Renowned fiction writer Humayun Ahmed directed only eight films in his career as a filmmaker and among them, ‘Aguner Poroshmoni’ is widely regarded as his finest work. The film was released on December 16, 1994, the Victory Day of Bangladesh.
Humayun narrated a unique yet ordinary story of the Liberation War in a simple and direct manner. The then Information Minister, Barrister Nazmul Huda, personally arranged a government grant of Tk25 lakh for him to make the film. Humayun wrote about this in his book ‘Cinema Bananor Golpo’.
Set against the backdrop of the Bangladesh Liberation War, the film is based on his own novel Aguner Poroshmoni. Its origins can be traced to the final two episodes of his popular drama serial Bohubrihi, where the Liberation War became the central theme.
Humayun decided to make his directorial debut largely due to his disappointment with the film adaptation of his novel ‘Shonkhonil Karagar’. He once remarked, “People who watch dramas on the big screen, where is the film?” This frustration, along with challenges in his personal life, pushed him towards filmmaking.
His wife, Gultekin Ahmed, did not want him to leave his university teaching post to pursue film. On the Muhurat day of the film, she did not attend the event. Yet no one could deter this strong-willed man. His then-teenage daughter, Sheela Ahmed, accompanied him and played the role of Opola, the younger sister of Ratri, in the film.
The story is set in a besieged Dhaka in May 1971, focusing on the family of Matin Saheb (Abul Hayat), who lives in fear while trying to hear Bangabandhu’s voice from Swadhin Bangla Betar Kendra on a transistor radio. One day, his friend’s son Badiul Alam (Asaduzzaman Noor), a key member of the Mukti Bahini, seeks refuge with the family. Matin Saheb’s wife (Dolly Zahur) is initially unable to accept Badi, fearing for their safety.
The main character, Ratri (Bipasha Hayat), feels suffocated by confinement and longs for freedom. She promises herself that once the country is liberated, she will free her two pet birds and restart the household clock that has been stopped. Slowly, she begins to fall in love with Badiul.
Meanwhile, Badiul and his fellow fighters carry out successful operations, only to be killed or captured by the Pakistani army. The scene depicting the capture of guerrilla fighter Rashedul Karim remains memorable for its bravery: he refuses to give information during interrogation, spits in the face of the Pakistani major, does not bow even after his finger is cut off and is ultimately shot dead. Similar scenes of resistance appeared in Bohubrihi.
The film weaves together passion, war, rain and love in a distinct portrayal. Bipasha Hayat delivers an outstanding performance. The scenes involving young Sheela Ahmed drawing with eggs, and the inclusion of a song by Sylheti mystic poet Hason Raja, deeply moved audiences.
The final scene is intensely emotional. After Badiul is fatally shot, Ratri waits beside him through the night for dawn to break. When the first light appears, she opens the window so he can see and touch the morning light one last time. Even as death approaches, she tells him, “You do not have to close your eyes. You must see dawn,” and asks, “One day the country will be free. I will dance in the streets playing the harmonium. Will you not be with me?”
Badiul does not live to see that dawn, but the sunlight of the newly liberated nation touches his forehead. Ratri lifts his lifeless hand toward the soft light of day. The Tagore song Aguner Poroshmoni begins to play. After such a moment, one is reluctant to dwell on any shortcomings the film may have.
Aguner Parashmani went on to win National Film Awards in eight categories, including Best Film.
