. Altaf Mazid subtitled whatever was left of the prints, added narration to it, and killed the film's background music. Critic Bitopan Borbora protested that devastating act. . Despite the significant financial loss from Joymati, the second picture Indramalati was filmed between 1937 and 1938 finally released in 1939. Pramathesh Barua released his Assamese version of Devdas in 1937. It was the last of the 3 language version following Bengali and Hindi.
Agarwala made another film after a gap of two years, titled Indramalati. It was his second and last film. The eminent composer and singer of Assam, Bhupen Hazarika, played a prominent role in the film. With the passing away of Jyotiprasad, the Assamese film industry witnessed a temporary lull for a couple of years.
However, things changed with the onset of World War II. Taking advantage of the situation, Rohini Kr. Baruah made a film on a relevant historical theme titled Manomati (1941). This was followed by films such as Parvati Prasad Baruwa’s Rupahi (1946), Kamal Narayan Choudhury’s Badan Barphukan (1947), Phani Sarma’s Siraj, Asit Sen’s Biplabi, Prabin Phukan’s Parghat, and Suresh Goswami’s Runumi.
In the 1950s, Piyoli Phukan won a National Award. The film was produced by Gama Prasad Agarwalla under the banner of Rup Jyoti Productions. It was directed by Phani Sharma, with music composed by Bhupen Hazarika. The story depicted the life of freedom fighter Piyoli Phukan, who revolted against British rule and was executed for treason. The film was considered technically advanced for its time.[clarification needed]
In 1955, a new talent, Nip Barua, made his directorial debut with Smrit Paras. His subsequent films Mak Aaru Moram and Ranga Police won several state awards and silver medals at the national level. Bhupen Hazarika also produced and directed his first film, Era Bator Sur.
Prabhat Mukherjee made Puberun (1959), a film on the universality of motherhood, which was screened at the Berlin Film Festival.