Bangladeshi Film Industry

The Cinema of Bangladesh, locally known as Bangla cinema, is a diverse and vibrant entity, consisting of films produced across various regions in Bangladesh, each contributing its unique linguistic and cultural perspective. Beyond the dominant Dhaka based Bengali-language film industry Dhollywood (), which is a portmanteau of "Dhaka" and "Hollywood", Bangladesh is home to cinema in several other languages and dialects. For instance, Chakma cinema from Bandarban, Garo cinema from Sherpur, Meitei and Sylheti cinema from Sylhet, Chatgaiya cinema from Chattogram. These regional cinemas play a crucial role in preserving and promoting the linguistic and cultural heritage of the country. The dominant style of Bangladeshi cinema is melodramatic cinema, which developed from 1947 to 1990 and characterizes most films to this day. Cinema was introduced in Bangladesh in 1898 by the Bradford Bioscope Company, credited to have arranged the first film release in Bangladesh. Between 1913 and 1914, the first production company, Picture House, was opened. A 1928 short silent film titled ''Sukumari'' () was the first Bengali-produced film in the region. The first full-length film, ''The Last Kiss'', was released in 1931.

Following the separation of Bangladesh from Pakistan, Dhaka became the center of the Bangladeshi film industry, and has generated the majority share of revenue, production and audiences for Dhallywood films. ''Mukh O Mukhosh'', the first Bengali-language full-length feature film, was produced in 1956. During the 1970s, many Dhallywood films were inspired by Indian films, with some of the films being unofficial remakes of those films. The industry continued to grow, and many successful Bangladeshi films were produced throughout the 1970s, 1980s and the first half of the 1990s.

Directors such as Fateh Lohani, Zahir Raihan, Alamgir Kabir, Khan Ataur Rahman, Subhash Dutta, Ehtesham, Chashi Nazrul Islam, Kazi Hayat, Sheikh Niamat Ali, Tauquir Ahmed, Tanvir Mokammel, Tareque Masud, Morshedul Islam, Humayun Ahmed, Kamar Ahmad Simon, Mostofa Sarwar Farooki, Rezwan Shahriar Sumit, Abdullah Mohammad Saad Himel Ashraf, Raihan Rafi, and others have made significant contributions to Bangladeshi mainstream cinema, parallel cinema, and art films. Some have also won global acclaim.

History

Origin

On 28 December 1895, the Lumière brothers began commercial bioscope shows in Paris, with the first bioscope shows of the Indian subcontinent occurring the following year, including one in Calcutta and another at the Crown Theatre in Dhaka. The Bradford Bioscope Company of Calcutta arranged the show, which featured very short news items and other short features including footage of the jubilee of Queen Victoria, battles between Greek and Turkish forces, and the French underground railway. The price of a ticket to the show was an expensive eight anas to three taka. Bioscope shows continued to be shown throughout the region, including in Bhola, Manikganj, Gazipur, Rajbari, and Faridpur. These became the first films ever to be released in Bangladesh.

At the time when Calcutta-based film production houses were forming, East Bengal cinema halls were showing films produced in Calcutta, Bombay, Madras, Hollywood, and Paris. Sequential bioscope shows were started in Dhaka in 1913–14 in a jute store. It was named Picture House, becoming the first theater to be built in present-day Bangladesh.

Silent era

In 1927–28, the Dhaka nawab family produced a short film named ''Sukumari'' (The Good Girl). The film's producers included Khaza Adil, Khaza Akmol, Khaza Nasirulla, Khaza Azmol, Khaza Zohir, Khaza Azad, Soyod Shahebe Alom, and professor Andalib Shadini. They wanted to make a film with their own actors and without the help of a studio. The male lead was played by Khaza Nosrulla, and the female lead was played by a male actor named Syed Abdus Sobhan owing to laws against the depiction of women in film. Nosrulla went on to become a politician and Sobhan became the first Bengali secretary of the Pakistan Central Civil Service. One still picture of ''Sukumary'' is kept in Bangladesh Film Archive.

After the success of ''Sukumari'', the royal family went for a bigger venture. To make a full-length silent film, a temporary studio was made in the gardens of the family, and they produced a full-length silent film titled ''The Last Kiss'', released in 1931. The main actor was Khaza Azmol. The physical teacher of Jagannath College, Ambujgupta, directed the film and made the Bengali and English subtitles for it. Professor Andalib Shadani of the Dhaka University made the Urdu subtitles. ''The Last Kiss'' was released in the Mukul Hall of Dhaka. Historian Dr. Romesh Chondro Mojumder started the premier show of the film. The print of the film was taken to the Aurora Company of Calcutta for bigger presentation. The developers of the film wanted to make Dhaka unique in art, literature and cinema and named their production house “Dhaka East Bengal Cinematograph Society”. It was the first film-producing organization of Bangladesh.

