| 1 | '''Agnisnan''' |
| 2 | |
| 3 | |
| 4 | aka Ordeal |
| 5 | 1985 186’ col Assamese |
| 6 | d/p/s Bhabendranath Saikia c Kamal Nayak |
| 7 | lyr/m Tarun Goswami |
| 8 | lp Malaya Goswami, Biju Phukan, Arun Nath, |
| 9 | Kashmiri Barua, Sanjib Hazarika, Ananda |
| 10 | Mohan Bhagawati, Arun Guha-Thakurta, Nilu |
| 11 | Chakraborty, Indra Bania, Ashok Deka |
| 12 | |
| 13 | |
| 14 | The Assamese physicist and writer Saikia used |
| 15 | one of his own novels, set in 30s feudalcolonial |
| 16 | Assam, for this extended film about a |
| 17 | woman’s emancipation. The well-off and |
| 18 | British-supported rice mill owner Mohikanta |
| 19 | (Phukan) is married to the quiet Menoka |
| 20 | (Goswami) and has four children by her. When |
| 21 | Mohikanta takes a second wife, Kiran (Barua), |
| 22 | and makes her pregnant, the angry Menoka |
| 23 | starts a secret affair with the village thief, |
| 24 | Madan, and becomes pregnant. Unaware of his |
| 25 | double standards, Mohikanta feels betrayed |
| 26 | and demands an explanation for Menoka’s |
| 27 | refusal to have sexual relations with him ever |
| 28 | since Kiran moved into their home. Menoka |
| 29 | simply points out that since Mohikanta had |
| 30 | expected her to put up with his infidelities, so |
| 31 | he must accept hers. The final confrontation |
| 32 | between husband and wife, set in the rice mill, |
| 33 | provides an unusual ending to this tale about |
| 34 | patriarchal hypocrisy as the initially submissive |
| 35 | Menoka self-confidently affirms her right to |
| 36 | fully equal status with her husband. |
| 37 | |
| 38 | [[Film]] |