Film BD
Film BD
1, JanuaryJune, 2011
Abstract
This study aims to discover the attitudes of young generations of Bangladesh towards the
contemporary Bangladeshi commercial cinema. Cinema is the greatest media of a country
which can easily portray a country, its population, ideas, philosophy and cultures. In this
modern era one does not need to watch cinema in cinema hall as it can also be available at
home. But still a huge population go to cinema halls. What about the opinion of the young
generation? Whether they feel interested to go to cinema hall or not? This paper tries to find out
the different impression about Bangla commercial cinema between educated and uneducated
young generation of Bangladesh. Through this study, the situation of cinema halls and
contemporary cinema of this country will come out. This paper will also give a holistic idea
about Bangladeshi cinemas directors, producers, stories, themes, titles and audiences in the
eyes of young generation.
Key words: Art film, Commercial film, Vulgar, Environment of Cinema Hall, Story, Cinema
Title, Audiences, Lower standard, Representing own culture, Copying.
Introduction
Cinema is like a window of a society. A country and its customs, society, people are mostly
reflected through a cinema. So we can also say it is a mouthpiece of a society. This is the
strongest media which can portray the pros and cones of a society.
Until 1956, Bengali cinema meant cinema made from Kolkata. It was a big industry within India
since 1930s and Bengali Muslims from East Bengal were basically the consumers of the film.
However, the international recognition of Satyajit Ray and artistic success of some other
filmmakers like Ritwik Ghatak and Mrinal Sen from West Bengal, India had created a profound
impact on the filmmakers of Bangladesh. The Dhaka-based first full length sound feature film
Mukh O Mukhosh (The Face and the Mask) was made in 1956, just following the release of
Pather Pachali by Satyajit Ray. Bangladesh Film Development Corporation (BFDC) was
established in 1957. After the independence, the first internationally recognized film from
Bangladesh, Suryo Dighal Bari (The Ominous House, 1979) by Masihuddin Shaker and Sheikh
Niamat Ali was also influenced by Satyajit Rays neo-realist filmmaking style. After 1947,
Bengali Muslims from East Bengal had got the opportunity to create Dhaka as their own hub of
culture and economy. Now Bengali Muslim filmmakers are more interested in portraying their
own history and culture which rarely transcend the timeline of 1947. On the other hand the
Bengalis of West Bengal, instead of looking back to the common Bengali language and culture,
*
Sr. Lecturer, Faculty of Arts and Social Sciences, ASA University Bangladesh.
176 ASA University Review, Vol. 5 No. 1, JanuaryJune, 2011
are eager to get their stake in national Indian context. Observers say the future capital of Bengali
literature and culture would be Dhaka. The distinctiveness between two Bengals is getting clearer
as time passes. (Haq)
Bangladesh has a rich golden past of cinema. Many renowned and famous cinemas, actors,
actresses, directors are here. We have enjoyed a glorious era of Black and White cinema. But now
for last few years we are facing a crisis in Bangla cinema. As a nation we are very cultured, we
have rich musical background, have vast natural beauty. Though we have many positive aspects
which can boost up our cinema industry, we are still far behind the international standard.
Bangladeshis love their country, culture, then why dont we get enough audience in our cinema
halls? The young generations are the biggest part of our population and they are the future of our
country. This young generation will lead their country in future. It is necessary to build up an
educated young generation. To educate someone cinema can play a vital role. But our young
generations are not preferring or taking it as a guide. Why? Through this paper I will try to bring
the answer about. We can observe two trends of audiences- one is aristocratic educated group and
other is illiterate group of people. Both groups have different and opposite kind of taste for
cinema. Both get pleasure from cinema in different ways. Majority of audiences are from the
second group. To keep business and entertainment in mind producers and directors make films
for a target group which is often disliked by other group of viewers. Many young boys and girls
feel shame to say that he / she goes to cinema hall. Now its a matter of prestige. Behind all these
some psychological reasons are there. That is present days cinema has lost its dignity, nothing to
learn from it etc. But at the same time this generation feels proud to watch Hollywood films or
Hindi films. Maximum Bangla contemporary cinemas are treated as lower class, vulgar and
melodramatic entertainment. Whereas once upon a time middle class family members went to
cinema hall together. Though many think that in the age of globalization, we have now Dish TV,
DVD, VCD etc. and hence now we dont need to go to cinema halls viewing of cinema may take
place at home. But still people go to cinema halls in every country. Even in the USA and
European countries people go to halls. Then why dont Bangladeshi middle class and educated
people go to halls regularly? They dont get healthy pleasure from cinema.
