Qualitative Research

On

“Does Bangla cinema portray Bangla culture? A study of some contemporary

modern Bangladeshi cinema”

CMN 409: Cinema and Cultural Identity

Prepared for:

Dr. Zakir Hossain Raju

Course Instructor of CMN 409

Prepared by:

Sharif Ahmad Shabbir

ID: 0810216

Introduction

Bangla cinema is the cinema produced by the cinema industry of Bangladesh now called

“Dhaliwood” (. Bangla cinema which started its journey from the 1950’s with the first

talking movie named “Mukh o Mukhosh (Bangla) or The Face and Mask (English)”, has

a glorious past that still echoes today. But the cinema industry has failed miserably to

uphold the quality standards of the industry that prevailed in the start. Where the Bangla

cinema industry in the black & white arena was magnified by the relentless work and

contribution of talented directors and actors, who gave in all their efforts to take Bangla

cinema to greater heights along with increasing expectations from the audiences, the

cinema industry has gradually lost its vigor and glamour to some evil spirits in the later

years that followed. The black and white arena that dated from the 1950’s to the 1980’s

was the golden era of the Bangla cinema industry as a lot of quality Bangla films were

produced at that time creating a specific “classy” audience class for the evergreen Bangla

films of that time People from all spheres of life were eager about these Bangla films and

the passion they had for these films were to such an extent that they did not hesitate in

spending their hard earned pocket monies to have a look at the Bangla films at that time

in the theatres.

However, sadly and unfortunately, after the entrance of the Bangla cinema industry in the

late 1990’s brought a downfall to the ever shining Bangla cinema industry. The Bangla

films that later started being made were inflicted with problems of various kinds

including copying tendencies of Hindi (Indian) movies, disastrous and copious movie

music composition, “non-Bangla” love elements and outlooks. As a result, the Bangla

cinema became left out by majority of the audiences because they accused these “so-

called” Bangla cinemas as trash and promoting an alien culture that is not Bangla culture

at all.

Amid all these allegations, the Bangla cinema industry has survived and is still thriving to

reach at least a standard in line with its glorious history. The Bangla cinema has evolved

over the last decade on different dimensions where the Bangla cinema was haunted by the

once “so much talked about” obscenity which later came down to an acceptable level

due to tough drives against the cinema industry to free it from all evil spirits. Now-a-days

besides commercial Bangla cinemas, some feature films are also being made which got

more positive responses from the audiences than commercial films. The commercial

cinemas are now also changing to meet up to the present day standards by using small

scale innovations and new techniques. But still the question pertains that is

“Does Bangla cinema portray Bangla culture in the present times?”

This research will try to find the answer to this particular question by adopting a

quantitative research approach. In this research by the term “Bangla cinema” we are

referring to commercial Bangla cinema produced from Bangladesh only not any Bangla

feature film as the feature films in Bengali are quite few in number and do not constitute

a fully functional branch of the cinema industry in Bangladesh. This research paper will

try to analyze Bangla commercial cinema on the basis of Bangla culture and see whether

the commercial Bengali cinema is in harmony with the actual spirit of Bangla culture and

to substantiate the study a few case studies of some recent Bangla cinema will also be

presented.

This research paper employed the techniques of content analysis for discussions and

participant observation for case studies as methodology.

History of Bangla Cinema

The cinema industry of Bangladesh dates as back as the late 1890’s. Bangladesh was then

in nexus with the greater Indian subcontinent and in tandem with Calcutta (the present

West Bengal). Sharing the same Bangla language, the first ever Bangla movies were

made in Calcutta which received great patronage from the then British occupiers of the

Indian subcontinent. The British rulers favored the development of Bangla cinema in

Calcutta and gave financial support both directly and indirectly. This allowed Calcutta to

set itself up as a hub for Bangla cinema in the later period. However, cinema arrived in

Bangladesh (The then Banga which later became East Pakistan in 1947 and Bangladesh

in 1971) by the end of 1890’s. A newspaper report of Dhaka Prakash in1898 stated that

films were being screened in a theatre called, The Crown Theatre in Dhaka where news

and documentary video footages were displayed. Later in the period of 1913-1914, the

first cinema theatre, Picture House, started functioning. After that cinema halls were

gradually being built and the number of cinema halls reached 80 by 1947 in the then

Bangladesh where regular films were shown, most of them being films made in Bangla

from Calcutta.

