[🇧🇩] Bangladesh Film Industry

[Saif]

New Bengali film hits theatres today after hiatus

On July 12, Shabnam Ferdousi's “Ajob Karkhana” was the last movie to be released in cinemas. Since then, no new films have been released due to the unrest surrounding the Anti-Discrimination Student Movement, the fall of the Awami League government, and the formation of an interim government.

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New Bengali film hits theatres today after hiatus

Photos: Collected

After a long pause of one and a half months, a new film is finally hitting theatres across the country today.

On July 12, Shabnam Ferdousi's "Ajob Karkhana" was the last movie to be released in cinemas. Since then, no new films have been released due to the unrest surrounding the Anti-Discrimination Student Movement, the fall of the Awami League government, and the formation of an interim government.

The film industry came to a standstill. The period after the previous government's collapse also saw attacks on multiple cineplexes and halls across the country, with many theatres still remaining closed.

Amid this turbulence, Monowar Hossain Dipjol's "Omanush Holo Manush" is the first film to be released after the shift in power. The film is set to screen in 21 theatres, nationwide.

Directed by Montazur Rahman Akbar, "Omanush Holo Manush" was initially scheduled for release on August 9, but the unstable situation in the country led to a last-minute postponement.

Monowar Hossain Dipjol, who produced the film and plays the lead role, explained, "I always think about the film industry. Due to the current situation, many cinemas have been closed for a while. If this continues, many theatre owners will face financial ruin. My film is ready for release, so I've decided to go ahead with it, considering the plight of the theatre owners."

Alongside Dipjol, the cast includes Joy Chowdhury, Mou Khan, Mahmudul Islam Mithu, Rasheda Chowdhury, and Jackie Alamgir, among others.

However, despite overcoming the initial obstacles, the film now faces a new challenge: The worsening flood situation across the country. This raises concerns about how far the film will reach its audience.

Joy Chowdhury, the film's lead actor, expressed his mixed feelings, saying, "It's certainly a joyous occasion that a new film is being released after such a turbulent time. We always want new movies to regularly screen in cinemas. That's why the release date was set. But seeing the suffering caused by the floods has been disheartening."

"Many people are struggling to find shelter. In light of this, the excitement of the release has diminished. I pray that the flood-affected people overcome this difficult time and urge everyone to stand by them."​

 

[Saif]

Nayakraj Razzak: A new man in the 1960s

In the often-treacherous world of showbiz, there is always “something else” beyond mere skill, charisma, and looks that contributes to stardom.

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Nayakraj Razzak: A new man in the 1960s

Nayakraj Razzak (January 23, 1942 - August 21, 2017)

In the often-treacherous world of showbiz, there is always "something else" beyond mere skill, charisma, and looks that contributes to stardom. A hero is unique, irreplaceable, and reigns until the time of another hero arrives. A hero representing a specific era in film often signals something new, marking the arrival of his time and distinguishing him from the hero of the previous generation. The identifiable traits in a star usually cannot be replaced by those of another, as in a Fordist-Taylorist model of enforced standardized methods. Therefore, there is an element of irreplaceability in a star.

Irving A. Thalberg, Hollywood's "boy wonder" producer, saw this in stars. He famously said that in movies, more than anything else, the actor is "the thing." If Thalberg is one of the founders of what André Bazin called the "genius of the system," there is another strand of filmmaking. François Truffaut learned from Jean Renoir that the actor portraying a character is more important than the character itself.

Representative film stars, particularly those who play leading roles, frequently embody larger-than-life or deeply relatable characters on screen, so these portrayals and the presence of the stars allow us to explore the historical contexts in which such heroes became possible.

Razzak, who earned the honorific title of Nayakraj, meaning "the king of heroes," is widely recognized as the most famous and successful movie star in the Bangladeshi film industry. By the mid-1960s, his presence loomed large on the silver screen of Bengali cinema in East Pakistan, and it never "got small." Over a career spanning more than half a century, in addition to immense cinematic success, Razzak achieved the status of a cultural icon. What kind of hero was Razzak, considering his arrival, rise, and elevation to prominence coincided with a time when the political and cultural life of Pakistan's eastern province was undergoing unprecedented changes? Razzak's significance is related to and needs to be understood in the context of the time when the political and cultural realities of East Pakistan were presenting new possibilities.

A scene from Behula

After a period of struggle and uncertainty upon arriving in East Pakistan as a refugee from West Bengal, Razzak's first major cinematic break came with Behula. Based on the Mangal-Kavya and directed by Zaheer Raihan, this movie is one of the most significant cinematic creations in East Bengal. Razzak's entry in the film was not marked by the typical dazzling, low-angle shot often reserved for heroes. His entrance was rather natural and spontaneous. As Lakhindor, the beloved youngest and only surviving son of the wealthy merchant Chand Saudagar, Razzak walks into the frame unwittingly and, without much care, enters the realm ruled by the snake-goddess Manasa Devi, carrying a peacock—an animal that the deity views as an arch-enemy.

Behula was an instant blockbuster. In this movie, Razzak as Lakhindor is cursed by the snake goddess Manasa due to her wrath against his father. From halfway through the film, Razzak had to portray a dead character whose body is taken to heaven by his wife, Behula. Yet the audience felt deep sympathy for this character and discovered the star they had longed for. Rafiuddin Babu, the writer of the only biography available on Razzak, has rightly said, "From the cursed Lakhindor, there occurred his radiant rise." It was a significant film not only for Razzak's career but also for revitalising Bengali cinema. The success of Behula, much like Rupban, released a year earlier, helped sustain Bengali cinema and played a crucial role in rekindling Bengali cultural nationalism. Coincidentally, both the famous Six-Point Demands and Behula appeared in the same year—1966.