Research Methodology
A questionnaire consisting of 15 questions is distributed among 155 young boys and girls
those who belong to 19 - 35 years of age. Most of them are students of various private
universities in Dhaka city and job holders in different companies in Dhaka city.
Five different Focus Group Discussion (FGD) are arranged with young boys and girls of
18 to 25 years of age. All of them are students of different faculties and most of them
have rural background upto their 18 years of age.
Contemporary Bangladeshi Commercial Cinema 177
Individual 100 viewers intensive interviews are taken from six cinema halls of different
areas of Dhaka City and Savar. All of them belong to young generations and workers of
different grassroots levels.
Five ticket sellers from different cinema halls of Dhaka City are interviewed.
Interview is taken of a renowned Bangladeshi Film director.
Data Presentation
Following data are collected from 155 young (19 to 35 years age) persons interview through a
questionnaire consisting of 15 questions.
From Pie chart 1, we can see that only 29% educated young generation watches cinema in cinema
halls. They are also not very regular. Whereas 71% of that group doesnt go to cinema halls. The
reasons of this disinterest are - worse environment of halls, boring stories, under rated cinemas
etc. The survey was taken among the undergraduate students. Many of them once watched
cinema, but now they have stopped viewing Bangla cinema. The girl students said that their
parents do not allow them to go to cinema hall because of halls environment.
178 ASA University Review, Vol. 5 No. 1, JanuaryJune, 2011
From the chart 2, we get to know that only 20% people think that cinema halls environment is
gender friendly. They dont feel uncomfortable to take their female family members to a cinema
hall. Especially they mention about Modhumita hall and Cineplex in Bashundhara City. Other
80% think that cinema halls are not gender friendly. Most of the girls said that women are not
treated very normally in the cinema halls.
In chart 3, we find that only 18% of youth think that Bangladeshi cinema reflects the real
Bangladesh. Their argument is that few cinemas display some aspects of Bangladesh but not
totally. But majority 82% think that our cinema does not reflect the real Bangladesh at all. The
ways our actors/ actresses talk, their dress up, dance do not reflect our real culture. These are only
imitation of foreign culture, especially our cinema industry is compared with the distort image of
Indian film industry.
Contemporary Bangladeshi Commercial Cinema 179
From the Pie chart 4, we can assume the impression of young generation about the audiences.
They think that 72% of viewers are from lower class of our society. Here class is determined
with their social and economical condition. 24% of audiences are from Middle class and rest of
4% is from Upper class. Now-a-days most of the cinemas are produced thinking about the lower
class people, thats why their number is the highest. Many expect that if the themes of the films
are changed, then they will be able to attract more audiences from middle class and upper class
people.
180 ASA University Review, Vol. 5 No. 1, JanuaryJune, 2011
Most of the persons oppose the title of Bangla cinema. From pie chart 5, we see that only 5 %
think that titles are appropriate. But 34% think that maximum titles are inappropriate. 32%
consider them as vulgar and 29% think them as absurd. Their opinion is that the film makers give
such kind of title which can attract the target people. But others feel no attraction for viewing the
particular cinema after knowing the title.
Chart 6 reflects peoples interest for the social films. 55% think that only social films can play the
role of a guide. Through them societys various problems can be identified and rectified. 13%
give opinions for Action films and 8% are interested in war film. As young generation viewers
have attraction for Hollywoods science fiction movies, so we find that 24% give emphasis on
cinema based on Science fiction.
Contemporary Bangladeshi Commercial Cinema 181
In chart 7, 43% viewers give opinion that Bangladeshi Directors should change their attitudes
first. 30% think that if the attitude of the producers of cinema change first, then Bangla cinema
will be improved. 17% think that actors/actresses should get changed first. Whereas only 10%
think that audiences should change their mindset first. If so, then all the problems will be solved.
