I am able to celebrate the golden jubilee of independence as a freedom fighter — that is why I have a kind of good feeling. But there is a kind of pain that the country has not become what it should have been for glory. Because three million people have given their lives, two million women have been raped, one million people have migrated and taken refuge in India, millions of freedom fighters have fought, given their lives patiently — the country was supposed to be a secular, democratic, equal country. Yes, development is happening, there is no doubt under the able leadership of the present government head Sheikh Hasina; But it seems to me that the state has lost the character of the liberation war of 1971. The character that Bangabandhu had defined for the state in the seventy-two constitution — the four principles — is no longer being held at the state level. So as a freedom fighter, I feel bad about these.
Even then, I would say that an independent state of Bangladesh today is twice as much as Pakistan, in some cases three times ahead. The state of Pakistan used to call us bad, our poor and miserable, we have surpassed them — that is a matter of joy. US Secretary of State Henry Kissinger said: “Bottomless basket”; Bangladesh has proved that Bangladesh is not, but has now become a developing country. These are glorious achievements, of course we should celebrate. At the same time, we should keep in mind that the defeated forces in this country – the Razakars, Al-Badr, Al-Shams, the anti-independence forces, their successors – are spreading the poison of communalism all over the country. Using Islam, they are creating various divisions and divisions. The government should have been very strict towards these, but it is not happening. That should be reflected, that is urgent. This is the religion that is spreading the seeds of communalism, it is harming the state, it is creating disunity in the society. These are not about the liberation war.
As we celebrate the fiftieth anniversary of independence, they have looted so many houses in Shalla (Sunamganj) মতো as much as Ashitar in public, more as private — and created riots. The people who are causing these incidents are tarnishing the fiftieth year of independence. Seeing that, it looks bad. I hope that our successor, the next generation will surely put an end to all these and establish Bangabandhu’s Golden Bengal, the Golden Dream of the Liberation War, the Golden Bengal — a democratic, secular, equal and equal state of all nationalities.
This is the film of the country, which is worse today than it was before or after the liberation war. This is because the market, which we first call ‘commercial ground’ or ‘market’, is completely ruined. Commercial filming is also good, it tells a chilling story. But the people were no longer interested in telling that story. Following in the footsteps of the commercial film Tamil, Bombay made ‘bad copies’ of Hollywood films, made with bad aspects. Those pictures definitely didn’t hit the box office, people also rejected them. As a result, the picture did not happen that way. The best picture that we call ‘alternative picture’ or ‘artistic picture’ — that is Alamgir Kabir, Sheikh Neyamat Ali, Salauddin Zaki, Badal Rahman — these are the names of four people from the seventies and eighties; Then our Morshedul Islam, Tareq Masood came. Then a group is coming. But the problem is that if there is no market for cinema, there is no cinema hall, if people do not see pictures, then the film industry will not survive. In other words, there is a film production, there is a strategy – there will be no people to do it, there will be no self-educated or well-educated people, it does not happen. The difficulty is that today, where it has become easy to make pictures using digital technology, with the help of this simple hand, they are making very bad pictures, after the stage of filth. Again, those who are making good pictures, there is no one to see their pictures. There are no people in bad commercials, there are no people in good movies. No one but people.
Such a beautiful environment of film in the seventies, we lost. The rise of Bengali film during the nationalist movement in the sixties রাজনৈতিক on the one hand, the political nationalist movement is going on, on the other hand, the rise of Bengali film. Not only popular or love songs, but also folk music took a place in the film. Lalon has come and taken complete possession of the pictures of the seventies. The tide of film that came, the military dictatorship that came after seventy-five, it was their failure; They did not judge film as an art form. They have considered it as publicity. They did not want it to develop. Fundamentalists do not want movies, paintings, songs; They want a good job on television. They think it is not in accordance with Islam. This radical force, the reactionary force, has now solidified its position within the state structure. A reverse current has been very undulating. What is our right current, what is the main current, what is the art current of film, has lost its role.