Bengali film enthusiasts had been trying to establish a film industry in East Bengal since the early 1950s. From the mid-1950s to 1962, most of the films produced in East Bengal were Bengali. However, during the heyday of Ayub Khan's rule, many Bengali film producers turned to making Urdu films, as Bengali cinema faced hostility from the government, both in terms of opportunities and censorship. For instance, in 1963, there were sixteen films under production in East Pakistan, but only three were in Bengali.

At this juncture, Zaheer Raihan and Salahuddin turned the tide for Bengali cinema by deciding to make folk-fantasy genre films. It seems that while Bengali filmmakers were struggling, they figured out that films based on folklore and legends lent an element of originality and authenticity, making them distinct from others' stories. Hegel identified legends, ballads, and traditions as fugitive, shadowy elements, and poetic expressions belonging to a nation's half-awakened state. Perhaps these "dim and hazy forms" have a profound connection to the people's psyche, which explains Behula's success. Equally significant was the role played by Razzak. Filmmakers and movie lovers discovered in Razzak a hero they could capitalise on and relate to. Zaheer Raihan understood this, which is why he was adamant about casting Razzak, despite reservations from many.

Poster of Jiban Theke Neya

Razzak may not have been the most manly actor in the traditional sense, nor even the best in terms of acting skill. When he arrived in Dhaka, the film scene was not empty—there were already good actors who had a certain degree of acceptance in romantic, tragic, or social hero roles. Yet, at a time when Bengali cinema was struggling to carve out a niche in East Pakistan, Razzak brought a unique affective quality to the screen that resonated with the masses. All the established stars before him were involved in both Bengali and Urdu films. Razzak was the first star who concentrated solely on Bengali films.

Razzak's immense popularity among the masses and the high demand from filmmakers can be gauged by the fact that between Behula in 1966 and 1970, he was cast in nearly 45 leading roles, with almost all of them being commercially successful. By 1972, he had completed his 100th film—a testament to his popularity and inevitability in the industry.

It is true that Razzak was, on the surface, modelled after other heroes of the subcontinent, most notably Uttam Kumar. Directors likely cast him with the image of those heroes in mind, seeing a resemblance or shadow of them in Razzak. Even his fans and cinema-goers noticed similarities between Razzak and these established movie stars. However, despite the outer resemblance to other stars, the characters he portrayed—righteous youngest sons, unemployed youths, writers, and protesting students—brought originality and authenticity to his roles, shaped by the specific historical and sociological context of the time.

To understand what Razzak brought to the screen, we need to look at 1960s East Pakistan. The 1960s in East Pakistan were marked by stark contrasts, despite Ayub Khan's well-publicised narrative of development and progress. Signs of modernisation and the availability of modern amenities were evident. However, only a select few could bask in the affluence generated by the military-bureaucratic dictatorship—primarily upper-echelon government employees, a few businessmen, and successful professionals like doctors and university professors.

While the elite group relished the cosmopolitanism of the Ayub regime, on the other end were the grim and emaciated masses—workers, porters, peasants, and rickshaw pullers with bidis tucked behind their ears, street urchins staring into the glass windows of toy stores, and angry, impoverished students with little hope for jobs and a better future. In this situation, seeing a young man in his early twenties like Razzak—jolly, full of life, and pleasant—was definitely refreshing.

A star represents social reality and thus reflects the desires of the people. When we see Razzak in the films of the 1960s, it's impossible not to notice his fresh and jovial presence. We see him coming back from university, dancing and singing to "Neel Aakasher Niche Ami Rasta Cholechi Eka." He is going out with Kabori, Sujata, or Shabnam on romantic and amatory adventures in the Garden of Ramna, on a boat on the river, or in a popular couple's spot on the outskirts of Dhaka. Razzak exudes a sense of newness. He often arrives late to a rendezvous, playfully coaxing and cajoling his sweetheart for making her wait. The song of persuasion and flattery by a prospective lover, "Aynate Oi Mukh Dekhbe Jakhon," or the beautifully poetic and romantic song of courtship, "Tumi Je Amar Kobita," embody something new for the audience. These culturally and aesthetically significant songs encapsulate this new spirit and possibility.

What I want to convey about Razzak's acceptance becomes more tangible in Jibon Theke Newa, another Zaheer Raihan film that stands as the most significant cinematic creation in the history of Bangladeshi cinema. This powerful political film was set against the backdrop of the mass movements of 1969 and was released in 1971. Razzak, as part of an ensemble cast, plays one of the main characters—a student leader living under the oppressive rule of his autocratic sister, who governs the household with an iron fist, much like Ayub Khan ruled the country. The film was an allegory for the military dictatorship of Ayub.

Although Razzak's character is crucial to the movie, he has less screen time than some of the other key characters. Yet, the way his character is portrayed is both distinctive and indicative of something new. He first appears during the Prabhat Pherry on February 21st, singing the anthem of the language movement. Throughout the film, he is rarely seen inside the house. Instead, he is always outside—at the Shaheed Minar, at Curzon Hall, or leading protests with fellow students, workers, and peasants. When he returns home from the Prabhat Pherry, barefoot, he enters without tiptoeing. When his domineering sister scolds him for being out and threatens to end his education, he barely pays attention. Unlike others in the family, Razzak's character is distinctively defiant, shrugging off the house's prescribed strict rules and norms.

His character in Jibon Theke Newa embodies the spirit that poet Shamsur Rahman eloquently wrote about in his poem, where the grandfather, astonished, wonders, "Who is it that frequents this old house?" He is like the character Rahman cast from the resounding streets of 1969—the teenagers, full of life, who ignored the cautionary tales of their elders, rolled up their shirt sleeves, and swiftly joined the unadulterated exultation of the endless processions. It is worth noting that in 1971, much like his movie character, Razzak took to the streets to protest against the military dictators of Pakistan.

