NEW YORK -- This debut feature from documentary filmmaker Tareque Masud, co-written with his wife, Catherine, is the first Bangladeshi film to win an award at Cannes and receive North American theatrical distribution. The autobiographical tale of a young boy growing up in East Pakistan in the late 1960s, just before the civil war that resulted in Bangladesh's independence in 1971, "The Clay Bird" is ultimately stronger on characterization and atmosphere than narrative. But its portrait of a society torn apart by, among other things, religious fundamentalism, is all too currently resonant. The film is now playing theatrical engagements in New York, San Francisco and San Rafael, Calif.
The young boy at the center of the story is Anu Nurul Islam Bablu), who is caught in the middle between his parents' contrasting philosophies. His father Kazi (Jayanto Chattopadhyay) is a strict Muslim fundamentalist who is unhappy with his son's penchant for attending Hindu festivals, while his more liberal mother Ayesha (Rokeya Prachy) is becoming increasingly embittered by her husband's repressiveness. Kazi sends the shy Anu away to a strict madrassa school, where lessons are learned by rote and independent thinking isn't tolerated. Ayesha, meanwhile, begins to spend more and more time with her more intellectually oriented brother-in-law (Soaeb Islam).
Anu becomes best friends with the class misfit Rokon (Russell Farazi), who is unwilling to conform to the school's rigid policies. Meanwhile, his younger sister has fallen ill, and the father's refusal to allow her any treatment other than homeopathic remedies creates an even bigger rift between him and his wife.
This domestic conflict is used as a microcosm of the increasingly violent political turmoil between the moderate and extremist factions that eventually led to civil war.
The filmmaker's clear empathy for his characters and close knowledge of his subject matter gives the film a vibrant authenticity that well compensates for any narrative flaws. The film, which faced censorship in its native country, also benefits greatly from its evocative cinematography and Bengali folk music score.
The young boy at the center of the story is Anu Nurul Islam Bablu), who is caught in the middle between his parents' contrasting philosophies. His father Kazi (Jayanto Chattopadhyay) is a strict Muslim fundamentalist who is unhappy with his son's penchant for attending Hindu festivals, while his more liberal mother Ayesha (Rokeya Prachy) is becoming increasingly embittered by her husband's repressiveness. Kazi sends the shy Anu away to a strict madrassa school, where lessons are learned by rote and independent thinking isn't tolerated. Ayesha, meanwhile, begins to spend more and more time with her more intellectually oriented brother-in-law (Soaeb Islam).
Anu becomes best friends with the class misfit Rokon (Russell Farazi), who is unwilling to conform to the school's rigid policies. Meanwhile, his younger sister has fallen ill, and the father's refusal to allow her any treatment other than homeopathic remedies creates an even bigger rift between him and his wife.
This domestic conflict is used as a microcosm of the increasingly violent political turmoil between the moderate and extremist factions that eventually led to civil war.
The filmmaker's clear empathy for his characters and close knowledge of his subject matter gives the film a vibrant authenticity that well compensates for any narrative flaws. The film, which faced censorship in its native country, also benefits greatly from its evocative cinematography and Bengali folk music score.
NEW YORK -- This debut feature from documentary filmmaker Tareque Masud, co-written with his wife, Catherine, is the first Bangladeshi film to win an award at Cannes and receive North American theatrical distribution. The autobiographical tale of a young boy growing up in East Pakistan in the late 1960s, just before the civil war that resulted in Bangladesh's independence in 1971, "The Clay Bird" is ultimately stronger on characterization and atmosphere than narrative. But its portrait of a society torn apart by, among other things, religious fundamentalism, is all too currently resonant. The film is now playing theatrical engagements in New York, San Francisco and San Rafael, Calif.
The young boy at the center of the story is Anu Nurul Islam Bablu), who is caught in the middle between his parents' contrasting philosophies. His father Kazi (Jayanto Chattopadhyay) is a strict Muslim fundamentalist who is unhappy with his son's penchant for attending Hindu festivals, while his more liberal mother Ayesha (Rokeya Prachy) is becoming increasingly embittered by her husband's repressiveness. Kazi sends the shy Anu away to a strict madrassa school, where lessons are learned by rote and independent thinking isn't tolerated. Ayesha, meanwhile, begins to spend more and more time with her more intellectually oriented brother-in-law (Soaeb Islam).
Anu becomes best friends with the class misfit Rokon (Russell Farazi), who is unwilling to conform to the school's rigid policies. Meanwhile, his younger sister has fallen ill, and the father's refusal to allow her any treatment other than homeopathic remedies creates an even bigger rift between him and his wife.
This domestic conflict is used as a microcosm of the increasingly violent political turmoil between the moderate and extremist factions that eventually led to civil war.
The filmmaker's clear empathy for his characters and close knowledge of his subject matter gives the film a vibrant authenticity that well compensates for any narrative flaws. The film, which faced censorship in its native country, also benefits greatly from its evocative cinematography and Bengali folk music score.
The young boy at the center of the story is Anu Nurul Islam Bablu), who is caught in the middle between his parents' contrasting philosophies. His father Kazi (Jayanto Chattopadhyay) is a strict Muslim fundamentalist who is unhappy with his son's penchant for attending Hindu festivals, while his more liberal mother Ayesha (Rokeya Prachy) is becoming increasingly embittered by her husband's repressiveness. Kazi sends the shy Anu away to a strict madrassa school, where lessons are learned by rote and independent thinking isn't tolerated. Ayesha, meanwhile, begins to spend more and more time with her more intellectually oriented brother-in-law (Soaeb Islam).
Anu becomes best friends with the class misfit Rokon (Russell Farazi), who is unwilling to conform to the school's rigid policies. Meanwhile, his younger sister has fallen ill, and the father's refusal to allow her any treatment other than homeopathic remedies creates an even bigger rift between him and his wife.
This domestic conflict is used as a microcosm of the increasingly violent political turmoil between the moderate and extremist factions that eventually led to civil war.
The filmmaker's clear empathy for his characters and close knowledge of his subject matter gives the film a vibrant authenticity that well compensates for any narrative flaws. The film, which faced censorship in its native country, also benefits greatly from its evocative cinematography and Bengali folk music score.
- 6/25/2004
- The Hollywood Reporter - Movie News
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