- Produced by: Reena Pechimayum Devi (Golden Dreams)
- Directed by: Jhulan Krishna Mahanta
- Cast: Neetali Das, Mala Goswami, Bibhuti Bhushan Hazarika, Bidisha Bujarbaruah, Priti Deka, Nishita Goswami, Atanu Mahanta, Kula Kuldip
An Elegy for the Shattered Dreams and Life’s Hardships of the Weavers of Sualkuchi
Jhulan Krishna Mahanta’s “Xunali Xuta” delves into an issue that is as old as the inundation of the Assam landscape by seasonal floods and the resulting tragedy of the people. The plight of the silk weavers and the silk-weaving village of Sualkuchi, situated on the bank of the river Brahmaputra and merely 40 km from the city of Guwahati, pops up in the news and socio-political discussions every year during the months of Bihu but is then forgotten just as quickly, leaving the artisans to languish in their tragic state for the rest of the year, only to become the talk of the town afresh the next year.
It was indeed heartening to watch a film like “Xunali Xuta”, which, being a short film, has still ensured the entry of the plight of the artisans of Sualkuchi permanently in a medium that is destined to crop up on the radars of people who indeed have the power to do something about it. While people of Guwahati and other affluent and fast-modernizing towns of Assam have some inclination towards buying traditional and artisanal products every now and then, they often do it for the sake of standing out or ticking a box in their list of essential fashion for the year.
With this film, the director might just be able to draw the attention of the masses to make buying homegrown and artisanal products from places like Sualkuchi a part of their annual shopping list. Even if a fraction of the spending people of the state decide to opt for the products carefully and meticulously crafted by these hardworking artisans, this industry is bound to get a boost and come out of the dilapidating state that it finds itself in with the advent of mechanized production of materials of a similar albeit inferior nature.
Moreover, there’s an influx of products coming in from other states that sell for a fraction of the price that the artisans of Sualkuchi charge. One of the best examples of this issue can be seen in the sale of the “Gamosa,” which the Assam government, in the last Bihu, categorically entrusted to the local sellers and producers, banning any outside influence on it. A boost in the production and sale of local artisanal products, in many ways, might even ensure that the cultural and artisanal prowess of the state reaches a wider audience outside the state, ensuring business and recognition from those corners of the country as well.
Coming back to the film, “Xunali Xuta,” unfolds in two tracks where we see a mother-daughter duo (Neetali Das, Bidisha Bujarbaruah) scouring the Guwahati markets for that seminal piece of traditional wear that Bidisha would wear on a special occasion. As the duo navigates through the cloth markets of Guwahati, they are not satisfied with what they see and look for more options. The father, played by Bibhuti Bhushan Hazarika, sets the mother-daughter duo on the path to the artisanal village of Sualkuchi, where he believes they will find what they are looking for. The product will not only be one that is the result of the toil of the traditional weavers but will also be a part of the long and prestigious history of the state.
The other track unfolds in Sualkuchi, where another mother-daughter duo (Mala Goswami, Priti Deka) is dealing with the hardships of being silk weavers in Sualkuchi and not having enough to make ends meet. That, however, doesn’t discourage the daughter, Priti, from dreaming of wearing her favourite piece of traditional clothing that her mother is handcrafting for her to wear on Saraswati Puja. As the time of the puja nears, the mother-daughter duo finds themselves running short of materials to finish the dress. The mother is somehow able to borrow the necessary materials from her seller in the town, but that sets her up to be forced to do something that will not only break her daughter’s heart but also underline the sad state of affairs in the lives of the artisanal weavers; Artists who neither have control over their products nor do they have the luxury of adorning themselves with a piece of creation that they have conjured into existence from nothingness.
Jhulan Krishna Mahanta’s approach to storytelling is aided by the power and tragedy behind the inspiration of the story and the superb ensemble cast who bring a sense of heartfelt realism and poignance to a sad tale. It was an intelligent decision to make the story unfold in two tracks and elongate the track involving Neetali Das and Bidisha Bujarbaruah to the extent that the audience is reminded of how the affluent also crave authentic traditional clothing and would go the distance to get their hands on material that is worth the effort. It also goes on to show how the importance of this industry is in some way handed down from one generation to another and how the spenders are willing to spend top money for the products. The character of Neetali is established as someone who is thrifty. However, when it comes to paying the artisan played by Mala Goswami, she doesn’t hesitate for a second to pay her the amount she asks for. There is an important lesson that is communicated through this transaction. It is to give the artisans their due in terms of financials as their product not only results from unimaginable hard work and toil but is also dependent on resources that are not strictly in their control, like the silkworm.
