Creative writing and film, like two celestial bodies in orbit, converge to illuminate the vast universe of storytelling, in this case writers and filmmakers both orbit this gravitational centre, drawn by the allure of storytelling. Both forms serve storytelling, but film’s visceral immediacy always captures my heart. It is able to capture raw emotion and unfold scenarios which make emotions hit harder.
It was at the end of the 19th century that the film industry had started its journey and by the end of the 20th century it had reached its peak.Films allow us to portray and observe narratives and scenes that imitate our personal experiences, fostering a profound sense of connection with the world. It was around the late 1890s that film displaying had started in Bangladesh (Then East Bengal).
Due to the Bangladesh-Pakistan war following the year 1965, Indian and Pakistani films were prohibited consequently. Following the year 1971, as Bangladesh had been thriving after its long awaited independence, the number of theatres gradually increased and began to evolve from its pre-independence roots to become a culturally vibrant nation allowing itself to gain global recognition.
In fact, a film that captured my heart which orbited around the themes of identity, faith and freedom, resonating with the struggle for independence that carved Bangladesh’s identity is ‘Matir Moina’ also known as ‘The Clay Bird’.
Tareque Masud, the visionary of ‘The Clay Bird’, mentioned in numerous interviews that this film, a work close to his heart, was very much autobiographical because of how it mirrored his own childhood experiences. From facing numerous restrictions imposed by his father to studying in a Madrassah to losing his sister, Tareque endured it all.
He depicted his sorrows and happiness throughout the film, inviting everyone into a journey through his life, identity, religion and tapestry of Bengali culture.
Tareque portrayed his character as ‘Anu’, the main protagonist and expressed him to secular Bengal’s diverse cultural heritage, which included the festivals of Hindu and Muslims, Sanoe Sprints, Puthi recitations, Charak Puja, folk songs, embroidery, rural fairs and many more.
Additionally, the film stunningly waved together elements of Sufi culture and Baul songs, creating a diverse tapestry of spirituality, music and human creation. The scenes which featured Baul musicians created a sense of longing, yearning for freedom, and a sense of connection to the divine.
The film’s visuals allow us to witness everyday life in the countryside: children playing by the rivers, women embroidering, men engaging in discussions, and boats gliding on waterways. This portrays the rustic simplicity, strong community bonding and connection of the people in the countryside.
He depicted his father’s characteristics through the character ‘Kazi’, who was a strict and devoted follower of Islam, who imposed his strong beliefs on his family throughout the entire film.
His character reflected that of an authoritarian personality, prioritizing religious creed over individual freedom and critical thinking. His father is also seen practising homeopathic medicine, which is connected with superstitious faith in villages. These aspects showcased how certain traditional and superstitious practices dominated rural life, sometimes at the expense of modern medical practices.
‘The Clay Bird’ is noted as Tareque Masud’s most remarkable piece of work, shaping his legacy as a filmmaker. It solidified his image as a pioneer of independent filmmaking in Bangladesh.
It allowed him to explore and share his own experiences in a Madrassah during a tumultuous period in the history of Bangladesh.
Ultimately ‘The Clay Bird’ stands as a testament to Masud’s dedication to authentic storytelling and his commitment to using cinema as a means of cultural and historical reflection.