Cherished memories of the tinsel town

Sirajul Islam fondly remembers his prime time in the movies. PHOTO: STAR

"Possibly this is one of the very few countries without a film institute, although there is no lack of potential, " says a flustered Siraj.

"Khan Ataur Rahman, Zahir Raihan, Subhash Dutta and others have tried at different times to develop an institute with the help of Producers' Association, but all in vain."

Siraj's journey started back in the mid-1940s. He talks of a time when the entertainment world centred on the radio and theatre and the film world was in its infancy.

"It was the time right after the Partition when many crossed the border, creating a vacuum in the cultural field. The radio station was the stepping stone for many theatre professionals," he goes on.

Theatre in Bangladesh took root in the 1960s and progressed rapidly during the 1970s. According to him, there was a spontaneous inspiration to develop theatre in every community, in Dhaka. This was mostly arranged by collecting funds from the affluent community members. It was a time when it was unimaginable to think about women practicing songs and dance numbers even in the confines of one's household. However, gradually, women took active roles in the cultural field, asserts Siraj.

"The railway institute, then known as Mehboob Ali Institute, situated right beside the present National Medical Hospital, was the hub of cultural activities," reminisces Seraj.

"A raised platform at the Natmondir served as an ideal stage. Despite the humble settings, eminent theatre artistes from Kolkata such as Tripti Mitra, Shambhu Mitra, Sattya Banerjee and others would often come to perform in Dhaka.

"There was no designated rehearsal locations and so it was often held in different households. Even though the locations were different there was one commonality --the scrumptious khichuri at the end of the final rehearsals! " continues the veteran actor with a wry smile.

He points out that the theatre groups of the country were divided into main four main groups. The one led by Kazi Khalek originated in the Aga Sadek Road. The second belonged to the secretariat group, comprising government officials. Pathak Mujibur Rahman, Kafi Khan, Enam Ahmed belonged to this group, which originated in the Palassi Barrak.

The third group comprised Al Mansur, Rahima Khala, Abdul Jabbar Khan, Mehfuz and others of Kamalapur. The fourth group originated in the old town, where Narayan Ghosh Mita, Purnima Das and others assembled. Theatre trend was still quite insignificant. Later, initiators in this field Abdul Jabbar Khan, Nurul Momen, Ashkar Ibne Shaiekh and Munier Chowdhury fortified this art form.

Among the 300 or more films in which he starred, Raja Elo Shohorey, (his first feature film) and Sheet Bikel are two of Siraj's memorable films. Kena Bechar Pala and Fash are his remarkable stage plays. Dhakaye Thaki, a TV serial gained wide scale popularity and this was among one of the earlier TV serials in the country. Alongside theatre, there developed Film Development Corporation, better known as FDC. The film industry developed with the efforts of Ehtesham, Mohiuddin Shaker, Salauddin and Fateh Lohani, the torchbearers in this field.

There was little question of idolising any actor. As he says, "We had an original style. However, people would often call me Biswas da, referring to the resemblance between eminent actor Chobi Biswas's acting style and mine. Dr Rowshan Ara, Nasima Khan, Johrat Ara, Lilly Khan and others were my co-stars.

"In the film Mishor Konnya, I starred with Shameem Ara of Pakistan. That was the only time I had to get rid off my moustache and when I returned home late at night, my wife almost fainted, taking me as a stranger knocking at the door at such unearthly hours," says a smiling Siraj.

Having worked in the heyday of the filmdom, Siraj is naturally critical of the current state of affairs--lack of theatre space, unplanned settings, innovation, development of young playwrights and most importantly the lack of initiatives to train and nourish professionals both in the filmdom and theatre.

Siraj has won the prestigious National Award for the film Chandranath in 1985. As he retires as the director of Department of Film and Publication (DFP), his one dream that remains unfulfilled is to witness the revival of his cherished film industry.