Early development

Pakistan era

By 1947, there were around 80 cinemas in Bangladesh.A Brief History of Bangladesh Cinema
accessed 27 July 2006After the partition of India in 1947, there were efforts to turn Dhaka into East Bengal's cultural center, with various individuals like Abbasuddin Ahmed creating short-lived film production companies in the city. In March 1948, when the Governor-General of Pakistan Mohammad Ali Jinnah came to visit East Pakistan, the radio broadcaster and filmmaker Nazir Ahmed was commissioned to create the informational film ''In Our Midst'' with the help of Calcutta-based film technicians. It was the first informational film of Bangladesh.

1950s

Two years after the creation of the Bengali Language Movement in 1952, the film-making company ''Co-operative Film Makers, Ltd.'' was formed in Dhaka under the leadership of Shohidul Alam, Abdul Jabbar Khan, and Kazi Nuruzzaman. The company produced ''Salamot'' (1954) under the direction of Nazir Ahmed. The film was commercially successful and allowed the company to grow. In 1955, during the rule of the United Front, Chief Secretary N.M. Khan created a film studio and laboratory in Dhaka's Tejgaon Thana. The first full-length feature film with sound made in East Pakistan was '' The Face and the Mask'', which was directed by Abdul Jabbar Khan and released on 3 August 1956. Editing, printing and all other film processing for this movie were done in Lahore, Pakistan. Abdul Jabbar directed and starred in the film, which also starred Inam Ahmed, Purnima Sen, and Nazma.

"The East Pakistan Film Development Corporation Bill, 1957", establishing a national film development corporation, was introduced by Sheikh Mujibur Rahman, the founding father of Bangladesh. The bill was passed in the East Bengal Provincial Assembly, and Nazir Ahmed was appointed as the first creative director.

Initially, the East Pakistan Film Development Corporation allowed only specific directors to make films. Fateh Lohani directed the rural art film ''Asiya'', the first film produced by the East Pakistan Film Development Corporation, with Nazir Ahmed supervising the production. ''Asiya'' received the President Award for best Bangla film in 1961. Other early films released by the East Pakistan Film Development Corporation include ''Akash Ar Mati'' (''The Sky and The Earth''), a song film directed by Fateh Lohani in 1959.

A. J. Kardar directed the Bengali-Urdu film ''The Day Shall Dawn'' in 1959, with Zahir Raihan working as the assistant director. The film was based on the 1936 Bengali novel ''Padma Nadir Majhi'' (''The Boatman on The River Padma'') by Bengali novelist Manik Bandopadhyay. It was an internationally acclaimed movie. The film was submitted as the Pakistani entry for the Academy Award for Best Foreign Language Film at the 32nd Academy Awards, but was not accepted as a nominee. It was also entered into the 1st Moscow International Film Festival, where it won a Golden Medal.

The establishment of the East Pakistan Film Development Corporation led to the growth of the East Bengal film industry and gave rise to three prominent studios: the Popular Studio, Bari Studio, and Bengal Studio. Prominent directors Abdul Jabbar Khan, Fateh Lohani, Ehtesham, and Mohiuddin worked with these studios. Notable films from these directors include ''Matir Pahar'' (''The Clay Hill'') (1959) by Mohiuddin and ''E Desh Tomar Amar'' (1959) by Ehtesham. The East Pakistan Film Development Corporation's own films sometimes struggled to achieve financial success.

1960s

During the late 1960s, 20-35 films were produced every year. Fateh Lohani's ''Asiya'' and Ehtesham's ''Rajdhanir Buke'' (''In the heart of the capital'') were both positively reviewed by critics. In addition to directing, Lohani also acted in a number of East Bengali films throughout the 1960s, including ''Tanha'' (1964), ''Agun Niye Khela'' (1967) and ''Julekha'' (1967). Other notable directors of the 1960s include Salahuddin, who made a number of social drama films like ''Je Nodi Morupothe'' (1961), and Khan Ataur Rahman, who directed ''Nawab Sirajuddaula'' (1967). Rahman was also an actor and a singer, and featured in ''Kokhono Asheni'' (''Never Came'') (1961), ''Kancher Deyal'' (''Crystal Wall'') (1963).

