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Bengali Political Cinema: Protest and Social Transformation

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Bengali Political Cinema: Protest and Social Transformation by Naadir Junaid A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy THE UNIVERSITY OF NEW SOUTH WALES School of the Arts and Media Faculty of Arts and Social Sciences April 2013 TABLE OF CONTENTS Acknowledgements і Dedication v Introduction Political Cinema, Third Cinema and Bengali Cinema of Liberation 1 Chapter One Bengali Politically-Committed Cinema: A Historiography 44 Chapter Two Speaking Out against Social Injustice through Cinema: Mrinal Sen’s Calcutta 71 (1972) 89 Chapter Three Preference for Personal Protest in Political Cinema: Satyajit Ray’s Pratidwandi (The Adversary, 1970) 138 Chapter Four Cinema of Decolonization under Military Rule: Zahir Raihan’s Jiban Theke Neya (Glimpses from Life, 1970) 180 Chapter Five Cultural Resistance and Political Protest through Allegory: Tareque Masud’s Matir Moina (The Clay Bird, 2002) 224 Conclusion 265 Bibliography 274 ACKNOWLEDGEMENTS I would like to express my gratitude to the Government of Australia for awarding me an Endeavour Scholarship. This scholarship enabled me to do a PhD in Australia. My deepest thanks are due to all individuals who helped me when I was completing my thesis. A number of individuals deserve special mention for the tremendous support they gave me during my journey towards the successful completion of my thesis. First and foremost, I would like to express my grateful and heartfelt thanks to my supervisor, Professor George Kouvaros. I strongly believe getting the opportunity to work under his supervision was the best thing that happened during my PhD candidature. His intellectual guidance, insightful comments and constructive criticisms profoundly influenced my own intellectual development and helped me gain greater understanding of film research. He thoroughly read and painstakingly edited my chapters. His generosity always provided me with huge mental support. I owe him a deep debt of gratitude. I am immensely grateful to my co-supervisor, Dr. Michelle Langford for providing me with a lot of support during my candidature. She read several chapters of my thesis and gave me very important feedback. My thesis benefited greatly from her valuable suggestions. Her encouraging comments on my work always motivated me to work harder on my thesis. I would also like to thank Associate i Professor Dorottya Fabian, Postgraduate Research Coordinator of the School of the Arts and Media for always providing me with encouragements by her kind words. I wish to express my earnest gratitude to Associate Professor Paul Brown, former Head of the School of History and Philosophy. He was always extremely supportive of my work. When I was going through a time of anxiety, he gave me tremendous mental support. He also helped me obtain funds for conducting field trips in Dhaka and Kolkata. His kind and encouraging words always helped me feel more confident. I would also like to thank Dr. Ruth Balint, my former supervisor and Dr. Kama Maclean, my former co-supervisor at the School of History and Philosophy. They provided me with important academic guidance. My sincerest thanks go to Professor A A M S Arefin Siddique, Vice-Chancellor of the University of Dhaka. During my years in Sydney as a PhD candidate, whenever I came to Dhaka and met him or I phoned him from Sydney he wanted to know about the progress of my work. Through his kind and caring words, he always provided immense support and inspiration. I am fortunate that I have been receiving such great mental support and help from Professor Siddique since my undergraduate days when he was my direct teacher at the University of Dhaka. My teacher Professor Shamsul Majid Haroon has also been a constant source of encouragement. When I was working on my thesis, he often wrote to me from Bangladesh and always sent me his best wishes for the successful completion of my work. I wish to express my deep gratitude to him. ii I would like to express my warmest and special thanks to the following friends of mine who always inspired and encouraged me, helped me in many ways, and made me feel bright and cheerful when I was completing my thesis: Brett Addison, Arman Mehrsa, Josie Škufca, Chelsea Entzel, Cecelia White, Iqbal Hossain Chowdhury, Imran Mazid, Tan Yik Hui, Jeffrey Noro, Andrew Everingham, Kulbhushan Ugemuge, Sania Wadud, Kanyarat Sanoran, Vivian Chan, Anisa Anwar and Francesco Bortolucci. Their encouragements and emotional support were infinitely precious to me. The company of these friends enlivened my days in past few years. Some of these friends regularly called me from overseas, and wrote encouraging letters to me. Their lovely letters and phone calls always made me feel so happy and helped me gain new energy and strength to continue working hard on my thesis. I thank Kajalie Shehreen Islam for providing me