If we are to use the hackneyed but relevant phrase that social change is first reflected in the arts, then it can be said that Razzak, as a star, was contemporaneous with—or even a progenitor of—the youths who would soon participate in mass movements and the liberation war. If workers, students, writers, and intellectuals were agents of the changing sixties, so too was Razzak through the more popular medium of cinema. We cannot downplay the political and cultural significance of the popular cultural expressions embodied in the characters Razzak portrayed in his movies during the sixties.

To be continued...............​

 

[Saif]

Razzak's life itself tells the story of a tumultuous and fascinating time when national identity, belonging, and prospects were in flux. Born in 1942 into a well-to-do Muslim family in the predominantly Hindu neighbourhood of Naktala in Kolkata, he lost both parents at a young age. This void was filled by the care of his elder siblings and the avuncular love of his neighbours, both Hindu and Muslim. As a lively and energetic adolescent, Razzak was a natural choice for school sports, recitations, and annual plays.

Before long, it was acting that captivated him the most, fuelled by the vibrant theatre and cultural activities in his neighbourhood. Razzak often recalled with pride that cultural luminaries like Chhabi Biswas, Sabitri Chatterjee, Manju Dey, and Ravi Bhattacharya lived in his para. He reminisced that the theatre and cultural milieu of his locality ignited his passion for acting. Not only did he observe these figures, but he also had the opportunity to learn from them. He fondly remembered that after his first school theatre performance, where Chhabi Biswas was the guest of honour, Biswas gently admonished him for turning his back on the audience while on stage. For some time thereafter, Razzak learned recitation and acting techniques from Chhabi Biswas.

Although it was his school teacher who introduced him to the world of theatre and acting, it was Piyush Bose, the founder and director of Rangasabha, who became his true mentor in the art of acting. Once Razzak became involved in theatre activities, it wasn't long before he fell in love with the craft, making acting his passion. The enchanting world of performance, which would later bring him fame, may have also provided refuge for the orphaned Razzak. In a television interview, he shared that during his adolescent and early adult years, acting was all he could think about. He spent countless days and nights rehearsing, honing his craft with unwavering dedication.

It was with Piyush Bose that Razzak first visited the film studios in Kolkata's Tollygunge, where he met his screen idol and the iconic star of the time, Uttam Kumar. These visits sparked in Razzak the dream of becoming a movie star. In the meantime, he once fled to Mumbai, where he completed a nine-month course to hone his acting skills.

In Satyajit Ray's Nayak, the protagonist Arindam Mukherjee's theatre guru, Shankar Da, warns his talented disciple about the lures and traps of the dazzling but hollow life of the film industry. "You will become a puppet in the hands of the director," he cautions. Shankar Da, a stern moralist, is convinced of the pure and high art of the theatre world, contrasting it with the money, corruption, and treachery of the film industry. Unlike the Shankar Da of real life, Razzak's real-life Shankar Da, Piyush Bose, took the middle path. While deeply invested in theatre, Piyush Bose was also involved in filmmaking. He cast Razzak in a few minor and uncredited film roles. He wanted his disciple to be successful, but at the same time, he seemed acutely aware of the challenges a Bengali Muslim youth would face in the Kolkata film industry, which was already saturated with established and talented actors.

As Razzak struggled to find opportunities in Tollygunge, Piyush Bose suggested that he try his luck in East Pakistan, a burgeoning film industry. Bose introduced him to several members of the East Pakistani film fraternity who frequented Kolkata for film-related work. Anyone familiar with the post-partition social and cultural realities of East and West Bengal would understand the implications of Bose's advice. In a Muslim-majority country, it would likely be easier for a Muslim youth like Razzak to succeed as an actor. Given the political and cultural milieu of the time, such advice from experienced individuals to the younger generation was common, considered pragmatic, and offered in good faith.

However, to Razzak, despite East Pakistan being just across the border, it seemed like a far and wild country. Naturally, the glittering film studios of Kolkata or Mumbai were far more enchanting to him than the unknown prospects in East Pakistan.

In interviews and autobiographical essays, Razzak often reflected on his upbringing in a predominantly Hindu neighborhood, emphasising that he never experienced any discrimination nor harboured ill feelings towards Hindus. He was everyone's favourite "Raja." However, in an autobiographical essay published in Bichitra in 1992, he did hint at noticing a Hindu-Muslim divide within the film industry.

Razzak's decision to migrate to East Pakistan after the riots of 1964 mirrors the experiences of many others who were heartbroken, saddened, and deeply affected by witnessing how long-familiar communities could turn hostile during communal riots. Initially, Razzak planned to move to Mumbai, the heart of India's film industry. However, Piyush Bose convinced him otherwise, noting that Mumbai was already overcrowded and that Bengalis were not faring particularly well there. Consequently, Razzak arrived in East Pakistan as a refugee at a time when many were moving in the opposite direction—from East Pakistan to West Bengal.

As a young boy, Razzak regularly acted in Salil Sen's immensely popular partition-based play Notun Ihudi, which was staged in major theatres across Kolkata as well as in various neighbourhoods. Razzak gained popularity and praise for his portrayal of Mohan, the youngest child of an East Bengali Hindu refugee family in Kolkata, who struggles to help his family survive in the cruel post-1947 days. It is both interesting and ironic that, to some extent, Razzak played the role of Mohan in real life as well.