The director subtly portrays the state of the artisan’s household through interactions between different characters and how harshly Mala Goswami is treated by her sellers in the market. The director is also able to bring out the tragedy of the mother-daughter duo through their expression of helplessness at controlling minor aspects of their lives, as even these facets are guided by a lack of financial strength and their dependence on other more powerful people who literally own their lives just because of the financial support that they provide in the form of loans. The director shows enough of their day-to-day life to have a telling impact on how little the art form and their skills are worth and how little respect they expect to get from people just because they are unable to liquidate a substantial portion of their yields.
On the other hand, the mother-daughter duo of Neetali and Bidisha are not portrayed as villains, but their rigidity to go for a piece of clothing that they have chosen and their inability to let go of it, even after Mala Goswami informs them that it was made for her daughter, only goes on to underline the consumer’s nature and the extent to which they are willing to go to grab the product that they have paid money for and would not willingly part with any part of it. This also underlines the materialistic and rigid nature of the modern buyer and how little emotions and humanity count when you put your product on the market.
As I mentioned before, the ensemble cast is particularly brilliant in their portrayal of the real-life characters. Neetali Das, Mala Goswami, and Bibhuti Bhushan Hazarika lead from the front, portraying characters that not only appeal to our understanding and remind us of people that we have come across in our day-to-day lives but also truthfully render the different aspects of the storytelling, dependent on their essay, real and organic.
Mala Goswami is brilliant in her portrayal of the helplessness of her character. She does most of this through her expressions, which turn out to be absolutely heart-breaking. Her interactions with her daughter feel just as warm and real as was necessary to deliver the final emotional payload that marks the culmination of the film. Neetali Das is as good as she always is. This time she is tasked to portray a much simpler character than she is used to and that was no less of a challenge. She does exceedingly well in staying within the confines of the character and keeping her otherwise flamboyant and expressive self under strict control. She succeeds in bringing out the subtle nuances and presenting her character in a way that feels realistic. Bibhuti Bhushan Hazarika, in a smaller role, is proficient.
Bidisha Bujarbaruah and Priti Deka are just as brilliant, if not more than the ones I have mentioned before. Bidisha shares wonderful chemistry with Neetali that not only helps both of them get their timing and cues spot on but also adds a lot of energy and heart to the scenes they share with each other. It also enhances the realism and appeal of their scenes, contributing to their portion feeling engaging. The same has to be said about Mala and Priti’s characters in the film who had to portray tragedy but in a much more subtle and mature manner. Priti does exceedingly well in her scenes leading up to the climax of the film.
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Atanu Mahanta and Kula Kuldip in short roles are noticeable. Without getting into much details, their harsh treatment of Mala Goswami was so well realised that you feel like despising them. That was important for elevating the tragedy and predicament of Mala Goswami’s character. Kula Kuldip is ever so noticeable in the small roles that he does. I am just waiting for that one seminal role that would put him on the pedestal that he truly deserves.
“Xunali Xuta” is a poignant portrayal of the struggles faced by traditional artisans, specifically the silk weavers of Sualkuchi. With a brilliant ensemble cast led by Neetali Das, Mala Goswami, Bidisha Bujarbaruah, and Priti Deka, the film skilfully navigates between two distinct narratives, revealing the harsh realities of the artisans’ lives. The director succeeds in not only shedding light on the financial and emotional challenges these individuals endure but also in showcasing the profound impact of consumer behaviour on their craft. Through heartfelt performances and a compelling storyline, “Xunali Xuta” serves as a powerful call to action, urging viewers to reconsider their purchasing choices and support the rich cultural heritage woven into every piece crafted by these skilled artisans. It’s a film that not only resonates with the audience on an emotional level but also prompts reflection on the broader societal responsibilities tied to preserving and sustaining our cultural traditions.
The views expressed in this article are that of the reviewer and do not reflect EastMojo’s position.
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