Until 1956, the Bangla cinema industry was mostly silent, movies produced without any

verbal dialogues. The first ever cinema made in Bangladesh was Mukh o Mukhosh,

which was the also the first talkie of the Bangla cinema industry, debuted on August 03,

1956. The entire film was shot in Dhaka with local Bangladeshi artists and a storyline

that catered for the Bangladeshi audience of that time, but the post production of the film

was done in Lahore, The then West Pakistan (the present Pakistan). Mukh o Mukhosh

was the start of the Bangla cinema industry from Bangladesh and the journey of Mukh o

Mukhosh inspired many other Bangla films produced later onwards.

After the partition of the Indian subcontinent by the British colonial rulers in 1947, the

present Bangladesh was conjoined with the present Pakistan as a combined single state

divided into two sections, East and West Pakistan. The West Pakistan was in power of

Bangladesh after 1947 and the then West Pakistan government established the East

Pakistan Film Development Corporation (EPFDC) in 1957, a year after the release of

Mukh o Mukhosh with a view to help the Bangla cinema flourish. EPFDC was later

renamed as Bangladesh Film Development Corporation (BDFDC) after it became

independent from West Pakistan in 1971. Still now, BDFDC exists as the focal point of

the commercial Bangla cinema industry but in a very unstable condition pounded by

various problems, hence losing its potential day by day to improve the local Bangla

cinema industry. Along with BDFDC, a film archive was also set up for conserving the

much acclaimed Bangla cinema as a remark of a precious historical national asset of the

country for the times to come, as the cinema industry is a valuable asset for any country.

The era of 1956 till 1990 of the Bangla cinema industry was completely black and white.

After 1990, the Bangla cinema industry entered the colorful age and had undergone a

massive process of commercialization. Hence the Bangla cinema industry from 1990

onwards lost its artistic element and was overridden with “very much” commercialistic

elements which constitute the famous model of social class difference (rich-poor)-cheesy

romance-some erotic dance numbers- hilarious fight scenes-happy ending that still

govern most of the commercial Bangla cinema of today.

Note: The history of Bangla cinema has been adapted from the following resources:

a) Banglapedia: Film, Feature

http://www.banglapedia.org/httpdocs/HT/F_0076.HTM

b) Wikipedia: Cinema of Bangladesh

http://en.wikipedia.org/wiki/Cinema_of_Bangladesh

Bangla Culture

After knowing a brief history of Bangla cinema, we now need to understand what Bangla

culture is since the research topic deals with Bangla cinema and culture. The culture of

Bangladesh popularly known as Bangla culture evolves around the spirit of the creation

of a Bangla nation as a whole. The epicenter of Bangla culture is intertwined with the

birth of Bangladesh as a nation and as a country. However the people of this region had

their own way of life from the ancient times. But due to various courses of action that we

know from history, the culture of this region changed accordingly. To understand the

culture of Bangladesh, thus it is essential to have a quick overview of the history of the

Indian subcontinent as a whole.

As mentioned earlier, the present Bangladesh was before a part of the greater Indian

subcontinent, so Bangladesh shared a common culture with that of other regions in the

Indian subcontinent. Mainly in the ancient times, idolatry was the main religious practice

of this region and majority of the population were Hindus but later after the invasion of

the Arab merchants and rulers from Muslim majority regions like Persia and Afghanistan,

many people of this region converted into Muslims. For this conversion of religion, the

culture of Bangladesh also changed drastically but still some ancient cultural rituals of

the Hindus are predominant in today’s modern Bangla culture. Then the Europeans

started coming to this region with trade missions and they also influenced a lot on the

Bangla culture. The Englishman, William Carey contributed a lot to the grammar of

Bangla language where William wrote the grammar in English and then it was later

converted into Bangla by local language specialists.

Then after the partition of the Indian subcontinent, Bangladesh fell under the hands of the

oppressive West Pakistani who denied the existence of the Bangla spirit in all ways. The

people of this region had to fight to establish Bangla language as the state language

against the West Pakistani ruler’s diction that Urdu will be the only state language of

Pakistan. This language movement gave rise to the distinctive Bangla nationality spirit

among the people of this region and the people realized that apart from a common

religion (Islam) the two Pakistan sections had nothing in common. This epiphany

ultimately led to the creation of the independent and sovereign state of Bangladesh after

the 9 month long devastating liberation war in 1971.