The saddest thing is that fifteen hundred cinema halls were in the seventies, now cinema halls have come and stood in only two hundred. Why did this happen? Why don’t people want to see pictures? Is social status like looking at pictures? Is society encouraging our girls, our children to look at pictures? Every day he says in the mosque: Is it haram to go to see pictures? They are saying! They do not sing the national anthem ‘Amar Sonar Bangla’. They do not say ‘Joy Bangla’. They do not believe in Bengali culture. They want to introduce Arabic culture. Not even Islam, but Arabic culture. With that
So the life of a Bengali does not go. In conflict situations the industry does not actually develop. There will be no continuous development. A couple of fabric masuds will appear, but then there will be no continuity. So I think the government has to make the right decision politically. You don’t just have to build a cinema hall, you just don’t have to donate.
I have been on the grant committee for a long time. I appreciate the government’s grant, but in addition to the grant, we have to guarantee that today, if the audience goes to the cinema with his daughter, sister, his girlfriend or his wife, boyfriend or husband, he will get a vehicle, a rickshaw. , Will get a baby taxi to return home, his road will be safe. Society will not stop him; They will not be declared apostates for watching movies, for doing dramas. Such a situation has to be done. Society is not in that place. It is not the society of the seventies. Gradually after seventy-five went to such a place, the situation here is extremely bad. The situation is worse than a religion-state. That is, a group of smugglers using the name of religion is causing a kind of social catastrophe in the country which will challenge our freedom-liberation state in the future. Culturally, there is a period of conflict.
The same is happening in stage plays. Few people watch stage dramas now. Of course, it’s normal. Why, the boys could not take drama as their profession? The government did not do what it should have done. The Ministry of Culture should have done. We could have kept some of our actors with some masohara. Now she will work all day in an NGO office, in a bank or in a school and will play in the evenings! And how long can it be continued? Then there is the insecurity of the roads. Girls don’t want boys to join the team now. The boys don’t want to come here either, because they are watching the rotten serials of Bombay. Maybe no one is watching. What a wonderful way to screw people over. The country has improved in one place, but not in the place of culture.
We have a talent crisis. But I do not believe in that talent. I say that one part of me is talent, and ninety-nine parts is my labor. But give me that space to work. When an azan is recited today, the drama stops. All right. What’s happening then? Now it has started, twenty minutes of drama has to be stopped for prayers. Then you have to stop twice in one prayer. Again, after the Maghrib prayers, the Esha prayers are performed. If the play is punctuated for prayers four times, then the play can be done! So why would people watch that drama, why would I?
He has built a mosque next to each theater hall. He has given a mosque next to where there will be dramas and songs. Calling there, discouraging him. It can’t be.
Censorship is a big problem in writing. A kind of self-sensor has been created in writing, it has done a kind of damage — what I can write, what I can’t write. Everyone has been in a lot of danger with that. Even then, I will say, there is no huge censorship during the current government. And rightly so, there is a lack of a playwright like Selim al-Din who will show a new path. Selim showed a new path – Bengali drama, Bengali drama. After independence, a nationalist did not follow the style of foreign drama but used his own style, the style of a thousand years old modern drama. That experiment has also stopped nowadays. Now everything is done for the job. You can’t keep a job in theater. Very dangerous actually.
The drama is not censored, but the drama is not happening. The turn song is not happening. You are not anchoring, the government is not anchoring. There are upazila chairmen, there are municipal mayors, there are union council chairmen, there are big businessmen who are making crores of rupees — we are all involved in business in one way or another — we are not encouraging them. As the culture saves the state, the leaders of the society also have a responsibility to preserve its culture. That is not happening. You are doing madrasa, you are doing mosque, but you are not doing any theater hall, you are not doing library, you are not creating any space suitable for cultural events. So how do you expect culture to develop here?