Orissa Cinema

Exclusively for our readers, presenting lead actress: Naina Dash
The complete gallery can be accessed here!

Photographs: Ashok Panda

An exclusive gallery on Roma: Television serial artist, music video album actress, and Oriya Cinema Star!
Photographs by Ashok Panda

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On grounds of its undying spirit of young love, as well as several technolgical innovations, the upcoming Oriya release Pagal Premi may be a pathbreaking popular cinema. Its versatile director has a beautiful theme to offer for the film, through his passionate tribute to the youth:

Hail biosterous youth
Hail singing and jet speed youth
Let any thing happen
Lets do what we like to do
Even better will taste good if u get used to it
whether it is right or wrong… lets do it
Lets take the right step
Experience will make one wiser
If happiness is with u the world is with u
Lets sing for enthusiasm
Lets live for love

Drive away darkness
Hail the patience
Celebrations must hit like a typhoon and flood
our live
Hail the vior
Lets run till we succeed
There is no going back after sighting the target
Lets sing for enthusiasm
Lets live for love

Your word must break silence and stop a war
Hail the mastery
Turn ur foe into a friend with your love
You are a king if u are a loving heart
Lets sing for enthusiasm
Lets live for love

(by Hara Pattanaik, 2007)

Secondly, at Orissacinema, we gathered that technologically, Pagal Premi is a very advanced movie as far as the making is concerned. The makers of the cinema indicate to the following points that would make it clear why Pagal Premi may be different from other Oriya movies:

1. We used the camera “ARRI 435 ” which is very sophisticated with latest features and is the same camera that was used in “RANG DE BASANTI”. Besides, arriflex 235 was also used, with latest hi-fi camera lenses.

2. This is the first regional film that is going to use Dolby Digital Sound format and sound effects.

3. The entire film is going to be done in DI (Digital Intermidate) technology, which will increase the picture and colour quality. It is usually used in Bollywood films.

4. In the shooting we have used “GIRAFFE CRANE WITH MEGA-MOUNT”, which is a 50ft remote operated advanced camera crane capable of 3 dimensional rotation (advanced version of zimi zip). We used it for 73 days. Even in majority of Hindi films, such camera crane is not used for more than 30 days, as it is quite expensive.

5. The entire film shooting was done with digitally controlled lighting by top class latest equipmente of Prasad Cine Outdoor unit under the guidance of expert technicians of South and Oriya film industry.

Mamuni Mishra is a formidable artist who has an illustrious career spanning 15 films and a dozen television serials to her credit. Orissacinema is proud to showcase her journey through stardom as well as to provide our readers with an exclusive gallery of her recent pictures.

Mamuni has also been a theatre artist and a successful TV anchor apart from being an accomplished actress in Ollywood. She has bagged various awards including Best Actress award for “Moini Othore Hasa” from Sangeet Natak Academy. Her other awards include:
• Best Supporting Actress (2004) Awarded by SOOR TARANG
• Best Cine Artist (2004) Awarded by Bhubaneswar Sanman
• Best Cine Artist (2004) Awarded by Rajiv Gandhi Forum
• Best Supporting Artist (2004) Awarded by Chinta ‘O’ Chetana
• Best Upcoming Artist (2005) Awarded by YOUTH
• Sabuja Sanman (2005) Awarded by Prerana
• Bhubaneswar Sanman (2006) Awarded by Prerana
• Liquor Awareness Award (2007) Awarded by Prerana
• Bolagada Sanman (2007) Awarded by Bolagada Sanman Committee
• Cine Cretic Award (2007) Awarded by Cine Creatic & Prerana

A detailed biodata of Mamuni Mishra is available on Orissacinema and if you have a PDF Reader, you may access it by clicking here.

(For the Bhaswati Basu Gallery, click here.)