After the liberation war, Bangladesh started off on its own to establish a unique Bangla

identity and Bangla culture has been in close ties with the spirit of the liberation war. The

history of the war and the national spirit associated with it forms the main essence of

Bangla culture. Besides the national spirit, the religious factors also influenced Bangla

culture. Since from the historical context, Bangladesh had been ruled by different rulers

of different religions and different cultural backgrounds, the Bangla culture has been an

assimilation of everything and this is reflected in every sphere of Bangla culture

including arts and literature, music and performing arts, festivals, dress up, language,

philosophy and folklore.

Besides the spirit of the Liberation War, religion is also a major part of the Bangla

culture. Majority of the population are Muslims and the Islamic rituals are prevalent with

people being respectful to their religion. Also besides Islam, other religious followers

(Hindus, Buddhists and Christians) are also free to practice their own respective religions

in harmony with the majority Muslim population. As a result, along side two Eid festivals

in the Bangladesh, other religious festivals like Durga Puja, Christmas, Buddha Purnima

are also being celebrated with due fervor.

Although majority of the Bangladeshi population are mainstream Bengalis but other

ethnic groups also exist in the country with their own set of rituals and distinctive cultural

practices. These ethnic groups mostly comprise of the tribal people who live scattered

mostly in the hilly parts of the country. The culture of these ethnic groups add to the

diversity of the mainstream Bangla culture that exists in Bangladesh but in most media

depictions the portrayal of ethnic culture still remains absent.

Bangla cinema and Bangla culture

As mentioned earlier, as the Bangla cinema industry entered the color age in the 1990’s,

it was taken over by very cheesy commercial elements. Where cinema is a medium of art

and conveys the national identity of a country at both home and abroad,

commercialization pays little heed to the artistic elements in cinema when it has more

dominance over the cinema industry and this is what exactly happened to the Bangla

cinema of today. The transition of Bangla cinema gradually has compromised with the

depiction of real Bangla culture on the silver screen and instead concentrated on hard

core commercial elements to make the cinemas earn a profit. In the profit earning race,

the cinema producers and directors forgot that the cinema industry is an important

medium for a nation and instead of showing what the real Bangla cultural identity is, they

became more interested in copying other cultures mainly the Indian culture. Since the

satellite technology and cable television entered Bangladesh in the early 1990’s and

people of the country were more interested in Indian, especially Hindi movies.

As the Bangla cinema industry was challenged by the over growing popularity of Hindi

movies in Bangladesh, the local film producers felt that if they make their movies similar

to the Hindi movies then maybe the Bangladeshi people will accept them. Hence they

started copying story plots and music from the Hindi movies and making their

Bangladeshi version which was later rejected by the greater Bangladeshi viewers as the

movies were not consistent with the Bangladeshi context. This copying tendency

continued for several years but yielded no results for the film producers because the

Bangladesh accused them of having no talent that they cannot make anything on their

own. As a result, the Bangla cinema industry faced a downfall and in order to revive it

again, the film producers came up with the nasty idea of using obscenity in Bangla

cinema to attract viewers with disturbing sexual content that does not comply with the

conservative mindset and culture of Bangladesh.

Bangladesh is still a developing country with a huge population but limited space and

resources and facing many problems and challenges. The “real” Bangladesh is said to be

found in the village areas where the rural people lead their simple lives amidst the

beautiful greeneries. In fact, the rural lifestyle is the base for the real Bangla culture as

majority of the country’s population still lives in the rural areas; hence the rural lifestyle

constitutes the mass culture of Bangladesh. The folk songs, folk dances, folk stories, folk

festivals – all these are at the heart of Bangla culture but however all these elements are

surprisingly absent in today’s Bangla cinema. Here we are presenting some case studies

of some contemporary Bangla cinemas from the recent year to see whether Bangla

cinema portrays Bangla culture or not.

