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Dr. Bhabendra Nath Saikia belonged to a club of filmmakers who, apart from making good cinema, wanted to enhance the taste of the cinegoers. He wanted the audience to perceive and assimilate what he is trying to convey through his cinema. However he was also aware of the fact that film appreciation depends upon individual choice of genre, line of perception and level of intelligence. In spite of knowing these, he did not compromise with the quality of his work to gain commercial success or to reach more people. That is why he opines that, 鈥業 want to be able to communicate with them at a particular intellectual level, and believe that it should be the goal of all sincere filmmakers to try to cultivate and nurture such a perceptive, tasteful and 鈥榮erious鈥� audience. This in itself is a tremendous accomplishment鈥� (Saikia: 2003: 91).

At the outset of his film Kolahol, the filmmaker states that 鈥榯his film has been made in Assam in the Assamese language, but its theme and the characters belong elsewhere -to many places鈥�. Though Dr. Saikia chose his themes that had universal appeal, as a writer he consciously built up his stories around elements that could depict the folk and the raw. While adapting his literature into films, these aspects were kept intact by the filmmaker as much as possible. He was very particular in building the storyline with all the essential aspects of designing it aesthetically so that the properties used in the film could themselves be treated as characters. For instance, during the pre-production phase of his third film Agnisnan, Dr. Saikia had published an advertisement in search of a horse-carriage. The carriage was not only essential to depict the mode of communication of the central male character Mohikanta, but also to act as a symbol of his pride and status. Not finding the needed carriage in Assam, the filmmaker ordered a carriage at Calcutta, and it was brought all the way to Guwahati on a truck. Only a dedicated filmmaker can go to such an extent with acute financial constraints. Later, the carriage itself turned into a symbolic representation of the essence of the film.

While examining the elements of folklore in the films by Dr. Bhabendra Nath Saikia, several aspects were observed by the researcher. Hence the researcher would explain the projection of folklore elements in the films of Dr. Bhabendra Nath Saikia under defined genres of folklore for ease of clubbing.