Zahir Raihan was a star director of East Bengali cinema in the 1960s, and directed films like ''Kokhono Asheni'' (''Never Came'') (1961), ''Shangam'' (1964) (The first Pakistani colour film), and ''Jibon Theke Neya''. ''Jibon Theke Neya'', a political satire based on the Bengali Language Movement under the rule of Pakistan, is considered a classic of Bangladeshi cinema.

Some notable actors from the 1960s include Rahman, Sumita Devi, Khan Ataur Rahman, Rawshan Jamil, Anwar Hossain, Anwara Begum, Golam Mustafa, Abdur Razzak, Kabori Sarwar, Shabana, Farida Akhter Bobita, Farooque, Shabnam, Shawkat Akbar, Rosy Samad, Baby Zaman, and Kohinoor Akhter Shuchanda. The most well-known Bangladeshi actor to date had been Abdur Razzak, who was deemed the ''Nayok Raaj Rajjak'' (King of Heroes) by his fans. He started his career as a side actor in 1965 and became a leading actor in 1967. Abdur Razzak and Kabori Sarwar was the most popular pair from 1967 to the 1970s.

After independence

1970s

A total of 41 films were released in 1970, including ''Shorolipi'' by Nazrul Islam, ''Taka Ana Paay'' and the ''Jibon Theke Neya'' by Zahir Raihan.

''Jibon Theke Neya'', considered a milestone film in the history of Bengali cinema, was a political satire based on the Bengali Language Movement under the rule of Pakistan. It stars Shaukat Akbar, Anwar Hossain, Khan Ataur Rahman, Rawshan Jamil, Abdur Razzak, Kohinoor Akhter Shuchanda, Amjad Hossain and Rosy Samad. The film has been described as an example of "national cinema", using discrete local traditions to build a representation of the Bangladeshi national identity. Other significant works of 1970 were ''Mishor Kumari'' of Karigir, ''Tansen'' of Rafiqul Bari, ''Bindu Theke Britto'' of Rebeka, ''Binimoy'' of Subhash Dutta, ''Kothay Jeno Dekhechi'' of Nizamul Hoque.

Only 6 Bengali films and two Urdu films made in East Bengal were released in 1971 before the Bangladesh Liberation War. Some notable social drama films include ''Nacher Putul'' by Ashok Ghosh, ''Sritituku Thak'' by Alamgir Kumkum, and ''Shukh Dukkho'' by Khan Ataur Rahman.

Following the outbreak of the Bangladesh Liberation War, Raihan made the documentary ''Stop Genocide'' to draw attention to the plight of the people of East Bengal. It was one of the first internationally acclaimed films of Bangladesh.

In December 1971, the ''East Pakistan Film Development Corporation'' changed its name to the ''Bangladesh Film Development Corporation'', which had the only major film studio and colour lab of the Bangladeshi film industry until the 2010s. Most Bangladeshi films were produced from this studio. Production quantity continued to increase after Bangladesh gained its independence; by the 1990s, over 90 films per year were released. At that time, the film department was under the leadership of Abdul Jabbar Khan. The Bangladeshi film industry was successful both critically and commercially through the first half of the 1990s.

Many Bangladeshi movies of the 1970s were about the war. The first full-length feature film of independent Bangladesh was ''Ora Egaro Jon'' released in 1972. The movie was directed by Chashi Nazrul Islam. Other filmmakers who made critically acclaimed war films in the 1970s include Alamgir Kabir, Chashi Nazrul Islam, and Subhash Dutta. Three of Kabir's feature films are featured in the "Top 10 Bangladeshi Films" critics' choice list by the British Film Institute. His films include ''Dhire Bohe Meghna'' (1973), ''Shurjo Konya'' (1976), ''Shimana Periye'' (1977), ''Rupali Shoykte'' (1979), ''Mohona'' (1982), ''Porinita'' (1984) and ''Mohanayok'' (1985). Other notable directors in the 1970s include Narayan Ghosh Mita, Abdullah al Mamun, Johirul Haque, and Amjad Hossain. Haque's ''Rongbaaj'' was one of the first commercial action films of Bangladesh.

