These days, Assamese audiences, particularly film enthusiasts, seem interested in heading to cinema halls to experience movies on the big screen. As people devote their time to cinema, it’s also an opportunity for filmmakers to put in the effort to create experiences that resonate and stay with viewers. With recent releases like “Bidurbhai 2” and “Pikhaas,” which offered audiences new genres and fresh approaches to storytelling, the Assamese audience is hopeful and excited to see what new films will bring to the screen. As expectations rise, so too does the responsibility of filmmakers. However, the question remains: will this trend and love for Assamese cinema continue in the face of recent disappointing releases like “Local Kung Fu 3”?
“Local Kung Fu 3,” whose first part was released in 2013, followed by a sequel in 2017, and its third entry in 2024, marks a decade since the beginning of this series. Yet, despite the passage of time, everything about the movie remains unchanged. It feels as though we haven’t moved beyond the exaggerated comedy genre, as the treatment of the film remains the same.
Considered one of the flag bearers of the Assamese comedy genre, Local Kung Fu has a larger fanbase than any other Assamese film currently available or anticipated in the near future. It has the legacy of offering audiences a new taste and a relaxing experience for cinema lovers. Therefore, people are flocking to the theatre in the first few days solely because of their affection for its legacy and nostalgia. However, the question remains: How long will this love and adoration last? With this kind of poor storytelling, how will Kenny Basumatary compete with the recent wave of good cinema that is on the horizon?
It’s 2024, and people have more access to cinema than ever before. There are more films available on mobile phones than what cinema halls can provide. If films are this accessible, why would someone choose to watch a movie in a cinema hall when they can simply open YouTube and see similar work by small YouTubers with fewer than a thousand subscribers? In an era of Instagram reels, where people’s attention spans are limited to 15-30 seconds, why would anyone watch a movie that lasts more than two hours without substantial storytelling, camera work, or humour to capture the audience’s attention?
To put it bluntly, if someone were to ask me about the experience of watching Local Kung Fu 3, I would rather suggest they open YouTube or Instagram and watch 15-30-second shorts or reels, which might be more interesting than the entire film. The concern is not only with the poor experience but also with the fact that Kenny Basumatary is recognized nationwide as a compelling filmmaker. If he is making films of this quality, where is the Assamese film industry heading? The cinematography is so subpar that, for the entire two hours, it felt more like watching a YouTube video shot on a mobile phone than a cinematic experience.
The rawness that Basumatary brought to filmmaking in 2013 seemed like a legitimate and viable approach at the time. However, the question now is whether this rawness has become a hindrance to his storytelling rather than an asset. Additionally, the rawness that came from working with non-actors in Local Kung Fu 3 felt overstretched and even cringe-worthy for someone who had come to the theatre to experience cinema
A well-known filmmaker recognized for her rawness is Rima Das, who doesn’t follow a strict script on set and captures the natural flow of conversations between people, often going beyond what is planned. Her rawness is a strength in her filmmaking, but for Basumatary, it does not work as well. The dialogues in his films seem planned and scripted, so the comic timing that an experienced actor could have brought to the screen is lacking with non-actors. Consequently, Basumatary’s rawness, which he likely considers his strength, felt forced and ineffective in this film.
Another concern that needs attention is the role of an actor. As mentioned earlier, actors have a sense of comic timing. While it’s also true that non-actors can have strong comic timing in real life, things change in front of the camera. Actors are trained to be less self-conscious and their delivery of dialogue can enhance the film. In contrast, non-actors often become self-conscious in front of the camera, leading them to either over-exaggerate or underplay, which can completely alter the tone.
Therefore, in the Assamese film industry, there is a need to give opportunities to trained and self-aware actors who can deliver what the director has planned. Replacing them with non-actors is often just a financial strategy by filmmakers and can rarely work in favour of the Assamese film scenario.
In Local Kung Fu 3, the exaggeration of comedy did not work for many audiences. In some punchlines, the jokes did not even land, and the entire hall remained silent during moments that had previously elicited laughter in 2013. Another concern that arises while watching this movie is the future of Assamese comedy. If a film known for its strong comedic elements shows such disappointment, where does the Assamese comedy genre stand?
Bollywood’s recent release, Stree 2, a horror-comedy, provided audiences with a grand experience, featuring subtle humour and punchlines that resonated long after the film ended. Certainly, it’s undeniable that the first part of Local Kung Fu gave audiences memorable punchlines and dialogues that remain part of everyday conversations. However, Basumatary’s attempt to repeat the same trend in the sequel did not work. Even on Instagram, influencers avoid repeating content that has already captured people’s attention and instead strive to offer variety. So, wouldn’t it be foolish of Basumatary to repeat the same formula and not expect disappointment from audiences? It’s not 2013; people are more aware of cinema than ever before.
As a well-known filmmaker, he has more at stake and a greater responsibility to provide audiences with a fresh experience and contribute positively to the future of Assamese cinema. There is no substitute for a grand cinematic experience, no alternative to capturing audience attention, and no other option but to elevate the cinema experience beyond what has already come before.