In 1972, Meitei Leima Jatra Cum Drama Association, a renowned Sumang Leela troupe at the time, produced a play that would go on to enjoy considerable success. Sumang Leela, for those who are not familiar, is a traditional form of Manipuri theatre where the literal meaning ‘courtyard play’ comes alive in an open courtyard surrounded by spectators on all four sides. A special attraction of Sumang Leela is its unique tradition of male actors, known as Nupi Saabi, playing the roles of female characters.
The play, whose remake over 30 years later still remained a hit, was none other than the legendary Manipuri story of Abir Khan. As the title suggests, Abir Khan has a Meitei Pangal protagonist, which is a rarity in both Sumang Leela and Manipuri cinema, making it particularly significant. The 1972 play starred Thounaojam Nobin in the role of Amina, the heroine of the play. It was only a few months later that they were roped in by film producer G. Narayan Sharma of NS Films for his upcoming film Lamja Parshuram. Nobin’s brief yet impactful cameo in the 1974 film would become a landmark moment in Manipuri cinema, marking the first time a Nupi Saabi was cast to portray a female character on the silver screen.
Many argue that Nupi Saabis were not, and are not, queer, a sentiment echoed by several renowned senior practitioners. However, while this tradition may have originated from practical necessity, it inadvertently created a sanctuary for gender non-conforming individuals. Conversely, some feel that the entry of openly queer people into this space erases the original practice. Nonetheless, today, many Nupi Saabis identify as Nupi Maanbi, transitioning from ‘playing a part’ to ‘living their truth’ on screen.
It is a common saying among cinemagoers that films are mirrors of the society we live in. By this logic, films should accurately represent the diversity of peoples within our society. Given the significant presence of the queer communities in the state, examining their representation in Manipuri cinema becomes all the more important. This article aims to highlight queer representation in popular Manipuri cinema, tracing its evolution from 1974 to the present day.
Early beginnings – 1970s-1990s
Nobin’s cameo of a Sumang Leela Nupi Saabi in Lamja Parshuram marked a pioneering moment for the representation of gender diversity in Manipuri cinema. Regardless of whether Nobin identified as queer or not, decades later, the image of gender fluidity projected on the screen created a cultural opening for transgender actors like Bishesh Huirem to live their truth on screen.
Notably, Nobin’s role was remarkably significant to the film’s narrative, and the character was not used for comedic relief, which sadly became the trend in later years. Nobin played the role of an unnamed woman who visits the antagonist of the film to extract information that eventually saves the protagonist. Draped in a saree whose shine remain undiminished even in a black and white film, Nobin’s cameo remains a definitive moment in the history of Manipuri cinema.
The 1980s were a challenging period for Manipuri cinema, marked by a scarcity of film releases and a notable absence of queer representation. However, the late 1990s saw the emergence of a significant work – the full-length video film Mera Thaagi Sanarei, starring renowned Sumang Leela Nupi Saabis R. K. Sanaton and Oinam Arun.
Though Mera Thaagee Sanarei was a comedy film featuring parody songs and a storyline centred around a man wooing two women, its significance lies in being the only video film to feature Sumang Leela Nupi Saabis as the main protagonists. Whether this casting constitutes a form of queer representation remains a subject of interpretation that reflects the tensions between traditional performance and contemporary gender identity expression.
Poster of ‘Oneness’ courtesy Priyakanta Productions / IMDb; poster of ‘Thawaigi Thawai’ courtesy Mityeng Live / YouTube
The dark years – 2000s
The 2000s marked a significant shift in Manipuri cinema with the rise of digital filmmaking, resulting in a surge of annual productions and increased visibility of queer characters. However, these representations were often relegated to comedic relief, lacking depth and narrative significance. Veteran actors like Keisham Kuber and Laishram Rangilal perpetuated damaging stereotypes, potentially normalizing mockery and marginalisation of queer individuals in real life.
Films like Eigidi Thawaini, Huranbado Mapuni, and Thajadaba Mitkuptuda shared a disturbing commonality – the use of a queer character, played by Kuber, as a comedic relief. These portrayals featured humiliation, derogatory remarks, and ridicule, perpetuating the notion that queer individuals are objects of mockery. Moreover, veteran actor Mombi’s portrayal of a woman with masculine attributes in a film from this decade earned her the title CheChe Tamo (literally, ‘sister brother’), further highlighting the troubling trend of mocking nonconformity.
In one way or another, people of all ages would have consumed these films and the stereotypes that came with them, and this would have led to real-life stereotyping and further discrimination of already marginalised communities. In light of this, I would categorise this decade as the ‘dark decade’ for queer representation in Manipuri films.
Shift towards inclusivity – 2010s
The 2010s marked a turning point in Manipuri cinema’s portrayal of queer characters. Films like Thouri, featuring an effeminate middle-aged man working in a girls’ hostel, and Khomei, which depicts a trans woman character, played by Bonny, as a comedic relief who pursues straight men for humorous effect, continued to reinforce stereotypes.
In contrast, films like Ang Tamo and Kaiku Vs Hiramoti offered more nuanced and realistic representations. Ang Tamo explores the lives and struggles of trans women, while Kaiku Vs Hiramoti tells the story of a trans woman’s journey, including gender affirmative surgery. These films, while not without drawbacks, signal a shift towards more sensitive and thoughtful portrayals of trans characters.
Another positive aspect of this decade is that, unlike its Bollywood counterpart, Manipuri cinema featured trans women in these roles, rather than casting cisgender women.
Continued progress – 2020s
The 2020s reflect an evolving landscape in Manipuri cinema’s portrayal of queer characters, building on the progress made in the 2010s. Director-actor Priyakanta’s film Oneness, released in 2024, was a landmark production as the first full-fledged gay-themed film in Manipur. Though Manipuri cinema’s acquaintance with same-sex relationships dates back to 2015 with the film Eikhoi Pabungi, where veteran actor Edhou briefly contemplates his son’s (played by Denny Likmabam) potential gay orientation, Oneness pioneered an in-depth portrayal of gay relationships.
The recent release of Thawaigi Thawai, starring several Sumang Leela artists, further solidifies the progress in queer representation in Manipuri cinema. As an adaptation of the play of the same name, the film garnered praise from audiences, who appreciated the unique casting. This development marks a giant step towards normalising queer representation in films, and this can contribute to a more open-minded society.
However, the film fraternity’s hostility towards queer representation and queer individuals needs a closer look. Notably, the Cine Actor Guild Manipur’s 2015 Sumang Leela performance at the prestigious Iboyaima Sumang Leela Sanglen was marred by stereotypical portrayals. Actor Gurumayum Bonny, known for his Sumang Leela background, played a trans woman in a derogatory manner, with veteran actors Maya Choudhary and Lilabati actively participating in mocking the character on the stage. It is perplexing that these actors, associated with a platform that has provided some visibility to trans women, perpetuated age-old stereotypes, which was indeed a significant misstep.
Furthermore, the controversy surrounding Thawaigi Thawai, where Film Forum Manipur initially withheld permission for its production and release, exemplifies the denial of representation opportunities. Hopefully, the film’s eventual release will have paved the way for more inclusive storytelling and bring positive changes in this field.
Manipuri cinema’s portrayal of queer characters has traversed a complex path. With films like Oneness and Thawaigi Thawai, one hopes that the momentum of thoughtful queer representation will be sustained. On-screen portrayals can perpetuate real-world prejudices, but they can challenge them too. What will the filmmakers, actors and other stakeholders in the world of Manipuri cinema choose?
Main illustration (film still) credit: Aribam Syam Sharma Archives (YouTube channel)