In the aftermath of Partition, many artists migrated from one country to another. While they left behind their birthplace and familiar surroundings, they also played a pivotal role in rebuilding the new societies they arrived in, which were often scarred by division and bitterness. Against this backdrop of loss, these artists made immense contributions to the process of recovery by creating beauty through their art. We often overlook this aspect of the subcontinent's history. Even as these artists enriched their adopted countries, their personal views of leaving behind home remained untainted. Over time, they became loved and accepted by all, transcending borders and divisions. Razzak is a shining example of this group of artists.

Mohammad Afzalur Rahman is a lecturer in the Department of History and Philosophy at North South University.

 

[Saif]

Mehazabien heads to Toronto for her debut film premiere

Although the film is yet to be released in Bangladesh, "Saba" will make its debut premiere at the prestigious Toronto International Film Festival (TIFF) next month. This marks a major milestone for Mehazabien, as she transitions from the small screen to the international cinematic stage and the...

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Mehazabien heads to Toronto for her debut film premiere

Photos: Collected

Renowned Bangladeshi actress Mehazabien Chowdhury, celebrated for having undertaken diverse roles in television dramas, telefilms, and OTT platforms, is about to embark on a new chapter in her career. This time, she is set to captivate audiences with her debut feature film, "Saba", which is gearing up for a significant release.

Although the film is yet to be released in Bangladesh, "Saba" will make its debut premiere at the prestigious Toronto International Film Festival (TIFF) next month. This marks a major milestone for Mehazabien, as she transitions from the small screen to the international cinematic stage and the silver screen.

Expressing her excitement, Mehazabien shared, "This is a moment of immense joy for me. I'm thrilled that 'Saba' will be premiered at such a renowned international film festival even before its official release."

The actress revealed that she will soon be heading to Toronto to attend the festival. "Initially, I had hoped for the film to be released in Bangladesh first, where I could watch it with my family and close friends in the local cinema. However, now I'll have the honour of seeing it on an international stage," she added.

The world premiere of "Saba" is scheduled for September 7, with additional screenings on September 8 and 18. The film has already garnered significant attention, with tickets for the premiere selling out within just three days. Reflecting on this, Mehazabien said, "Hearing that all the tickets for the premiere are sold out has overwhelmed me. It feels incredible. I hope the film garners international acclaim, and that the reputation of Bangladeshi cinema spreads across the globe."

Directed by Maksud Hossain, "Saba" marks his debut as a filmmaker. The film also represents Mehazabien's first venture into cinema, a growth she has embraced with enthusiasm and dedication. The story of "Saba" revolves around the life and struggles of its titular character.

In closing the conversation, Mehazabien emphasised the team's immense dedication, "We all poured our hearts into this film. Every actor gave their best, and the director handled the project with great care."​

 

[Saif]

Abolishing film censor board is a positive step

THE interim government just announced that Bangladesh’s Film Censor Board will be discarded and turned into a Certification Board. This is a huge relief for those of us who have been vocal against all kinds of censorship not only during the Awami League regime but even prior. This decision...

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Abolishing film censor board is a positive step
25 September, 2024, 00:00

As masses of people engage in discussions on state reform, we must remember that simply changing the individuals in certain roles and positions means changing the managers of the state while keeping the old state apparatus intact. Abolishing the Censor Board has shown that radical steps can be taken, writes Sarah Nafisa Shahid

THE interim government just announced that Bangladesh’s Film Censor Board will be discarded and turned into a Certification Board. This is a huge relief for those of us who have been vocal against all kinds of censorship not only during the Awami League regime but even prior. This decision, while long overdue, is a significant one as it acknowledges the irrelevance of colonial institutions like the Censor Board in our post-July Uprising reality and similar steps must be taken in other sectors as well.

Bangladesh’s Film Censor Board was a colonial legacy whose role throughout history has been to control culture and suppress opposition for the benefit of the state. It was created in 1918 by the British Raj ‘to prevent the exhibition of objectionable films.’ The first film banned by the British imperial government was Bhakta Vidur in 1921 where the protagonist was depicted wearing the cap in the fashion of Mahatma Gandhi. During Pakistani dictator Ayub Khan’s regime in 1952, the East Bengal Censor Board banned Bengali filmmaker Zahir Raihan’s Jibon Theke Neya. Raihan’s film was critical of Pakistani rule and upheld the emerging revolutionary spirit of the people in then-East Pakistan.

After the Liberation War in 1971, there was an opportunity to get rid of this archaic notion of a Censor Board. But as a new nation state of Bangladesh emerged, consequent ruling classes adapted the oppressive state apparatus of its colonial predecessors.

For many years, filmmakers in Bangladesh have cited the Censor Board as a key reason for not being able to produce quality, thought-provoking mass cinema. In the absence of which, Hindi-language Indian mass cinema has filled that void. But even in India, filmmakers like Anurag Kashyap, Vishal Bhardwaj, Chaitanya Tamhane, Rima Das, and others have been able to challenge their own state narratives and engage in new types of cultural dialogue with mass audiences. The opportunity to engage mass audiences in understanding and challenging state narratives is a privilege that has been denied to filmmakers in Bangladesh for decades.

Few days after the Hasina government fell, an open-air public screening was organised of the banned film Mor Thengari (My Bicycle) by Aung Rakhine, an indigenous filmmaker. The film is set in Chittagong Hill Tracts and explores the language, culture, and politics of the Chakma community who are regularly subjected to surveillance, displacement, and oppression by the Bangladesh Army. To me, this screening embodied the hard-fought freedom and spirit of the July Uprising where any sort of state or military violence can and must be challenged whether on the streets or on the screen.

The recent violence allegedly by Bengali settlers against our Adivasi siblings in Khagrachori and Rangamati stresses the urgency of using cinema and culture as a site of resistance and a site of rejecting hegemonic Bengali nationalism. It also reminded me that the Censor Board is only one of many institutions that we have inherited from our colonial predecessors. There are many others, including the police force and the military.

