Boong
Introduction
Meet Boong – a little boy from Manipuri who is a rebel and knows how to have fun. In fact in the opening sequence itself, you see him using a slingshot to hilariously stone the letters from the school’s name at the entrance. His mischievious ways doesn’t end there – in the immediate next scene, you see him singing a ‘Madonna’ song, ‘Like A Virgin’ in the school assembly, something that leads to laughter and trouble for Boong, both in the same breath. Boong’s mother is being called given that the school doesn’t know how to handle the situation, something that has him expelled. In this entire opening sequence, the humour is in tact, an early signs of breaking the stereotype as far as the introduction to the landscape is concerned. It is as if the filmmaker wants the viewers to view the entire drama in a similar binary gaze as Boong, that is devoid of the simmering political tensions building up in the vicinity of the state, a hint of which is dropped at regular intervals of the film. For Boong, there are two issues that are of prime importance to him – he wishes to study in an English medium school (something that justifies his rebellious behaviour at the start), and the other, that he misses his father who has randomly disappeared, and perhaps believed to be dead. And while the former issue is resolved immediate, the latter essentially forms the crux of this beautifully moving film.
Story & Screenplay
It is very early on that you see only Boong’s mother attending his school meeting. That scene is enough to tell that she is a single mother, or atleast for the time-being even as she awaits the return of her husband from whom she hasn’t heard of at all. At times, it also is difficult for her to keep Boong in high spirits given that uncertainty looms in the corner, even as the local authorities (including the village head) are quick to declare him dead given his alleged involvement with the rebel groups, even as tensions mount along the Myanmar border. This, even as Boong’s tryst with the new school is far from smooth, even as his partner-in-crime Raju is subjected to a racial-slur by being called an ‘outsider’, due to his dark-skin and his father settling in Manipur from Rajasthan. Boong is also subjected to ridicule by his classmate Juliana, who boasts of frequent vacations in Delhi that gives a hint of her rich background.
The writers use the prevalent politics of the region in a two-fold manner. One that is largely looming in the neighbour given the ethnic tensions that the state is subjected to even today (in a scene you see a character being tokd that Bollywood films are banned in Manipur, so even Mary Kom can’t watch her own film), while using a frivolous version of the same (deliberately done) for the kids who are usually quick to latch on to the environment that they are brought up in. As a result, the racial slurs subjected to Raju, or the class-divide experienced by Boong aren’t exactly threatening, but mostly used as a tool for politics to creep in to the second layer. For Boong and the age that he finds himself in, the world around him is binary – it is black and white, good and bad, without really understanding the realities of the land. And this is also a trigger point for him, to venture out and find the whereabouts of his father while promising to surprise his mother with this ‘gift’. Keeping that in mind, Boong can also be treated as an adventure film along with a coming-of-age drama, although the adventure here is not devoid of politics.
The writing shifts the setting of the drama to a more conflicted landscape that is closer to the political tensions, primarily along the border of Myanmar. Boong and Raju have discreetly fled from their homes and form an unlikely pair of unity. In fact, their dynamic is that of friendship, of unity in diversity, given that both are different personalities belonging to different ethnicities, both do fight alright but both look out for each other. In a scene, you see Boong (after having fought with Raju for misplacing the only image of his father) looking out for Raju in a foreign land before reporting the same to the officials, only for him to spot Raju, and promise never to let him out of his sight. These are the tender moments that forms the drama that is heartwarming in a stark contrast to the politics of the landscape.
The drama is also more of the cultural integrations in Manipur while highlighting the politics of the land, and keeping an eye on the central plot. It is like a little tour along the border, almost representing the like-mindedness of the people that are searing tied by culture yet programmed to think differently due to the politics of the land. This is oddly true even in terms of the revelation about Boong’s father, that sees Boong mentally disturbed and upset even while slowly coming to terms with his reality. His mother on the other hand has a more practical approach, inquiring on whether he is happy, something that is in line with the solution to the ethnic issues that the state is facing today. So if acceptance and respect can be a norm, then the worst of issues aren’t issues anymore, representative through the character of Boong’s mother. It is a pity that the state did go through an ethnic clash just 5 days after the film’s shoot was completed, something that continues even to this date even as the state largely remains neglected and cut-off from the mainstream. The message of the film becomes all the more powerful in that regard of allowing peace and prosperity to rule along with acceptance. The screenplay is just beautifully penned and hits the sweet spot in the narrative.
Dialogues, Music & Direction
The dialogues are simplistic and told through the lens of a very young age demographic (mostly Boong and his two friends), and it amazes me as to how simple the solutions would be for kids, something that adults need to learn from. If only the world was this simple! The music and the BGM beautifully blend with the mood of the drama by being active candidates in terms of the cultural representation of the state of Manipur. The cinematography captures frames that alternate between the two moods of the drama. While there are playful instances when viewed through the lens of Boong, with frames that evoke a sense of laughter, the grim shots of the valley often tell a different story. The editing is crisp and sharp while maintaining the subtle mounts of tension in the narrative intact. Director Lakshmipriya Devi definitely understands the politics of the landscape but doesn’t wish to make that the yardstick of the film. She is willing to offer deft solutions through her characters who find themselves far away from the conflicts that the land has in store for them. There is a searing purpose in her direction even when she chooses to be frivolous, a reflection of the psyche of her young protagonist, while balancing the narrative with a second layer of politics that is true to the landscape. The direction is excellent here.
Performances
The performances are excellent by the members of the cast. Hamom Sadananda as Joykumar shines in a little cameo at the end. Jenny Khurai as Singer JJ is used as a symbol of hope and common ground between the two countriesz and she definitely makes her presence felt. Vikram Kochhar as Sudhir is a layered character that is dealing with an identity crisis himself, yet always looks for the positives around him. He is endearing and sincere throughout the film. Baka Hijam as Mandakini has a wonderful screen presence and she does such a superb job in a character that has to internalize her vulnerabilities. There are signs of uncertainty in her character that she effortless taps into while also cutting out to be a symbol of practicality who has resigned to her fate and wishes to look ahead in life. The kids here are such a revelation here. Nemetia Ngangbam as Juliana is a bundle of joy who is affable to witness, and shares some rather tender moments that had fun-filled with her young co-stars. Angom Sanamatum as Raju is such a pleasure to witness as the partner-in-crime of Boong who often fights with him but never leaves his side. There is an identity crisis related to his character too, and I was amazed at the maturity showcased by him in tackling those complex scenes. He is a treat to watch here. Gugun Kipgen as Boong is the soul of the film. You often laugh and cry in the film because the drama unfolds through his gaze that reeks of innocence. He has so many layers to his character, often imbibing the virtues of folks around him, and he puts forth such a brilliant performance that richly stands out amidst the crowd.
Conclusion
As a part of our MAMI coverage, Boong is a simple coming-of-age story with political undertones told through the binary gaze of a child that makes for a beautiful cinema-watching experience that is pleasant and stays with you after the film has ended.