“Beyond the Lens: Neorealism and the Representation of Cultural Memory in Brojendragee Luhongba”
| Authors |
| Ningthoujam Rebika |
| Date of Publication: December, 2024 |
| Volume: XXIII, No.- XXVI |
| Abstract |
| This paper explores the impact of Italian Neorealism on the evolution of Indian cinema, particularly through the lens of the Indian New Wave or Parallel Cinema movement. Emerging in post-independence India as a response to the commercialized and escapist tendencies of mainstream cinema, the Indian New Wave embraced realism, social critique, and the aesthetics of everyday life—hallmarks of Italian Neorealism. Directors such as Satyajit Ray, Ritwik Ghatak, and Mrinal Sen pioneered this movement at the national level, while regional cinemas began to reflect similar tendencies. Within this framework, the Manipuri film Brojendragee Luhongba (1973), directed by S.N. Chand, and represents a critical moment in the cinematic history of Manipur. While Matamgi Manipur (1972) is officially acknowledged as the first Manipuri feature film, it was directed by a non-Manipuri filmmaker. In contrast, Brojendragee Luhongba stands as the first full-length film by a Manipuri director that consciously engages with the realist mode. This paper argues that Brojendragee Luhongba reflects the regional manifestation of Indian Neorealism, drawing from the broader influences of Italian cinematic traditions while simultaneously negotiating local narratives of identity, tradition, and modernity. The film, therefore, occupies a unique position in both Manipuri and Indian film history as an early articulation of cinema as a tool for cultural expression and social introspection. |
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