As masses of people engage in discussions on state reform, we must remember that simply changing the individuals in certain roles and positions means changing the managers of the state while keeping the old state apparatus intact. Abolishing the Censor Board has shown that radical steps can be taken. In fact, now is the time to do it.

Sarah Nafisa Shahid is a Bangladeshi writer and labour activist based in Toronto, Canada. She has written extensively on cinema, culture, and politics in NOW magazine, Hyperallergic, Spring Magazine, and The Daily Star.​

 

[Saif]

Bangladesh filmmaker's 'The Story of a Rock' premiered in US

The debut feature film of filmmaker Zak Mir titled ‘The Story of a Rock’ was premiered at the 19th Tasveer Film Festival in Seattle in the United States on October 19.

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Bangladesh filmmaker's 'The Story of a Rock' premiered in US
Staff Correspondent 24 October, 2024, 18:20

Zak Mir | Press release

The debut feature film of filmmaker Zak Mir titled ‘The Story of a Rock’ was premiered at the 19th Tasveer Film Festival in Seattle in the United States on October 19.

Zak Mir said that he was truly honoured to be part of this selection.

The film portrays a teenage girl navigating life in a city slum after her mother migrates to the Middle East for work.

Shouldering her mother’s responsibilities, she cares for her younger siblings, facing eviction, overdue tuition and a grocer’s ultimatum when her mother fails to send money.

Reluctantly, she takes a job as a maid, and the position quickly turns harrowing under an abusive employer, and just as she decides to quit, a fateful encounter changes her life.

After an assault by the house guard, she finds herself imprisoned, only to be unexpectedly freed, and the story of the film moves forward.

Zak stated that he had transitioned from screenplays to his debut feature. ‘While the film isn’t based on a specific true story, it draws from real-life experiences, particularly the struggles faced by women in domestic roles.’

Zak said that music played a crucial role in his filmmaking process. He selected composer Jeffrey Carabelos to create an original score that blended eastern and western instruments.

Safana Nomoni stars as the lead character in the film. The film also features Sahana Rahman Sumi, Nafisa Jarin Moumi, Lara Lotus, and Simrin Lubaba, with notable contributions from Rafaytullah Sohan, Muhtasim Mahim, and Monir Islam in supporting roles, said a press release.​

 

[Saif]

Jisshu Sengupta to finally share screen with Shakib Khan in ‘Borbaad'

The filming of Dhallywood superstar Shakib Khan’s latest movie “Borbaad” is currently underway. Under the direction of Mehdi Hasan Hridoy, the project is being shot in Mumbai, India.

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Jisshu Sengupta to finally share screen with Shakib Khan in ‘Borbaad'

Photos: Collected

The filming of Dhallywood superstar Shakib Khan's latest movie "Borbaad" is currently underway. Under the direction of Mehdi Hasan Hridoy, the project is being shot in Mumbai, India.

Rumours surrounding the film have hinted at some exciting additions to the cast of "Borbaad." It has now been confirmed that celebrated West Bengal actor Jisshu Sengupta, a name that Bangladeshi viewers are already quite familiar with, will be joining the ensemble cast.

Previously, there was excitement around Jisshu Sengupta potentially starring alongside Shakib Khan in the widely talked-about film "Toofan". However, scheduling issues prevented that collaboration. Now, Jisshu has officially joined the cast of "Borbaad".

This upcoming project will mark the first time Shakib and Jisshu appear together on screen. Several individuals involved with "Borbaad" have confirmed Jisshu's participation to The Daily Star.

The majority of the filming for the action-romance movie "Borbaad" is taking place in Mumbai. Shakib Khan is starring alongside Idhika Paul, who plays the female lead. The film is set for a theatrical release on Eid-ul-Fitr next year.​

 

[Saif]

Mahesh Bhatt surprises Shakib Khan at ‘Borbaad’ set

Before leaving, Bhatt embraced Shakib Khan, drawing him close in a gesture that has since gone viral. A photograph of the moment is making the rounds in various film-related social media groups, with people buzzing over the spontaneous interaction. Though attempts were made to reach Shakib Khan...

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Mahesh Bhatt surprises Shakib Khan at ‘Borbaad’ set

Photos: Collected

Bollywood's celebrated producer-director Mahesh Bhatt recently made a surprise visit to Bangladeshi superstar Shakib Khan on the set of his latest film, "Borbaad", at Mumbai's Ellora Studio.

Shakib has been shooting there for the past few days, and just next door was Bhatt, who shares a strong bond with Shailesh Awasthhi, the cinematographer of Borbaad".

Mahesh Bhatt warmly welcomes Shakib Khan on set, sparking cross-border cinema talks

After learning from Shailesh that Shakib Khan was filming nearby, Bhatt decided to drop by. His visit was a delightful surprise, as he spent around 20 minutes with the Dhallywood superstar, engaging in a warm conversation centred around cinema.

Shakib's manager, Monir Zaman, shared that Bhatt expressed deep interest in Bangladesh's film industry, hinting at potential collaborations between the two nations.

Before departing, Bhatt embraced Shakib in a heartfelt moment that has since gone viral. A photo of the embrace, widely shared on social media, has fueled discussions across film-related groups. While efforts were made to reach Shakib Khan, he was unavailable due to his busy shooting schedule.

"Mahesh Bhatt sat with Shakib and discussed how cinema can bridge ties between Bangladesh and India," Monir added. "Bhatt's family's legacy in Indian cinema is vast, and his interest in Bangladesh's film scene is truly encouraging. Who knows, something remarkable might come of this. He even invited Shakib for a future meeting."

The Bollywood stalwart also made time to meet each Bangladeshi crew member on set, greeting them with his characteristic warmth and humour.

