The apogee and perigee of our films

Morshedul Islam

"The films which I've just mentioned were commercially successful and they competed well with the Urdu and Hindi films, that came to our country from the rest of the Subcontinent. After 1971, our films tended to move to a different direction and lose their rich quality; cheap elements crept in. Also, creative people were reluctant to get involved in film making at that time. This decline was evident in the 80s. The present film scenario is a consequence of that. But, at the same time, there has always been the urge to make good films. Some remarkable films had been made after 1971, and Shurjo Dighol Bari, by Mohiuddin Shaker and Sheikh Niamet Ali is among few such films. Some more quality films that followed, are the ones by Alamgir Kabir viz. Shimana Periye, Shurjo Konya and Dhirey Bohey Meghna, and Megher Onek Rong directed by Harunur Rashid. These were made in the late 70s."

Islam said, "The endeavors for good filmmaking did not receive adequate patronage, specially from the government sector". He said that since films comprise of a huge industry, a consistent financial backing is required. For instance, after World War II followed by the Russian Revolution, Soviet films were nationalised. "Decisive steps were taken to have a separate budget for film making. Lenin believed that films were vital for the cultural development of the nation," Islam said. Bangladesh, in comparison, has received limited aid from the government in this respect, he said. The good films, he pointed out, have been made mostly on private levels.

However, Islam said, the move towards good filmmaking -- which began in Bangladesh after the mid eighties -- led to the emergence of some good films in our time. He said, "Every year, we've made four to five films which have won accolades for Bangladesh on international levels. Thus, I feel that our standards are not abysmal. Despite odds, our filmmakers have made considerable progress."

Touching the subject of obscene films, Islam said, "The cause of their existence is that the filmmakers of these disreputable productions have no art orientation or correct film sense." Therefore, he said, they go in for cheap sensationalism. "Even a successful commercial film requires a tremendous amount of creativity. However, our art films have some impact on the commercial films. By commercial films, I mean those films that simply entertain and have no vital massage or carry no indelible mark on the mind."

In conclusion, asked to comment on Matir Moina, Islam said, "It has definitely very good direction and production by Tareq and Catherine Masood. It's one of the best of our recent films. Muktir Gaan by Tareq is also a powerful and important film which delivers a memorable message to viewers."