Subham
Pancheswar, Mumbai | Published in Dailyhunt 30.09.25
The Vigyan Bhawan at New Delhi was lit with ceremony and
anticipation on that September afternoon. As his name was called, Utpal Datta
walked towards the dais, the hall echoing with applause. The President of
India, Droupadi Murmu, handed him the Golden Lotus—the Swarna Kamal for Best
Film Critic. For a brief moment, time seemed to pause: a son of Assam, carrying
decades of dedication to cinema, stood in the national spotlight. It was his
second award in the same category, but the emotion was no less profound.
“Any
individual award is a personal award, even the Swarna Kamal. But when people
celebrate it with me, it grows into something larger—almost a public award. I
feel it recognises not just my work but the long and often unspoken journey of
Assamese writing on cinema,”
he would later reflect.
From Guwahati to
the National Scene
Born and raised
in Assam, Datta’s early engagement with cinema was not through the glitter of
Bombay but through the quieter lanes of Guwahati, where cinema was a cultural
mirror rather than mere spectacle. Over the years, he has worn many
hats—critic, filmmaker, author, radio professional, and teacher—but his
commitment has always been towards treating cinema as art and as a reflection
of society.
In his college
days, he often lamented the lack of academic resources on cinema in Assamese.
This absence became a lifelong motivation. He would later go on to edit the
first Assamese book on cinema, a pioneering step that signalled his larger
mission: to give film appreciation a literary and academic foundation in his
region.
Writing as
Criticism, Criticism as Literature
Datta’s writing
is where his intellectual and artistic sides meet. In August alone, he brought
out two new books—one in Assamese and one in English—both reinforcing his deep
engagement with film as text, as art, and as social commentary.
The Assamese book
studies the screenplays of Dr. Bhabendra Nath Saikia, a filmmaker Datta feels
has been unjustly underrated. “He was the only filmmaker, besides M. T.
Vasudevan Nair, who consistently made films from his own stories and
screenplays. Analysing his work through the three-act structure, I attempted to
demonstrate how he both adhered to and defied the form. More importantly, I
wanted to argue that the screenplay itself deserves recognition as a literary
genre,” he explains.
His English
anthology, Decoding Films, published by Tridev Publisher, ranges widely:
an essay on how Satyajit Ray’s personal memories and experiences resurfaced in
his films, a meditation on Wong Kar-wai’s Chungking Express, and
incisive critiques of lesser-known but powerful independent films across India.
“The soul of India, I believe, is best heard in regional films made out of
passion,” he says. The book has drawn appreciation from across the
spectrum—Polish filmmaker Ewa Bukowska penned the preface, while figures such
as Rahul Rawail, Anant Mahadevan, Dr. Sanchari Basu Chaudhury, and Dr. S. J.
Bhuyan praised its critical depth. The book is available in online platforms
worldwide.
The Critic as
Teacher
Today, Datta
divides his time between writing and teaching. At Assam down town University,
he teaches film appreciation to a generation of students who are discovering
cinema beyond entertainment. “When I was a student, there were hardly any
resources. That is why I now focus on writing books specifically for
undergraduates and postgraduates. My main destination is fixed as a
film-writer,” he says.
He is currently
working on a new book that examines the craft of screenwriting and stage play
writing—designed as a resource for postgraduate students of cinema. His
academic focus is balanced by his creative pursuits: he continues to plan film
projects, including one exploring Assam’s cultural traditions.
A Voice for
Assamese and Indian Cinema
In discussing
cinema today, Datta’s perspective is both local and global. “Digital
platforms have democratised access, giving regional films a global stage.
Assamese cinema, once isolated, is now reaching audiences worldwide. Rima Das’s
Village Rockstars and Bhaskar Hazarika’s Aamis drew international attention
largely through OTT. These platforms allow creative freedom, making room for
socially relevant stories that might never have reached the big screen,” he
notes.
At the national
level, he sees diversity as the hallmark of 21st-century Indian cinema. “Stories
from the margins are claiming visibility. This is the best moment for regional
cinema to step confidently into wider cultural dialogues,” he asserts.
Beyond Criticism:
A Filmmaker’s Touch
While known
primarily as a critic, Datta is also a filmmaker in his own right. His
directorial ventures have earned him the State Film Award for Best Director
twice, establishing him not just as a commentator but as a practitioner of the
medium. His dual perspective—as someone who both critiques and creates—adds a
unique depth to his writings.
Anchored in
Assam, Resonating Beyond
At its heart, Datta remains firmly rooted in Assam. His work, however, resonates far
beyond the region, speaking to broader questions about art, culture, and
society. Whether through his books, his teaching, or his films, he has
consistently championed the idea that cinema is more than spectacle—it is
literature, philosophy, memory, and mirror.
As he continues
to write, teach, and create, one thing is clear: Utpal Datta’s journey is not
only his own. It is also the story of Assamese cinema’s long march towards
recognition, and of regional voices finding space on the national and global
stage.
For Datta, every
award, every book, and every film is part of a larger project—to keep cinema
alive not just as entertainment, but as serious art and cultural reflection.
And as Indian cinema diversifies in the digital age, voices like his ensure
that smaller stories from the corners of the country are not just heard, but
remembered.
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