Case 1: Khoj – The Search

This is a recent Bangla cinema that got released in 2010. This is a perfect example of a

modern Bangla cinema where digital sound technology, extensive outdoor shooting

locations and digital picture quality has been used. This movie is quite fictional as it starts

of with Bangladesh’s secret intelligence service which does not exist in reality. The

movie revolves around the most competent commander of the intelligence wing,

Mahmud who is being sought by the head of the wing to combat an international most

wanted criminal, Nino who is into hiding in Bangladesh. Mahmud is accompanied by his

female assistant Bobby who helps me in his mission. But Mahmud falls into a trap of a

local godfather connected to Nino. The movie does not end, its ending is quite incomplete

which shows that Mahmud releases himself from the clutches of the criminals and chases

Nino up to Las Vegas from Bangladesh.

As we can see from analyzing this film, it is not made in accordance to the real Bangla

cultural spirit at all. It has been made in the format of an action movie generally made in

Hollywood and Bollywood clearly indicating that the movie carries impact of

globalization which poses a threat to Bangla cultural identity. This is because the Bangla

cinema now-a-days have swayed from showing the culture of the country which makes

us unique. The movie, Khoj- The Search, by its name, the impact of globalization is

evident on Bangla cinema. Also the dress ups used by the artists, mainly Western, does

not comply with the Bangla culture. The use of music and its story plot in the movie does

not carry any symbolism of Bangla culture at all.

This movie has received many critical reviews from the viewers who mostly claimed that

the effort of making Bangla cinema go international is fine but at least it should be

portrayed in such a way that goes with the national culture of Bangladesh. Bangladeshi

people wearing Western outfits should actually think whether the Western outlook suits

them or not, suggested the viewers.

Case 2: Gohine Shobdo (The Dark Resonance)

This is also a recent Bangla movie that saw its release in 2010. The movie starts with an

enticing scene of a joyous procession marking the first day of the Bangla New Year. A

long shot showing the procession from a top angle gradually converts to a close shot

focusing on the two main actor and actresses of the movie who are enjoying with the

crowd. The entry of the movie depicting the celebration of the Bengali New Year is a

clear portrayal of Bangla culture. The movie then progresses with the actor and actresses

of the move who come from different families with a huge difference in financial

abilities. The actor hails from a rich family while the actress comes from a very lower

class family and a sharp distinction has been shown in the movie clearly depicting the

difference in lifestyles of the two different families. Where the actress and her family has

to work very hard to make ends meet to combat extreme poverty on one side, on the other

hand the actor enjoys taking swimming sessions in a luxury hotel and dine in at

expensive restaurants. The difference between social classes is shown clearly that does

reflect the reality of the country where one group is extremely rich and the majority of

other groups are extremely poor. Since the movie has been made with a commercial

mindset, it includes 2 songs that are compatible with Bangla culture. The dress ups and

props used reflect the reality of Bangladesh. This movie has earned many appraisals and

people lauded the movie that despite being a commercial cinema, it has not moved away

from showing the reality and a proper depiction of Bangladeshi lifestyle and culture.

Case 3: Nijhum Oronne (The Deep Forest)

This is another movie released in 2010. This movie is based in 1977, just on the verge of

the after years of the Liberation War in 1971. The movie evolves around a girl going to

Chittagong to meet up with her brother who has lost a leg while being a freedom fighter.

On the way to Chittagong, the girl encounters a boy in the train and they fall in love at

first sight. Then when the girl arrives at her brother’s place, she again meets the boy from

the train and they start getting intimate. At one point of the narrative, the girl tells the

story of her brother to the boy she loves. Her brother was married and had a daughter but

since he was late in coming back to his family from the war, his family members thought

him to be dead and his wife got married for a second time. Later when her brother came

back home alive amid an emotional rejoice, he found out that he has lost everything.

From that onwards, he has settled in life as a lone man in the forest area of Chittagong.

The story of this movie is quite strong and has been constructed in light of the Liberation

War that constitutes an essential part of Bangla culture and national identity. Seeing this

movie, the audience can easily relate to the inner pains of the freedom fighter brother and

can empathize with him. The movie features a patriotic song sung by the daughter of the

freedom fighter brother that instills a deep love for the country. Also a romantic Rabindra

song was used in showing the romance of the girl with her lover; Rabindra songs are one

of the biggest assets of Bangla culture. We see the actress of the movie and her daughter

in law (wife of the freedom fighter brother) wearing saris that is the national dress code

for women in the country.