with encouragement when I was applying for an Endeavour Scholarship. My thanks go to Gay Juhl for all those productive meetings in the UNSW library when she patiently showed me how to use the university database. Numerous individuals helped me during my field trips in Dhaka and Kolkata. I would like to thank Professor Deb Narayan Bandyopadhyay and Professor Arindam Chattopadhyay for their help when I visited Kolkata. Professor Bandyopadhyay took me to different film archives and helped me meet film scholars and filmmakers in Kolkata. I am grateful to him for his help. My mind is gripped by a feeling of sadness when I remember the support provided by filmmaker Tareque Masud during my research trip in Dhaka. He was so kind as to organize a screening of his newly-made film at his house only for me on a January evening in 2011. I felt extremely sad when Tareque Masud died in a car crash in August 2011. I will never forget that winter evening when after watching his new film at his residence, I had a long discussion with him about socially-critical films made in Bangladesh. iii My thanks go to Dr. Mohammad Jahangir Hossain, former Director General of Bangladesh Film Archives for arranging screenings of rare films for me in the archive. He was most helpful when I visited the film archive for collecting important research materials. Thanks are due to filmmakers Tanvir Mokammel, Manjare Hasin Murad, Abu Sayeed and Golam Rabbani Biplob for discussing their films with me and for providing me with DVDs of rare films. I also thank Dr. Sajed-ul-Awwal for his help during my research trips in Dhaka. And finally, I would like to express my profoundest gratitude and thanks to my parents who were the most important source of emotional support, encouragement and mental strength when I was pursuing my dream of completing a PhD. Words cannot express how deeply I am indebted to them for their unconditional love and care throughout my life. I dedicate this thesis to my parents, with lots of love. iv DEDICATION To my parents, Professor Kamrun Nahar and Professor Mohammad Junaid, with lots of love. v INTRODUCTION Political Cinema, Third Cinema and Bengali Cinema of Liberation This study examines how socially-conscious Bengali filmmakers came to grips with urgent social and political issues in films made between 1970 and 2002. Bengali films are only produced in Bangladesh and in the state of West Bengal in India. Bangla or Bengali is the principal language of Bangladesh and West Bengal. Inhabitants of these places are also referred to as Bengalis. They share the same cultural heritage, social customs and a common history despite their religious differences. Muslims and Hindus are the majority in Bangladesh and West Bengal respectively. These places constituted the British Indian province of Bengal and became parts of different countries in 1947 when the British finally left India after dividing it into the two nations of India and Pakistan. Bengal was cut in two by this partition on communal lines and nearly two-thirds of the territory of Bengal formed the province of East Bengal or East Pakistan where Muslims were the majority. The remaining third of Bengal, with a predominantly Hindu population, became the Indian state of West Bengal. Muslims in East and West Pakistan did not have much in common except for religion. These two Muslim-majority areas were separated by about 1,500 km of Indian territory. Geographical and historical conditions have created huge cultural and linguistic 1 differences between East and West Pakistan. The cultural traditions of East Pakistan, however, were very similar to those of West Bengal. Maulana Abul Kalam Azad, the prominent Muslim political leader of the Indian independence movement and an opponent of the country‘s partition along religious lines, said: ―It is one of the greatest frauds on the people to suggest that religious affinity can unite areas which are geographically, economically, linguistically and culturally different.‖1 From its creation, conflicts and contradictions arose between two parts of Pakistan. In Pakistan‘s national election of 1970, the Awami League, a political party led by Bengali politicians, won a landslide victory. The Awami League thus claimed the constitutional right to form the government of Pakistan, but ―both the military-bureaucratic elite and West Pakistan politicians found this unpalatable.‖2 The unwillingness of West Pakistani-dominated central government and West Pakistani political leaders to allow the Awami League to come to power created huge dissatisfaction among the Bengalis. Angry demonstrations and a non-cooperation movement took place in East Pakistan. Instead of trying to find a peaceful solution to this situation, the central government decided to take coercive measures to suppress the protests of the Bengalis. On 25 March 1971, the Pakistani army launched a brutal attack on Bengali civilians, the police and paramilitary forces.
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