Ishanou – Second Run

Director: Aribam Syam Sharma
Screenplay: M.K. Binodini Devi
Starring: Anoubam Kiranmala, Kangabam Tomba, Manbi, Baby Molly, Soraisam Dhiren
Country: India
Running Time: 94 min
Year: 1990
BBFC Certificate: 12

Manipur is a relatively small state in the north east of India and, like some other states in the country, it has its own film industry (there’s more to Indian cinema than ‘Bollywood’).

Aribam Syam Sharma is Manipuri cinema’s most highly-regarded filmmaker. He was actually an actor and music director on Matamgi Manipur (1972), the first Manipuri film, and worked on a vast number of films and documentaries through his 50-year career. He also helped improve the infrastructure for film production and appreciation in Manipur.

The turning point in his directorial career, however, came with Imagi Ningthem in 1981. This was a commercial disaster but the first Manipuri film to attract international attention at festivals. So, Sharma decided from then on to stop making films for independent producers and instead make them for the government, as they didn’t depend on commercial gains.

Ishanou was his next feature film, released in 1990, a whole decade after Imagi Ningthem. Once again, it was highly regarded and was even selected for Un Certain Regard at the Cannes Film Festival. In more recent years, the film has been restored by the Film Heritage Foundation and was selected as part of the Cannes Classics lineup in 2023. This came despite continuing violence in Manipur, due to ethnic conflict in the region.

Now, that restored print of Ishanou is being released on Blu-ray by Second Run. I got hold of a copy to share my thoughts.

The film tells the story of Tampha (Anoubam Kiranmal), wife to Dhanabir (Kangabam Tomba) and mother to Bembem (‘Baby’ Molly). Life seems good for the family until Tampha begins to suffer from strange episodes. At first, she seems to sleepwalk or enter a trance-like state in the evenings, then later she grows to be quite mentally unstable.

Dhanabir does all he can to help his wife, but no doctor seems able to stabilise her. Then, one night, Tampha runs away and ends up at the home of a Maibi. A Maibi is a religious figure who does not become one by choice or initiation but only when chosen by their deity.

Tampha and the Maibi believe her instability and the pull that brought her there were signs that she was to become a Maibi. So Tampha joins the order, much to the disappointment of her family, who are worried her daughter might be forced into becoming a Maibi too (as is often the case).

Ishanou has an elegantly simple style, with Sharma delivering economical storytelling through clean shots and crisp editing. Dialogue is kept straightforward and fairly minimal too.

It’s all a far cry from the Bollywood style most are more familiar with when it comes to Indian cinema, though some of Tampha’s ‘episodes’ can be quite intense. This makes them all the more shocking when they appear.

Music is beautifully used throughout. This was all composed by Sharma, based on traditional music from Manipur. The songs are seamlessly blended into the film rather than coming out of nowhere and grinding the film to a halt.

The film was shot in 16mm but blown up to 35mm, so it could be taken to festivals. The 16mm nature of the raw material makes the film look older than it is, but not in a bad way. It has a timeless quality, in fact, reflecting a place and culture rather than a specific period.

The family in the film are from the Meitei ethnic group and we see them taking part in various religious ceremonies. Screenwriter M.K. Binodini Devi, a frequent collaborator with Sharma, based the screenplay on stories she’d heard from Maibis themselves.

The film explores themes of spirituality and family unity, with the deep roots of the former in local culture proving to be more powerful than the latter.

Indeed, Sharma and his team found it difficult to source a local actress willing to play Tampha, as they were afraid of being made a real Maibi after acting like one. Instead, they had to bring in an actress from a different cultural background.

Beyond the themes mentioned, I also felt that the film seemed to be looking at how spirituality, combined with music and dance, can help treat mental health issues. However, the ‘cure’ in this film has an unfortunate repercussion.

Interestingly though, in giving herself to this traditional, sacred order, Tampha also seems to be becoming a more modern woman. She’s made the decision to move away from her domestic family life to find her true calling. You could argue that it wasn’t her decision but some unknown force that was leading her to become a Maibi, but, not being a spiritual man myself, I prefer to see it from that unusual, feminist angle.

Regardless of your interpretation, Ishanou works beautifully as an understated and poignant drama. It’s a wonderful film that deserves to be better known.

Ishanou is out on 26th May on region-free Blu-ray, released by Second Run. The original 16mm negative was reportedly in a poor state, so it’s amazing to see it look as good as it does on this disc. The picture is a little soft, but this is down to being shot on 16mm. Colours are pleasing, and it’s a clean picture. There are some colour fluctuations in spots, but it’s stable most of the time. I’ve used screengrabs throughout my review to give you an idea of how it looks.

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