#Bangla old movie chanda movie#
The movie didn’t draw large crowds initially but later went on to celebrate a silver jubilee (25 weeks in the cinemas). But in addition to the picturesque background, there was also the realistic acting and lilting music. Like the Bengali films from Dhaka, it was aesthetically pleasing. If one is looking for the effectiveness of word-of-mouth publicity, then there can be no better example than Chanda’s. Jagdish Anand, the proprietor of Eveready Films (now Eveready Communications), agreed to distribute it in Punjab and the NWFP (now KP) but producer Anis Dossani was left with no choice but to release the movie in cinema halls on ‘commission basis’ in the other territories - comprising Karachi, the rest of Sindh and Baluchistan. There were initially no takers for Chanda. While Jago Hua Savera and Shaukat Hashmi’s Hamsafar (1960) had earlier been shot in the eastern wing of the country, they were essentially West Pakistani movies. Producer Anis Dossani, who had earlier got the East Pakistan-based Ehtesham and Mustafiz to make Bengali films for him, commissioned the brothers to produce the first Urdu film in Dhaka. On August 3, the first Urdu film from East Pakistan Chanda was released without any fanfare. The year was 1962 and there was nothing much to write home about on the film scene in what was then West Pakistan, except perhaps for the debut of Waheed Murad as a supporting actor in veteran S.M. The story of East Pakistan’s influence on Urdu filmmaking is no less riveting. It would take another decade for the Pakistan film industry to recover somewhat - only to run into another disaster during Gen Ziaul Haq’s martial regime, the effects of which are being felt to this day. This setback to Pakistan’s film industry has often been mentioned nominally by filmmakers but never really written about in any detail. In 1970, 114 films had been produced in the eastern wing of the country alone, including three in Urdu. In 1971 there were 400 cinemas in all of Pakistan and a quarter of them existed in East Pakistan. Aside from the loss of creative people and skilled technicians, Pakistani cinema was also deprived of a major market and production centre. The loss of talented film-makers such as Zahir Raihan was only one aspect of the loss that befell the Pakistan film industry with the secession of East Pakistan. His disguised political satire against Ayub Khan’s regime Jibon Theke Neya (Taken From Life, 1970) had also been praised by the likes of Satyajit Ray. He had also directed a number of artistic Bengali films such as Kakhono Asheni (She Never Came, 1961), Shonar Kajol (Golden Eyeliner, 1962) and perhaps most memorably Kanchar Deyal (The Glass Wall, 1963) which had been compared to the films of Bengali Indian auteur Ritwik Ghatak. He had produced and directed Pakistan’s first colour film Sangam (1964) and Pakistan’s first CinemaScope (widescreen) movie Bahana (1965). A prolific writer and journalist himself, Zahir had cut his teeth in practical filmmaking as the chief assistant director on Jago Hua Savera, the celebrated Urdu-Bengali 1959 film penned by Faiz Ahmed Faiz and directed by A.J.
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Zahir Raihan had been one of the most promising directors of united Pakistan. Zahir Raihan on the sets of his film Kakhono Asheni. Mirpur was a stronghold of the pro-West Pakistan Bihari community which had fought against the pro-independence forces that Zahir had actively aligned with. In late January, despite the danger, Zahir went searching for his brother to Mirpur on the outskirts of Dhaka. After the Pakistan Army surrendered on December 16 and the nation-state of Bangladesh was declared, Zahir kept looking for him.
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He had been rounded up by pro-West Pakistani forces on December 14 along with other intellectuals and his whereabouts were not known. In the chaos that reigned on the streets of Dhaka towards the end of the civil war in December 1971, Zahir Raihan’s older brother, the eminent journalist and author Shahidullah Kaiser, had gone missing. One of the things lost in the discourse is how the events of 1971 affected Pakistan’s film industry.
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In very real terms, it also affected Pakistan culturally and socially. But the loss of East Pakistan was not just devastating on a psychological, economic or political level. Much has been written about the traumatic events of the time and the political repercussions of the country being cleaved into two. The writer was the editor of Pakistan’s most widely circulated English language film magazine Eastern Film from 1963 to 1970.ĭecember 16 marks the 45th anniversary of the secession of the eastern wing of Jinnah’s Pakistan and the creation of Bangladesh.