During one of his shoots for Aparajito, filmmaker Satyajit Ray wasn’t pleased with the way night-bugs were captured by his black & white movie camera. After several trial shots—which meant expensive reels going waste—he finally made a few men in dark clothes hold small bulbs and prance around to give the twilight shot some reality. This scene barely lasts a few seconds in the film but such was the passion of the master director that he was ready to go any lengths even for a non-descript shot.
Siddhartha Sarma reminds you of a similar intensity—couched under a mellow outlook—that reflects the passion poured into his debut novel, The Grasshopper’s Run, an unsettling tale of an Assamese boy who has sworn revenge for his Naga friend’s death at the hand of Japanese Army during World War II. During the writing of the book, Sarma visited Burma to be familiar with the weapons of the times, and persuaded the Myanmar museum authorities to allow him to fire the rifle used during the early 1940s. Although the recoil and ricochets of the firearm barely crosses a few pages, it comes with an authoritative, unchallenged view of the writer.
Full report here Economic Times