If audiences wish to watch new kinds of cinema, directors will make so and producers will invest
for them. As a result our actors/actresses will try to change themselves according to demand.
From the Figure 8, we see that 65% dislike most of the story line of Bangla cinema. They think
that most of the stories are irrational, illogical and far from the reality. 45% dislike the music of
Bangla cinema. They think that most of the music is copied from Hindi cinema. Lyrics are often
vulgar. 31% dislike the characters. Most of the actors and actresses cannot act in a natural
manner. Exaggeration of voice, body language, loud emotion, melodrama makes it irritating. 38%
dislike the choreography. They think that often it does not go with situation, story of cinema.
Most of the choreography is copied from Hindi cinema. But they are the cheap version of
copying.
182 ASA University Review, Vol. 5 No. 1, JanuaryJune, 2011
From Figure 9, we can have opinion on overall impression about contemporary Bangla cinema.
30% viewers think Bangla cinema is vulgar. 62% describe it as of lower standard. 41% claim that
Bangla cinema is copied from Hindi cinema. 37% think it meaningless. All of them recall the
films of 1960s to 1990s as good and fair cinema. They proclaim that after that our cinema
industry started losing its identity slowly by copying from other films.
From figure 10 we get to know that 81% of audiences want that story or theme of Bangladeshi
cinema should be changed first. Then 16% want to see the changes of environment of cinema
halls. Lastly 19% want to see the changed form of characters. It proves that people are mainly
annoyed with the story of Bangla cinema. They think if theme or story changes, everything will
be changed automatically. If story changes, characters will have to change for storys demand.
Contemporary Bangladeshi Commercial Cinema 183
Then better audiences will come to cinema hall and environment of hall will also be changed as
per demand.
In Figure 11, it is shown that 86% audiences are day labourers who go to cinema hall regularly.
Then 27% are students, 6% are job holders and lastly 3% are housewives. It shows that womens
presence in cinema hall is very poor. Most of the viewers think that as majority audiences are day
labourer thats why the quality of our cinemas is poor. Because according to demand it is
produced keeping the audience in mind.
184 ASA University Review, Vol. 5 No. 1, JanuaryJune, 2011
In figure 12, our young generations express their views about golden era of Bangla cinema. 40%
think that cinema before 1971 was better. 69% think that cinema upto 1990 was better than those
of today. Only 8% appreciates cinema from 1990 till now. They said that many films were
produced in last 20 years which are very good but apart from these others are of very lower
standard. Those who support the period from 1971 to 1990 as better time for cinema, argue that in
that period our cinema industry was not polluted, did not develop the tendency of copying.