Shakib Khan arrived in Mumbai on October 22 for "Borbaad", directed by Mehedi Hasan. Filming began on October 24, and the initial shooting phase will continue until November 10.

While "Borbaad" marks Hasan's debut as a director, he is already a prominent actor with over a hundred TV dramas to his name. The film reunites Shakib Khan with actress Idhika Paul, following their hit pairing in "Priyotoma".

Upon hearing of Mehedi Hasan's directorial debut, Bhatt extended his congratulations, even posting a heartwarming photo on Facebook where he's seen embracing Mehedi with a kiss on the cheek, surrounded by smiling crew members. In his response, Mehedi expressed his gratitude for the gesture.

Set as an action-packed romantic drama, "Borbaad" is slated for release next Eid-ul-Fitr.​

 

[Saif]

The challenges the film certification board faces

Hopeful outcomes from the new establishment will take months or years of work, research and the final formation of the act and its accompanying set of rules.

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The challenges the film certification board faces

VISUAL: STAR

Bangladesh is in the process of changing. Some call it progress, some term it disrespecting the past, while many seem to be showing the courage to face challenges that are common during transitions—painful, yet necessary. Changes are hard for sure, and one might admit that it is easier for things to remain as they have for centuries, for life to go on as it does in Bruegel's Landscape with the Fall of Icarus. It was, however, the Irish playwright and critic George Bernard Shaw who said that "progress is impossible without change, and those who cannot change their minds cannot change anything."

Ever since September 22, 2024, when the Bangladesh Film Censor Board was dissolved and the Bangladesh Film Certification Board was established, filmmakers and creators alike have been waiting for a positive change. As seen during major transitions all over the world, organisations go through re-shelving operations—to archive, discard and eventually introduce new ideas. Similarly, the new film certification board has been trying to do the same: pave new avenues, update policies, and learn more, in the process, about the survival techniques of the Bangladeshi film industry. But most importantly, the new committee is also trying to figure out ways to release the films that have been gathering dust for several years.

The basic difference between a censor board for films and a certification board is that of creating limits where content is concerned. "While one has the power to restrict the showcasing of movies according to the censorship act of 1963, the other analyses the content, and certifies releases for appropriate audiences based on age," says Rafiqul Anowar Russell, a filmmaker, an educator and also member of the current board. According to the rules or bidhimala created in 1977 and 1985 based on the act, the censor board had the power to either restrict a film or let it go with a clearance certificate.

The Censorship of Films Act, 1963, composed of board members designated by the government, would examine, review and certify films for public screening, adds Russell. According to Section 3 of the 1963 act, the board could basically determine if a film was viewable or right for the general audience or not. "In a nutshell, it was either yes or no from the board—if a film would be allowed to run or not," adds Russell.

In 2023, the government decided to amend the act, calling it the Bangladesh Chalachitra Certification Act, 2023. The newly formed film certification board focuses more on a "rating system" where films are rated and made available for age-appropriate audiences. This system is followed in countries like the US, UK and also in India. "Some of the most successful and biggest industries have been following the certification system for films for years," says Russell.

"Films do get pulled out even under the certification system, and this has happened in many developed industries as well," he adds. In rare cases, certain films were pulled out or not allowed to be released due to extreme levels of violence or nudity or even attacks on certain communities and minorities. However, according to Russell, while a censor board would restrict the release of at least 50-60 percent of films due to the existing rules related to the 1963 act, the certification system would still allow at least 90 percent of the films or more to be released, as long as they are tagged with the right age references.

Going back to the 1963 censorship act, two sets of rules or bidhimala were formed: the first one in 1977, and then the second in 1985, an elaboration of the previous set. Even though the act is not in existence anymore, the bidhilmala are, which include clauses, based on which a film can be restricted or cleared in terms of vulgarity, violence, nudity, obscenity, controversial topics, sensitive issues, etc showcased on screen.

Filmmaker and actor Khijir Hayat Khan says that there is a difference in mentality between the censor and the certification board in terms of philosophy and thought process. "There are these existing laws that we still have to abide by," referring to the rules from 1977 and 1985. "But it is definitely the mentality. We ask ourselves the questions: how and where do we want to see Bangladeshi films in the future? How much freedom do Bangladeshi filmmakers actually enjoy? And so much more. But there are some bigger issues that we have to overcome, which is forming the bidhimala or rules explaining the 2023 certification act. We are still following the explanations provided to us in 1977 and 1985. As per the constitution, if a set of rules does not exist, the law or act in question cannot be executed. Hence, we are actually stuck in between the old rules, filled with flaws, and a new act, which does not have any set of rules."

As seen during major transitions all over the world, organisations go through re-shelving operations—to archive, discard and eventually introduce new ideas. Similarly, the new film certification board has been trying to do the same: pave new avenues, update policies, and learn more, in the process, about the survival techniques of the Bangladeshi film industry. But most importantly, the new committee is also trying to figure out ways to release the films that have been gathering dust for several years.

Russell talks of several challenges that the current board faces. Starting from getting access to the films that were restricted by the previous regime or pending decisions from the High Court to creating a new law for the benefit of the filmmakers, the tasks at hand for the current board are turning out to be all the more strenuous and demanding than expected. "A major challenge for us is how to work around these rules and start the process of releasing films for age-appropriate audiences, the way we had always wanted to do," adds Russell. "Because the new act is still under construction, we have no choice but to follow the rules from 1977 and 1985 when it comes to reviewing films. Currently, we are also studying film certification acts and regulations of the more developed industries around the world and trying to implement them within our system."

