| 1 | '''Hkhgoroloi Bohu Door''' |
| 2 | |
| 3 | |
| 4 | aka It’s a Long Way to the Sea |
| 5 | 1994 106’ col Assamese |
| 6 | d/co-sc/p Jahnu Barua co-p Sailadhar Barua |
| 7 | pc Dolphin Communications co-sc/dial/ed Heu- |
| 8 | En Barua c P. Rajan m Satya Barua |
| 9 | lp Bishnu Khargaria, Susanta Barua, Arun Nath, |
| 10 | Kashmiri Saikia Barua, Miral Quddus |
| 11 | |
| 12 | |
| 13 | Barua’s Assamese modernisation melodrama |
| 14 | tells of the boatman Puwal (Kharghoria) who |
| 15 | ferries people across the remote Dihing river. |
| 16 | On the invitation of his son Hemanta (Nath), he |
| 17 | goes to see him in the city, Guwahati. Hemanta |
| 18 | invited the old man mainly to have him sign a |
| 19 | legal document that would enable the sale of |
| 20 | family land. The circumstances of the deal |
| 21 | disillusion Puwal, who returns to his village. |
| 22 | There, in the film’s second half, a bridge is built |
| 23 | over the river by corrupt politicians and |
| 24 | bureaucrats, losing the boatman his ancestral |
| 25 | employment. Constructed in two movements, |
| 26 | the film is held together by the relationship |
| 27 | between Puwal and his orphaned grandson, |
| 28 | Hkhuman (S. Barua), which becomes the |
| 29 | framing device representing the kind of |
| 30 | modernity that encircles the uncomprehending |
| 31 | old man. Elements of the plot resemble the |
| 32 | director’s earlier Halodiya Choraye |
| 33 | Baodhan Khaye (1987), but even the |
| 34 | symbolic revolt of the earlier film is now |
| 35 | missing. |
| 36 | |
| 37 | [[Film]] |