After independence, one of the first international acclaimed film was '' A River Called Titas'' released in 1973, directed by prominent Indian Bengali director Ritwik Ghatak and starring Prabir Mitra in the lead role. ''Titash Ekti Nadir Naam'' topped the list of 10 best Bangladeshi films in the audience and critics' polls conducted by the British Film Institute in 2002. Some other notable films of 1970s include ''Joy Bangla'' (1972) of Fakrul Alom; ''Lalon Fokir'' (1972) of Syed Hasan Imam'' (1972), ''Bashundhara'' (1977) by Subhash Dutta; ''Alor Michil'' (1974), ''Lathial'' (1975) by Narayan Ghosh Mita; ''Megher Onek Rong'' (1976) by Harunur Rashid; ''Golapi Ekhon Traine'' (1978) by Amjad Hossain; '' Sareng Bou'' (1978) by Abdullah al Mamun; ''Oshikkhito'' (1978) by Azizur Rahman; ''The Father'' (1979) by Kazi Hayat, and ''Surjo Dighal Bari'' (1979) by Sheikh Niamat Ali and Moshiuddin Shaker. ''Surjo Dighal Bari'' was a critically acclaimed movie and it re-introduced Bangladeshi films to the international audience. The movie was based on a novel of the same name by Abu Ishaque. In 1975, the government started a national film award, as well as a donation fund for creative films.

1980s

The 1970s and 1980s were a golden era for Bangladeshi film industry commercially and critically. At this time, a lot of actors and actresses enjoyed popularity, including Abdur Razzak who was the most successful actor commercially during this period, as well as Kabori Sarwar, Shabana, Farida Akhter Bobita, Farooque, Shabnam, Kohinoor Akhter Shuchanda, Alamgir, Sohel Raana, Amol Bose, Zafar Iqbal, Wasim, Ilias Kanchan, Jashim, Rozina, Parveen Sultana Diti, Champa and others.

In the 1980s, most of the Bangladeshi commercial films were influenced in film-making, style and presentation by Indian movies, mostly Hindi movies from Maharashtra. However, many of the films were original or adaptations of literary works. Some notable original and adapted films include ''Chhutir Ghonta'' (1980) by Azizur Rahman; ''Emiler Goenda Bahini'' (1980) by Badal Rahman; ''Shokhi Tumi Kar'' (1980), ''Akhoni Shomoy'' (1980) by Abdullah Al Mamun; ''Lal Shobujer Pala'' (1980), ''Obichar'' (1985) by Syed Hasan Imam'' (1984) by Amjad Hossain; ''Devdas'' (1982), ''Chandranath'' (1984), ''Shuvoda'' (1987) by Chashi Nazrul Islam; ''Smriti Tumi Bedona'' (1980) by Dilip Shom; ''Mohona'' (1982), ''Porinita'' (1986) by Alamgir Kabir; ''Boro Bhalo Lok Chhilo'' (1982) by Mohammad Mohiuddin; ''Puroshkar'' (1983) by C.B Zaman; ''Maan Shomman'' (1983) by A.J Mintu; ''Nazma'' (1983), ''Shokal-Shondha'' (1984), ''Fulshojja'' (1986) by Subhash Dutta; ''Rajbari'' (1984) by Kazi Hayat; ''Grihilokkhi'' (1984) by Kamal Ahmed; ''Dahan'' (1986) by Sheikh Niamat Ali; ''Shot Bhai'' (1985) by Abdur Razzak; ''Ramer Shumoti'' (1985) by Shahidul Amin; ''Rajlokkhi-Srikanto'' (1986) by Bulbul Ahmed; ''Harano Shur'' (1987) by Narayan Ghosh Mita; ''Dayi Ke'' (1987) by Aftab Khan Tulu; ''Tolpar'' (1988) by Kabir Anowar and ''Biraj Bou'' (1988) by Mohiuddin Faruk.

The parallel cinema movement was officially started from this decade, though many off-track movies were made of different genres from the 60s. However, the 80s movies were strictly commercial influenced by Indian Hindi commercial films, so there was a necessity of a realism and naturalism cinema movement. The movement was started by Alamgir Kabir. From this movement some intellectual filmmakers came such as, Tanvir Mokammel, Tareque Masud and Morshedul Islam.

1990s

In the 1990s, most of the Bangladeshi movies were dominated by mainstream commercial movies. Many successful films were produced in this time. The definition of Bangla mainstream commercial movies had changed, because most of the movies were very much influenced by commercial Indian Hindi movies and most of them were direct copies from those Indian commercial Hindi films full with action, dance, song and jokes. During this era, some new directors and actors came to the industry. Intellectual Directors such as Tanvir Mokammel, Tareque Masud, Morshedul Islam, Humayun Ahmed, Nasiruddin Yousuff, Akhtaruzzaman and Mustafizur Rahman made some critically and internationally acclaimed films at that time. Two of Tanvir Mokammel's feature films are featured in the "Top 10 Bangladeshi Films" list by British Film Institute's critics choice.