20. Koti takar kabin 90. Kopa Samsu 146. Dhakaiya chele
21. Moroner pore 91. Teji Barishailla maiya
22. Shoshurbari zindabad 92. God Father 147. Moner manush
23. Boro loker dash din goriber 93. Dhakaiya Mastan 148. Sobar age prem
ek din 94. Sodorghat er coolie 149. Sujan shokhi
24. Golapi ekhon bilete 95. Coolie number one 150. Jaan amar jaan
25. Shami keno ashami 96. Aghat palta aghat 151. O shathi re
26. Vat de 97. Luttoraj 152. Akhash choya valobasha
27. Kajer chele 98. Beiman 153. Premik purush
28. Ammajan 99. Number one Shakib Khan 154. Tumi amar prem
29. Abbajan 100. Lal badshah 155. Ki jadu korecho
30. Chacchu 101. Bagher thaba 156. Goriber prem
31. Rickshaw walar prem 102. Khoj the seach 157. Na bolo na
32. Pita matar amanot 103. Khuni Shikdar 158. Phul er moto bou
33. Ek takar bou 104. Jora khun 159. Bolona valobhashi
34. Dadima 105. Mastan er upor mastan 160. Valobasha dibi kina bol
35. Ma 185oron a bou boro 106. Boma hamla 161. Bolo na tumi amar
36. Baap betar lorai 107. Leader 162. Prem 185oron a taka boro
37. Shami chintai 108. Rongbaz 163. Valobashar lal golap
38. Mollabarir bou 109. Gunda number one 164. Ridoy er kotha
39. Jamela shundori 110. Vega biral 165. Bachelor
40. Vondo 111. Ferari ashami 166. Evabei valobasha hoy
41. Khamatar lorai 112. Bachao 167. Third person Singular
42. Shahoshi manush chai 113. Tero gunda ek panda number
43. Mayer hater bala 114. Thanda mathar khuni 168. Prem er shomadhi
44. Mayer adesh 115. Dui nagin 169. Monpura
45. Mayer hate beheshter chabi 116. Langra Masud 170. Valobaslei Ghor Bandha
46. Baba 185oron a shoshur 117. Jobor dokhol Jay Na
boro 118. Tarzan konna 171. Deshantori
47. Baba jokhon bicharoc 119. Noy number bipod songket 172. Nag naginir prem
48. Boro Manik 120. Khaisi tore 173. Milon hobe koto dine
49. Bou shashurir juddho 121. Ami ek amanush 174. Gohine shobdo
50. Mem shaheb 122. Stri Hotta 175. Priyotomeshu
51. Char sotin er ghor 123. Palabi kothay 176. Keno valobashlam?
52. Dacter bari 124. Kata lash 177. Prem korechi besh korechi
53. Noshto chele 125. Kata Rifle 178. Moumachi
54. Bostir meye 126. Last border 179. Princess Daina
55. Narir mon 180. Raja Bangladeshi
56. Mayer koshom
57. Mayer doya
58. Khayrul shundory
59. Shoshurbari Zindabad
60. Amar ache jol
61. Amader choto shaheb
62. Rickshaw walar chele
63. Ma amar jaan
64. Chacchu amar chacchu
186 ASA University Review, Vol. 5 No. 1, JanuaryJune, 2011
22. If they get better cinema in better environment, they will of course go to cinema hall.
23. Our directors and producers make film for a certain class of people thats why their
stories and title are of lower standard.
24. Most of the time cinemas are of low budget. It causes the low quality.
25. Some aggressive cinemas lead the young generation to be violent and encourages for
eve teasing.
The author of this article visited six renowned cinema halls in Dhaka City and Savar. They are
Balaka, Madhumita, Star Cineplex, Sony, Asia and Savar Sanna Auditorium. Total 100 persons
(both male and female) were interviewed in these five cinema halls who came to watch films on
February 3 to 5, 2011 during 12 pm to 6 pm. All of them belong to the age group of 20 to 35
years. All these 100 people have various social and economic background. Most of them are
rickshaw pullers, garments workers, pion, service holders, students, hawkers, housewives etc.
Only exception is Star Cineplex of Bashundhara City. Here most of the people come from middle
and upper class of our society.
i) Balaka Cinema Hall, New Market, Dhaka:
In this hall, most of the viewers are students, housewives, daily labourers, service holders etc. 50
% of the viewers go to halls regularly. 30% go twice or thrice in a year. 20% go to halls very
often. Most of them like social and romantic films. Very few like patriotic and political films.
95% of them dislike the cinemas title. 80% say that environment of cinema hall is not good.
Maximum viewers dislike the stories and posters of cinema. Most of the viewers expect better
direction in films with new faces.
Ticket seller: Ticket seller (Joy) of this hall says that almost 70% tickets are sold everyday
except Friday and Saturday. During these two days almost 95% tickets are sold. Every kind of
people come to watch cinema but students and couples come frequently. Most of the viewers
come to 12pm, 3 pm and 6 pms shows.
Young girls and boys who live in villages usually visit cinema halls but the city young girls and
boys are not regular in cinema hall. A class of youth and couples visit cinema halls only to pass
time as city has no adequate place for their recreation. Middle class and upper class people often
come to Bashundhara Cineplex, Madhumita hall etc to watch extra-ordinary films and often
English films. Most of the time cinema halls attract audiences, not cinema itself. In this modern
time, all kinds of cinema are available in DVD or VCD form, so people usually dont feel
interested to go to halls. Only with 30 taka a person one can watch five films in a DVD.
Earlier there were 1200 cinema halls in Bangladesh, now it has turned into almost 700.
