‘Universal play of death and rebirth reflected in Jagannath culture’

Winner of two Silver Lotuses in 64th National Film Award as director and producer of the film ‘The Lord of the Universe’, Shibu Prusty has brought glory to Odisha. He is a passionate moviemaker. He abandoned his career as a marine engineer to carve his aspiration on the big screen. It is the visual sense that he acquired as a legacy from his painter-father and that he now attempts to convey onscreen. Based in Mumbai Film City, Prusty owns a brilliant academic background starting from DN Bidyapitha, Keonjhar, through VN Autonomous College, Vyasanagar, degree in Marine Engineering and Journalism and Mass Communication to diploma in Cinematography at BPFTI, Cuttack. While religiously devoted in exercising his creativity, he has in his ensemble three short films, several corporate films, multiple TV commercials besides his work as associate director in 10 feature films. Fond of creating something new with social commitment, he is now busy shooting a documentary, ‘The Motherland’, based on the thought-provoking economic  theory of noted trade unionist and thinker Mayadhar Nayak’s book, ‘Land to Let’. In an interview to The Pioneer, Prusty spoke to Sugyan Choudhury about what prompted him to make a movie on Nabakalebar and his other works and dreams.

How do you like to interpret the concept of your film, ‘The Lord of the Universe’, for which you have won double Silver Lotuses in the National Film Award?

The essence of the film is based on the recurring motif of rebirth. The Indian philosophy propounds this concept. Discarding the old and emaciated body after death, the soul wears a new body in rebirth. It’s an eternal cycle that goes on until the soul attains salvation. The cult of Lord Jagannath has been reiterating this eternal truth by enactment of Nabakalebar of the deities of Jagnnath, Balabhadra and Subhadra, routinely in intervals of 8 to 19 years. As the deities are made of wood and a wooden object is likely to decay within a span of time, so idols of the deities need replacement.

This process of renewal of the deities is called 'Nabakalebar'. According to the lunar calendar, when an intercalary month is added to the month of Asadha, Nabakalebar happens. It's a very rare phenomena that devotees ever yearn to watch. Jagannath literally means 'The Lord of the Universe'. This film is about this grand celebration and the philosophy behind the rituals.

When did you start working on it? How long did it take to make it?

The whole film, from the research/script to screen, took around two years to complete. The process was an experience of learning for me. It was very difficult without having any sponsor or financier. It was like a struggle for me. I spent all my savings. In November 2014, I started working on it making my sojourn in Puri, meeting people, collecting information. From March to September 2015, it was about 120 days, during which I shot it. Shooting rushes took around 135 hours. Then for post-production, it took almost a year. Then, editing, narration writing, background music, colour grading and sound mixing ensued. Finally, the film was completed in December 2016. The duration of the film is 55 minutes.

Why did you choose a topic like Nabakalebar?

Since my childhood, I have been harbouring a fascination for the titillating concept of birth and death and rebirth.

 Even in my student days, I made a photo feature titled ‘Finite within the Infinite’, which was based on human life. So when I realised this universal play of death and rebirth is also reflected in our own culture of Lord Jagannath, I thought the whole world should know about this sublime philosophy. As a proud Odia, I took the responsibility and with the blessing of the Lord himself started my work. I have felt an unseen power standing by my side and driving me to make it happen.

How much of research went into making the film?

The research went on before the shooting, throughout the making process, during the pre production period, at the time of narration writing and editing. For me, the fiction is the illusion of reality, but this documentary is the interpretation of reality. During this making process, lots of social responsibilities were there. I ensured that everything should be correct and acceptable by all. So, I had verified my script with the experts, involved the people who understood the culture deeply. Even, I took feedbacks from different people and reedited the film many times before I finally made it universal.

Tell us about how you shot it.

 At the time of shooting, I used two cameras. I used four cameras to shoot the Car Festival. I had a very limited crew; Birendra and Rudrakant were always with me; and whenever I needed more operative cameramen, I enlisted expertise of Rajesh, Ashutosh and Akshay. It was very challenging to shoot in the huge crowd during the festival. The most difficult part was travelling with the crowd as you can’t use any vehicle; and you have to walk miles in the hot summer in the month of May and sometimes in rain in July.

What are your previous works?

It’s a wonderful feeling to receive National Film Awards in the best art and cultural film category as a producer and director in my first film. During last 13 years as a cinematographer, I have worked in many projects in the Mumbai film industry, been associated in 10 feature films, three short films, many TV commercials and 25 corporate films as cinematographer. Many TV shows, Azmipictures film CONESTY, Amir Khan productions, TV show ‘Satyamev Jayate’ gave me a lot of satisfaction in my career.

Did you get into filmmaking by chance?

I am a visual storyteller who loves to express the idea through the medium of cinema. My visual sense formed by watching  my father's paintings. So, paintings became my hobby; later at the time of marine engineering study, I became interested in filmmaking and chose cinematography as my career at the Biju Patnaik Film & Television Institute, Cuttack. So, I am a blend of art and technology like the cinema itself . After three years’ study from 2000 to 2003 in cinematography, I began my career in Mumbai with Rajlaxmi Film Productions. Then, I worked in different production houses like BBC India, Tale-Smith, Squarepeg. It’s a matter of time when I found myself to make a film on a unique culture which relates with the universal truth. The concept itself drove me to make my directorial debut “The Lord of the Universe”.

What’s your next project?

I am working on two projects now. One is a docu-fiction about how love is essential in life. My aim is to make some good cinema. My life can have  meaning and purpose if I can make some films for the good cause of society. The other one is a documentary entitled ‘The Motherland’ based on the theory propounded by noted trade union leader and writer Mayadhar Nayak in his book, ‘Land to Let’. It’s about a unique solution to the faceoff between industrial houses and landowners.