The 1990s marked the debut and dominance of Salman Shah who is referred as the "Prince of Bangladeshi Cinema" and the "First Superstar of Modern Dhallywood". Regarded as one of the most popular and influential actors in the history of Bangladeshi cinema, he starred in some of the most iconic and successful films in Dhallywood's history which include ''Ontare Ontare'', ''Ei Ghor Ei Songsar'', '' Sujan Sakhi'', ''Mayer Odhikar'' and '' Anondo Osru''. Additionally three of his films, ''Shopner Thikana'', '' Sotter Mrittu Nei'' and ''Keyamat Theke Keyamat'' are among the top ten highest-grossing films of all time in the Dhallywood box office. His untimely death at the height of his fame in 1996, is noted to be a tragic event for the nation which evoked unanimous public reactions of grief and brought the film industry to a standstill.

Some other successful male actors during this time were Alamgir, Jashim, Ilias Kanchan, Nayeem, Manna, Riaz, Ferdous Ahmed and Omar Sani.

Among successful female actors were Shabana, Champa, Dolly Johur, Suchorita, Shabnaz. Some notable films from this decade include ''Padma Nadir Majhi'' by Indian director Goutam Ghose, ''Padma Meghna Jamuna'' by Chashi Nazrul Islam, ''Pita Mata Sontan'' and ''Banglar Bodhu'' by A. J. Mintu, ''Aguner Poroshmoni'' and ''Srabon Megher Din'' by Humayun Ahmed, ''Desh Premik'' by Kazi Hayat, ''Anya Jibon'' by Sheikh Niamat Ali, '' Poka Makorer Ghor Bosoti'' by Akhtaruzzaman, ''Dukhai'' by Morshedul Islam, ''Hothat Brishti'' by Indian director Basu Chatterjee and ''Chitra Nodir Pare'' by Tanvir Mokammel. In the late 90s, Sohanur Rahman Sohan's ''Ananta Bhalobasha'' (1999) was the turning point of Bangladeshi cinema by introducing Shakib Khan, who is now one of the biggest superstars in the industry.

21st century

2000s

During the 2000s, most Bangladeshi films underperformed commercially and Bangladesh produced about 100 low-budget movies a year. Viewership of Bangladeshi films in general dropped, and the industry was criticized for producing low-quality films whose only appeal was that of cheap melodrama.

After a drastic decline in the 2000s, the Bangladeshi film industry tried to bounce back after 2006–07. With the help of the Bangladeshi Government and the emergence of big production companies, the Bangladeshi film industry started growing slowly.

Among the successful films that released in the 2000s are ''Ammajan'', ''Premer Taj Mahal'', '' Wrong Number'', ''Shasti'', ''Shyamol Chhaya'', ''Hridoyer Kotha'', ''Daruchini Dwip'', ''Monpura'', ''Priya Amar Priya'', ''Koti Takar Kabin'', ''Chacchu'', ''Khairun Sundori'', '' Amar Praner Swami'', ''Pitar Ason'', ''Tumi Swapno Tumi Shadhona'', ''Mone Prane Acho Tumi'', ''Amar Shopno Tumi'', ''Bolbo Kotha Bashor Ghore'', among others. Besides critically acclaimed films like ''Kittonkhola'', ''Lalsalu'', ''Hason Raja'' ,''Matir Moyna'', ''Bachelor'', '' Joyjatra'', ''Hajar Bachhor Dhore'', '' Ghani'' and ''Chandragrohon'' were produced in this decade. Most of the successful films during this period starred Manna (until his death in 2008) followed by Shakib Khan, Riaz, and Ferdous Ahmed. Leading female actors included Moushumi, Shabnur, Popy and Champa.

2010s

Since 2012, Bangladesh has developed several big production and distribution companies, such as Monsoon Films, Jaaz Multimedia and Tiger Media Limited, and the films produced by them have been doing better business than others due to their large budget and glamorous appearance. Four of the top ten highest grossing Bangladeshi films were released in the 2010s. In 2014, India's Reliance Entertainment Limited had expressed their interest in producing Bangladeshi films. However, the Bangladesh Film Corporation didn't respond due to the ban on Indian films in Bangladesh. A notable film released in 2010 was named ''Jaago'', directed by Khijir Hayat Khan. ''Jaago'' is the first sports-based film in Bangla Cinema. Top actors during this period included Shakib Khan, Ananta Jalil, Arifin Shuvo, Bappy Chowdhury, Symon Sadik, and Jayed Khan.

2020s

In the 2020s, a new wave of cinema was moving through the Bangladeshi film industry. Started during the COVID-19 pandemic, OTT consumption increased largely in the country. New Bangladeshi platforms like Chorki and Binge became popular. Films like '' Poran'', '' Hawa'', ''Operation Sundarbans'', ''Damal