Approximately 500 cinema halls are converted into shopping complex or markets. Its an
alarming situation for our cinema industry. Bangladeshi audiences usually compare Bangla
cinema with Hindi or Hollywood films in terms of quality. But directors have no way. If they
make film with Dolby digital sound system but our maximum halls cannot give technical support
for it. Because our halls still use mono-system sound. That is why directors have to make film
dialogue based, not making based.
We also produce films in 35 mm like others but for our labs quality, we usually find hazy,
scratch films. Most of the hall owners think about their business, thats why they encourage such
kind of films which attract more audiences. Many young people want to enter in this industry to
make films but they are discouraged for the lengthy selection process. A man has to achieve
seven certificates from seven different areas (example: Directors association, Producers
association, Editors association etc) and after passing those, he has to pay a specific amount to
each association to have certificates. This certificate is valid upto one year, if one fails to produce
anything during this period, he will be disqualified and have to face the same process again. This
whole process is a barrier to encourage newcomers to this industry.
Right now this industry has 320 listed directors but we dont find that number of new cinema.
Often we find that few new directors make film with handy-camera and distribute it in DVD form
whereas 35 mm format is more expensive than it. It is disappointing for those who genuinely love
cinema and want to make it in 35 mm.
The director also expressed his grief for unequal allocation of Government budget for cinema.
Those who have good link with particular body, can have govt. allocation very easily. Our Sensor
190 ASA University Review, Vol. 5 No. 1, JanuaryJune, 2011
Board should be modified and young generation should have access here. Most of the audiences
blame the storyline and dialogues- but in Bangladesh there is scarcity of Screen Play writers. A
group of people are doing this job generation after generation. They dont have latest knowledge
of technology and they dont face any problem to continue it as they have dominated this sector.
Often many directors write their own screen play for the lack of qualified screen play writer.
Many illiterate directors just copy Hindi cinema. There are many records of taking the whole
cinema from some other countries and just changing the title turn it into a Bangla film. Directors
dont improve themselves. Many good films do not get popularity only for lack of publicity. In an
average earlier 100 films were produced yearly, but now this number is 40 to 60. He identifies
scarcity of hero, heroine and audiences are the main reasons behind it. Now a days one hero is
occupying most of the films, because audiences want to see him thats why producers and
directors also want him.
In Bangladesh now average budget of each film is 50 lacs. It is a cheap amount and its not
possible to make a good film with this budget. From late 90s to early 2000 is a bad time for
Bangla cinema. Many vulgar cinemas, actors, actresses came in this industry. Pure romantic and
perfect films were not made during this period. Though we have good lyricists, music composers
and singers- but they are not always used in cinema. Rich emotions and art are not found in
todays songs. But there are always exceptions. Whenever we get a good film, good music- all
classes of people run to cinema halls. But the number of these kinds of cinemas is very poor. To
run an industry smoothly this little number of good films are not sufficient.
In other countries we see that freshers come to film industry after taking training or degree in
particular sector, like direction, editing, acting, music composition etc. In the same manner our
industry should be more liberal to accept new thoughts with new faces. It is proved already that if
good films are produced, audiences will also come to cinema hall. We need support from the
government to send our technical hands abroad to learn modern techniques. The director still
expects that golden days of our cinema industry will come sooner or later. But for that we have to
be more patriotic.
Conclusion
Bangladeshi cinema can also achieve world class quality. We have a lot of creative hands. We
need a revolution in cinema industry. Every sector of a cinema should be improved. Then our
young generation will be encouraged to watch Bangla cinema. Clean, morally sound, social
cinema is liked by all. Not only educated viewers but also illiterate viewers like clean films. No
one likes vulgar posters, illogical titles. Ultimately majority viewers are aware of vulgar scenes in
the films. Whether he or she is educated or not but most of them agree at one point that if better
films will be produced, more audiences will come to cinema halls. Now most of the parents dont
approve of bringing their children to cinema hall whether he is a rickshaw puller or cleaner or an
educated father. Environment of cinema hall is very important. Most of the people from lower
class agree that they dont feel comfortable to bring their wives in cinema hall. If we want to
bring back our young generation to appreciate our own culture then we have to struggle against
the existing dirt of this industry.