There is also the issue of trying to secure access to the films which were restricted or "banned" for some reason or another by the previous regime. Quazi Nawshaba Ahmed, actor, theatre director, puppeteer and also one of the committee members of the certification board, says that the evidence of certain films being "officially banned" during the past regime is missing. "Of course, there were observations," she says. "The current certification board is taking the necessary steps to ensure that films don't stay in a 'hold' status. Only a few films are currently with the 'appeal' division, and those fall outside the scope of the board's work."

"We still do not have access to these films," says Russell. "It is necessary to review them so that the actual reason behind the restrictions could be understood. That would help the current board take proper steps to move forward as well."

The complications do not end there. For instance, Nawshaba says, "Production houses must clear all payments due to technicians and actors before the film is submitted for certification. A clearance certificate from the relevant industry association should be a mandatory document during the certification process, ensuring transparency and fairness in the payment of all professionals involved." She also emphasises animal welfare in films so that if animals are used in a film, it must be ensured that no harm is inflicted on them. "The certification board must have the authority to take legal action against those responsible if an animal's health is compromised due to the shoot. Scenes involving animal cruelty should be simulated through animation or VFX to prevent real harm," she adds.

Nawshaba also mentions including strict criteria to address the logical and illogical use of tobacco and alcohol on screen and speaks about how the certification board should consist of a diverse panel of members representing different sections of society.

Clearly, hopeful outcomes from the new establishment will take months or years of work, research and the final formation of the act and its accompanying set of regulations. One can either choose to be fearful of the many challenges and obstacles that are springing up like mushrooms, or simply embrace these changes to create a better Bangladesh for the future, as intended. After all, as Leo Tolstoy writes, "True life is lived when tiny changes occur."

Elita Karim is a singer and journalist.​

 

[Saif]

Shakib Khan injured during Mumbai shoot

Superstar Shakib Khan is currently filming the film “Borbaad” in Mumbai, India. The production was progressing smoothly until an unexpected mishap occurred. The “Toofan” actor sustained an injury after accidentally colliding with a door on set. The impact of the incident was just above his eye...

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Shakib Khan injured during Mumbai shoot

Photo: Collected

Superstar Shakib Khan is currently filming the film "Borbaad" in Mumbai, India. The production was progressing smoothly until an unexpected mishap occurred. The "Toofan" actor sustained an injury after accidentally colliding with a door on set. The impact of the incident was just above his eye, as film director Mehedi Hassan Hridoy shared with Prothom Alo.

According to the director, Shakib was promptly taken to a hospital in Mumbai, where a CT scan was conducted to assess the injury. The medical team reassured them that there was no immediate cause for alarm, though they prescribed him pain relief medication.

The filming of "Borbaad" is presently taking place at Ellora Studio in Mumbai. The film's director informed Prothom Alo on Friday night that the incident had occurred last Thursday afternoon. He explained, "In one scene, Shakib bhai was supposed to walk through a door, and we had prepared everything accordingly."

"While opening the door, he accidentally struck his forehead, resulting in a cut near his eyebrow. We immediately paused the shoot and rushed to the nearby hospital. After conducting all necessary tests, the doctor assured us there was no need for worry and provided the appropriate medication."

Director Hridoy expressed, "Shakib bhai's dedication and professionalism, even after sustaining an injury, left us all truly impressed."

He went on to explain, "Following the treatment, we headed back to the set. Our initial plan was to call off the day's shoot to let Shakib bhai rest. However, to our surprise, he insisted, "Let's carry on and wrap up the day's shoot." That evening, we resumed filming and continued until midnight. The following day, we were able to proceed with our shoot as originally scheduled."

Shakib Khan departed from Dhaka to Mumbai on October 22 to join the filming of "Borbaad". He commenced shooting at a studio there on October 24. While the original plan was to wrap up the first phase of filming by November 10, the director announced yesterday that this phase will now extend until November 16. After a brief intermission, they intend to begin the second and concluding phase of filming in December.

Director Mehedi Hassan Hridoy, known for directing over a hundred television dramas, is making his debut in film direction with "Borbaad". He is bringing back the popular on-screen pair of Shakib Khan and Idhika Paul, who previously starred together in "Priyotoma". This action-romantic film is being readied for a nationwide theatrical release during Eid-ul-Fitr next year.

In the meantime, Shakib Khan's film "Dard" is scheduled for release on November 15. The director, Anonno Mamun, has announced that the film will debut simultaneously in 20 countries. In "Dard," Shakib Khan is paired with Bollywood actress Sonal Chauhan.​

 

[Saif]

175 cultural activists call for a separate film division at BSA

The statement presented arguments in support of this demand, signed by filmmakers, producers, cinematographers, editors, sound designers, film critics, researchers, teachers, film workers and organizers, actors, musicians, and photographers.

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175 cultural activists call for a separate film division at BSA

Bangladesh Shilpakala Academy | Star File Photo

In protest of the exclusion of the "Film" section from the "Drama and Film" sub-division in the revised Bangladesh Shilpakala Academy Act, 175 film-related individuals have issued a public statement, demanding the formation of a separate film division.

The statement presented arguments in support of this demand, signed by filmmakers, producers, cinematographers, editors, sound designers, film critics, researchers, teachers, film workers and organisers, actors, musicians, and photographers.

They argued that the new generation of filmmakers, capturing the nation's current aspirations and needs through diverse forms such as feature films, documentaries, and short films, should not rely on commercial entities for support. They believe that only a national institution like Bangladesh Shilpakala Academy can meet these expectations. They also expressed hopes that films would be showcased regularly across the Academy's district branches.

"We are shocked to see that the new draft ordinance has removed the 'Film' section from the previous 'Drama and Film' sub-division. We strongly protest this and demand that a separate film division be established," the signatories said.

Films have been part of the Bangladesh Shilpakala Academy since its inception. Based on this tradition and historical significance, removing the section from the Academy is unacceptable, they added.