Case 4: Third Person Singular Number

This is another movie released in 2010 from a promising film director of Bangladesh,

Mostafa Sarwar Farooki who has set new trends in making Bangla movies. The movie

tells us the story of a girl named Ruba who is always in a quest to find her actual

existence, in a nutshell depicting the real condition of women who are deprived of their

identities in the country. Ruba who was living with a male partner in a live-in relationship

finds herself in trouble when her male partner gets arrested accused of murder. Ruba gets

thrown out of her father’s house who disapproves her live-in relationship which is still

unacceptable in the Bangladeshi social context. She also receives little support from her

mother who lives with her stepfather. Then she wanders around in search of a place to

live and a job to earn a living. She finally gets a place to live as a single women but her

landlord hinted bad intentions regarding her. She also gets job offers but behind the job,

all her employers want to exploit her. Later Ruba meets her old male friend who helps to

find a secure place to live in and when Ruba’s live-in partner comes out of jail, their

friendship comes under the male partner’s suspicion. In the course of the movie’s

narrative, we see Ruba talking to her 13 year old self to focus on her need to find her self

identity.

This movie has definitely depicted some elements that do not go with Bangla culture

especially the concept of live-in relationships still remains a taboo in the country. But the

way the movie is shown it does not appear that it is in conflict with Bangla culture,

instead it showed something new and different. But the fact that women are being

exploited by men clearly reflect the current position of women in Bangladesh where

women in the country are being harassed by men hence giving rise to eve teasing and

sexual harassment incidents. The insecurity of a woman among the male dominated

society depicted in the movie goes along with the spirit of womanhood that prevails in

Bangladesh.

Case 5: Bolo Na Tumi Amar (Tell Me You Are Mine)

This is an ideal example of a cheesy commercial Bangla cinema that was also released in

2010. Although all other movies mentioned here are commercial Bangla movies, but this

movie in particular is the ideal one and on analyzing this movie, we will find out why.

This movie features the number one hit actor of Bangla cinema industry, Shakib Khan

along with the debutant actress, Shokh. The film features a bizarre story that does not

constitute any sort of logic. Shokh, an everlasting beauty, gets disturbed by some local

hoodlums and being unable to withstand the sexual harassment, she goes to Thailand to

save herself. There she meets a Bangladeshi taxi driver, Shakib who falls in love with

Shokh and thus some cheesy romantic songs appear with weird dance moves and

extremely commercial lyrics. Shokh is being chased by the gang of the Bangladeshi

hoodlums to Thailand and Shakib saves her. Shakib also comes back to Bangladesh and

saves an elderly woman who lives in a well off palatial house. Later Shakib learns that

this woman is the mother of Shokh and takes her to Thailand to unite with Shokh.

As we can these the total story and its elements are completely out of sync, these type of

out synced stories dominate most of the commercial Bangla cinema. With cheesy

romance and stereotyped villains and some banging action sequences, this movie

becomes an ideal commercial production of the Bangla cinema industry which has

favored extremely romantic and action films from the 1990’s putting the social movie

genre to a threat. The dress up, music and other props used in this movie are incompatible

with the real life scenario of Bangladesh. Like this movie, majority of Bangla cinema

follow and share these similar attributes making them alien media content in a social and

conservative Bangladesh.

Conclusion

From the detailed discussion so far and from the analysis of the case studies on different

Bangla cinemas released in the recent times, we have come to a mixed position regarding

the fact whether Bangla cinema projects Bangla culture or not. Bangla cinema was more

projective of Bangla culture in the beginning of the cinema industry where movies

involving local cultural identities and sentiments involving the general people were

depicted that was reflective of the reality of that time. But gradually Bangla cinema that

we experience today is has undergone a major transition of genres and movie elements.

From the five movies analyzed so far, only Bolo Na Tumi Amar and Khoj - The Search

represent the mainstream commercial Bangla cinema of Bangladesh. The other three

films, despite being commercial, set different tracks and focus on different viewpoints

that are normally ignored in most of the commercial Bangla cinemas and cinemas like

these are very rarely produced in Bangladesh and even if they are being produced they

are very few in number and do not constitute a majority.. Hence we can say that some

Bangla commercial cinemas are seeing different trends in different times reflecting real

life stories consistent with Bangla culture through the hands of some very few film

directors, but the majority of the commercial cinemas produced in Bangladesh that end

up like Khoj – The Search and Bolo Na Tumi Amar, sadly and unfortunately, do not

portray Bangla culture that much.

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