Contemporary Bangladeshi Commercial Cinema 191
From the data analysis we get a clear picture of our young audiences attitudes towards
contemporary Commercial cinema. They treat Bangla cinema as vulgar-melodramatic
entertainment which does not go with their education, status and taste. They think related
technicians, techniques and authorities should be changed and improved. They emphasize on the
improvement of cinemas story line, characters improvisation etc.
Its an important question whether as our lower-class people go to cinema hall, the halls
environment is not good or else halls environment is not suitable for middle and upper class
people thats why lower class people go there? If the first condition is right, then a question
comes if the same cinema is shown in better hall, will upper class people watch it? Better film is
not always art film- so if a commercial film is produced with better qualities then of course other
people will also watch it. Problem lies not in making of commercial film, problem is the way it is
made. If a commercial cinema is made with the cleanliness and qualities of art film or other film,
definitely both types of audiences will go to hall. When we find that our lower class people also
expect better films, then there is no problem. It is not written anywhere that a lower class man
always thinks in lower standard. We find many lower class cinema viewers who protest for the
existing commercial cinema. If cinema is made with larger budget and producers and directors
give priority to art, culture, quality, definitely everyone will be attracted to it. Number of
educated cinema lovers is not small in Bangladesh. We have only to bring them out from home to
hall. To make this bridge between cinema lovers and cinema halls, we need good films- whether
it is an art film or commercial film. A commercial film can be social or romantic or action film.
People have no obligation for commercial films- just some changes in mentality is needed for this
kind of cinema. If a young viewer can watch Hindi or Hollywoods commercial film, then why
not Bangla commercial films? Viewers need healthy entertainment from cinema which will be
realistic, standard, quality work. To bring them in hall, we need both good films and goon
environment of hall. If good films are made regularly, people will come to hall and hall authority
will be concerned to make halls environment better.
But the rickshaw pullers or lower working class people also dont appreciate all the aspects of
existing commercial cinema. Then for whom these are made? Maximum number of audiences
from that 100 people who were interviewed in various cinema halls, also made negative
comments about cinemas posters, titles, stories etc. So it proves that the people for whom these
low quality cinemas are made, also dont like these cinemas always. They also expect better
stories and songs. Now they are watching it as they dont have any alternatives. If they find better
cinema, they will accept it and also will encourage their family members and children to watch.
But presently 90 % people dont support to watch cinema by their children or siblings. Most of
our directors and producers dont bother about audiences response. At the moment our youth and
children watch Hindi and Hollywood movies which are more vulgar and obscene, but they dont
object. Because those films technical quality, making etc overcome other negative sides.
From the Focus Group Discussion (FGD), we get clearer picture as to how our young generation
analyse Bangla commercial cinema. The negative sides they discussed are the reasons of their
disliking Bangla cinema. The points we got from viewers can be interpreted by what we came
to know from the directors interview. He made many existing obstacles clear to us.
192 ASA University Review, Vol. 5 No. 1, JanuaryJune, 2011
Like other industries, this cinema industry is also suffering from pollution which is created by a
few persons. We cannot allow our cinema industry to be spoiled day by day as we had a rich
historical background. Cinema is not only a tool of entertainment; it also helps a nation to explore
its culture to outside world.
Recommendations
Better cinema should be produced based on real life stories.
Environment of cinema halls should be improved.
Technical qualities of cinema should be of international standard.
Titles and posters should be tasteful for everyones acceptance.
Sufficient money should be invested in this sector.
All kinds of corruption should be eliminated.
Educated actors and actresses should be there.
Directors and Producers should be adequate educated and cultured.
More cinemas should be produced for the educated audiences.
Censor Board should be watchful, tasteful and stricter.
Contemporary Bangladeshi Commercial Cinema 193
References
Braudy Leo & Cohen, Marshall (ed.) (1999). Film Theory and Criticism, Oxford University Press.
Haq, Fahmidul, Communication and Culture of Bangladesh, internet version.
Sinha, Sugata (2009). Ritwik ghatak and Bengali identity. Jamini: Cinema and Identity, vol 5, no. 1.
Raju, Zakir Hossain (2009). Bengali or Muslim?: Islam, Identity and Art Cinema in Contemporary
Bangladesh. Jamini: Cinema and Identity, vol 5, no. 1.
Annex: B