At a time when the entire nation is united in rebuilding and reforming the country following the student-led mass uprising, films—one of the key branches of the arts—can best represent this new renaissance. Therefore, rather than excluding the section from the Academy, the government should establish a distinct film division, they urged.

Notable signatories include Nurul Alam Atique, N Rashed Chowdhury, Akram Khan, Shabnam Ferdousi, Tokon Thakur, Noman Robin, Wahid Tareq, Prasun Rahman, Redoan Rony, Khijir Hayat Khan, Palash Rasul, Krishnendu Chattopadhyay, Sadia Khalid Reeti, Zakia Bari Mamo, Rawnak Hasan, Deepak Suman, Shohel Mondol, Nahida Sharmin (Shormi Mala), Abdullah Al Sentu, Tanvir Ahmed, and Nasir Ali Mamun amongst many others.​

 

[Saif]

Shakib Khan’s ‘Toofan’ shatters two decades of records at Star Cineplex

Star Cineplex, the country’s most advanced cine-theatre, has marked 20 years since its establishment. This milestone year witnessed a groundbreaking achievement with the Shakib Khan-starrer “Toofan”. The global blockbuster became the most successful movie at Star Cineplex, surpassing Hollywood...

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Shakib Khan’s ‘Toofan’ shatters two decades of records at Star Cineplex

Photo: Collected

Star Cineplex, the country's most advanced cine-theatre, has marked 20 years since its establishment. This milestone year witnessed a groundbreaking achievement with the Shakib Khan-starrer "Toofan". The global blockbuster became the most successful movie at Star Cineplex, surpassing Hollywood and Bollywood hits.

Directed by Raihan Rafi, the film was released during last Eid-ul-Azha and broke several records at Star Cineplex, as confirmed by the country's biggest theatre franchise in an announcement on their official Facebook page.

Star Cineplex's Senior Marketing Officer Mesbah Uddin Ahmed, told Channel i Online, "'Toofan' has emerged as the most beloved film of the year. In fact, among all the movies screened at Star Cineplex over the past two decades, 'Toofan' holds the best record. Consequently, Star Cineplex considers the film to be unparalleled in every respect, both in commercial success and audience acclaim."."

However, two months after the release of "Toofan," student protests erupted in the country. Prior to that, the nation faced unusual circumstances, leading to widespread changes across all sectors.

Mesbah Ahmed added that if the country's situation had remained normal, "Toofan" might have reached even greater milestones.

Before Toofan, the highest-grossing films at Star Cineplex were "Avatar" and "Jawan". This year, however, "Toofan" surpassed both to become the top-performing movie.

The impact of "Toofan" wasn't limited to Cineplexes alone; it also made history in Bangladesh's single-screen theatres, with houseful shows running late into the night.

The film garnered blockbuster success not only in Bangladesh but also in over 20 countries worldwide. Encouraged by this tremendous response, its production company, Alpha i, is now amping up the production of "Toofan 2."

Chorki served as the digital partner for "Toofan", while its international collaboration was with SVF. The film boasted a star-studded cast, including Shakib Khan, Mimi Chakraborty, Masuma Rahman Nabila, Misha Sawdagar, Fazlur Rahman Babu, Shahiduzzaman Selim, Salahuddin Lavlu, and many others.

Adnan Adib Khan penned the screenplay, while Tahsin Rahman managed the cinematography. The art direction was overseen by Shihab Nurun Nabi, with costume design by Farzana Sun.​

 

[Saif]

Prabir Mitra no more

Legendary actor Prabir Mitra passed away today at 10:15 pm today at a Dhaka’s square hospital. The news has been confirmed to The Daily Star by his son, Sifat Islam. Battling oxygen deficiency and other ailments, Mitra was admitted to a private hospital on December 22. His health had continued...

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Prabir Mitra no more
Actor Prabir Mitra passes away

Prabir Mitra

Legendary actor Prabir Mitra passed away at 10:15 pm today at a Dhaka's Square Hospital. The news has been confirmed to The Daily Star by his son, Sifat Islam. Battling oxygen deficiency and other ailments, Mitra was admitted to a private hospital on December 22. His health had continued to decline over the past two weeks, prompting his family to seek urgent government intervention for advanced medical treatment.

The 80-year-old actor, whose career spans more than 400 films, had been suffering from multiple health issues.

Mitra's family had been tirelessly trying to reach out for help, but the situation had been compounded by the inaccessibility of key members of the Film Artistes' Association. Sifat had noted yesterday, "Today, Anjana Aunty passed away. Many people attended her Janaza at the FDC (Bangladesh Film Development Corporation), and through several individuals, we tried to contact the association. Unfortunately, many of the people who had close ties with my father are either abroad or not reachable within the country."

Prabir Mitra's illustrious career remains an integral part of Bangladesh's cultural history. Born on August 18, 1943, in Chandina, Cumilla, Mitra spent his formative years in Old Dhaka, where his passion for acting began to flourish. His early love for the stage was sparked during his school days, performing in Rabindranath Tagore's iconic play "Dakghar".

Mitra made his silver screen debut in 1969 with "Jolchhobi", directed by H Akbar. However, the film was not released until January 1, 1971. Despite initially playing lead roles, Mitra found lasting success as a character actor, captivating audiences with his depth, versatility, and innate ability to breathe life into complex roles. His performances in films such as "Titash Ekti Nadir Naam", "Jibon Trishna", "Fariyad", "Rokto Shopoth", "Charitrohin", "Angaar", and "Fakir Majnu Shah" are considered cinematic landmarks.

Prabir Mitra's contributions to the film industry are undeniable, and the family hopes for a dignified response from both the state and the industry that once celebrated his immense talent.​