It is a distinguished and esteemed name in the theatre world of Orissa but after winning the State Award as best actress in a supporting role for 2005 for much famed ‘Kathantara’ by Himanshu Khatua at the night of 30th May 2007, Bhaswati Basu has made her presence felt in Oriya cinema as well. She is a worthy successor to her legendary father Asim Basu, an Artist, Art Director and Actor of the state. Her grip over audience at Rabindra Mandap in a range of stage productions is to be seen to be believed. She has been a part of many stage production in various capacities be it an actress, director, stage designer, playwright or conceptualizer, a legacy she imbibes from her father. She has impressed many celebrated directors with her commitment to the work. She acted in teleserials like DHARMATMA For Doordarshan by Gudia Mohapatra, BUDHA SHANKHARI for Doordarshan by Tapas Bose, ANANYA ANUPAMA for Doordarshan by Jyoti Prakash, SEI KAHANI for Doordarshan by Rajat Paikray, BADHU NUHEN BANDHU for Doordarshan. by Ajit Das, NILA MASTRANI for Doordarshan By Sadhu Meher, ANANYA for ETV by Devanand Nayak and BHAGYA BIDHATA for ETV by Sudhansu Sahoo. Her stage plays include KAUNASI JANE GOUTAM CHOUDHURY PAIN by Ajit Das, KEBELA PAGALA by Choudhury Bikash Das, JAHAKU JIE by Minaketan, SABA BAHAKA MANE by Sukesh Panda, MAHANATAKA by Ajit Das, SANDHYA CHHAYA by Ajit Das, TRUTIYA PAKHYA by Simanta Mohanty, E NABAGHANARA GHARA by Ajit Das, BAHARE BARSHA By Simanta Mohanty, ALAKA SANYAL by Simanta Mohanty and CHHA MANA ATHA GUNTHA by Ajit Das.

Besides, she has carved a niche in the world of playwrighting with her creativity. She also worked as the Conceptualiser of Govt. of Orissa for Orissa Pavilion at India International Trade Fair (IITF-2001) Pragati Maidan, New Delhi. With her voice, she has given life to three historic characters in the Light ‘n’ Sound programe at Pathani Samanta planetarium by Department of Science and Technology, Govt. of Orissa. Bhaswati’s directorial ventures includes HUANTI KI RAJA DINAKA PAIN (Children’s play for Doordarshan,SESHARE DHARAMA KAHILA a tele play for Doordarshan, JANHA MAMU Children’s play for stage, JUARA-2003, a theatre production by slum children organized by CYSD and STREET PLAY WORKSHOP organized by CYSD.

She believes, Himanshu Khatua’s Kathantara, Sadhu Meher’s Nila Mastrani, Ajit Das’s Sandhya Chaya and Sukesh Panda’s Saba Bahaka Mane are few projects which have given her immense satisfaction as an artist and she is proud of being a part of these ventures. As a performer Bhaswati idolizes Satyajit Ray and Smita Patil the most. She doesn’t believe in the length of a character in a production rather she believes in the significance of the character to the plot. She has got tremendous untapped potentials and is looking forward to do some meatier roles in Oriya cinema.

By Himansu Khatua:

The super cyclone of October 1999 brings me in contact with the affected population of coastal districts in Orissa. During documenting the post-cyclone scenario – the plight of the survivors in particular, I learn about the Bangledeshi refugee-settlements where either complete families got wiped out or a single survivor is left struggling. It’s then the probing into the genesis of forced migrants, their struggle and exploitation, and their future prompted me to take up their project. The case studies documented gradually evolved into feature length fiction – entirely based on real life characters and situations that I encountered during my documentation.

Since partition East Bengal refugees have been coming to Orissa and settling up small colonies in remote locations away from the mainstream population. The settlements in the coastal region are right on the sea-shores and perpetually under threat. Many a time disasters have struck, settlements been washed off but the survivor’s continue to fight, exist and belong to this land. Interestingly most of the refugees are now 2nd or 3rd generation immigrants. Born or raised in this country, they are very much attached to their adopted homeland. They resist – politically motivated eviction process and deportation attempts by the Government and assert their right to belong. This is in sharp contrast to Ritwik Ghatak’s approach to migration issue where he persistently dwelled upon ‘Searching for roots’. The present generation migrants do not have memories – their roots are nothing more than imaginary homeland.

‘Kathantara’ is more than the story of Kalpana. The film follows her Journey from different perspectives to build a tale of human predicament. Besides director’s own perspective, the point of view of TV camera and other characters are interwoven in simple manner. The device of shifting point of view has not only level layers of subtle interpretation of the tragedy and its aftermath but also has provided a deep insight into human value.

At one level I have attempted to draw different elements from different characters to tell Kalpana’s story. And yet again it is beyond Kalpana’s story – Every character is an untold story- Another story.

Filmography of Himansu Khatua
* The debut feature film ‘Shunya Swaroopa’ won the National Award in the category of BEST ORIYA FILM in 44th NATIONAL FILM FESTIVAL, India.
* It also won Orissa State Award for BEST FEATURE FILM, BEST DIRECTION, BEST CINEMATOGRAPHY, BEST MUSIC and BEST ART DIRECTION.
* Participated in the main programme of 27th ROTTERDAM FILM FESTIVAL, THE NETHERLANDS, 1998
* Participated in the competitive section of SOCHI INTERNATIONAL FILM FESTIVAL, RUSSIA, 1997
* Participated in the 21st GOTEBORG FILM FESTIVAL, SWEDEN, 1998
* Participated in the 34th PESARO INTERNATIONAL FILM FESTIVAL, ITALY, 1998
* Participated in the 13th CINEMA JOVE INTERNATIONAL FILM FESTIVAL, VALENCIA, SPAIN – 1998

New addition to our Gallery: Deepak Parida. Click here to view the Album.

An award-winning top model during his time, Deepak’s first Debut came through a 11-episode Hindi serial named “Sindurpa” (with Anu Choudhury) in 1997. Then he was pursuing an Engineering degree.
Sindurpa was directed by Pankaj Pani & Bichitrananda Sahu and produced by Abhaya Nayak.
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While choosing his postgraduate path in MTech at Vani Vihar, he did not ignore his acting career. Rather, in August 2000, one could see Deepak emerging as an instant hit with his first Debut Song “Anamika Nayika”. Along with this, he made comebacks with a telefilm entitled “Upahar” and a Kalamandir ad.

There has been no looking back for this dashing star who has been featured already in more than 80 songs so far. His first feature film “Mor Sang Chalbo” (Chhatisgadi, 2001) was released in Chhatisgarh, where Jyoti Mishra stars opposite him, while Anu Choudhury enacts the role of his sister.

Deepak found his place in a film of art genre “Sata Kahibaku Kia Daribi” (by Hara Pattnaik). But where he earned recognition was his first debut popular cinema “Sabata Maa” that boasted of the biggest star cast of 2003. Following its success, he found his position firmly placed in Ollywood with films like “Rakhiba Jadise Mariba Kie (2004), Saathire (2004), Om Shanti Om (2004), and Bhagya Chakra (2006). His second Chhatisgarhi film named “Bhakla” was also released in 2006.

As a model, apart from Kalamandir, Deepak has also carried on his spree for Saree House, Jayaram Lenka, Prasad Audio Cassettes etc.

Deepak has been acclaimed for his illustrious career. He received the Orissa State Award from Naveen Patnaik and Nandita Das in 2006 as “Best Supporting Actor” in “Sabata Maa”. For the same film, he was awarded the best newcomer award in 2004.

On the modelling scene too, he has been recognized, prominently as winner of Ab_Visual Best Male Model award for his Kalamandir Ad in 2004.

In his comeback, Deepak was featured in a Doordarshan leprosy ad along with Usasi Mishra, titled “Saritara Gatha” that was telecast in BBC. Its worth noting that this is the ad which fetched Oriya Doordarshan the best regional Ad on Leprosy Mission recognition in 2000.

Currently, busy with his career inclination as a senior software engineer at a top multinational in Bangalore, Deepak is available to star in more movies — as his original creative passion.

We at Orissa Cinema wish him all the best!