On April 10, 1970, amid a politically turbulent East Pakistan, Zahir Raihan released his landmark film ‘Jibon Thekey Neya’. More than entertainment, the film served as a powerful instrument of protest for a nation yearning to break free from oppression.
The film opened with the slogan: “One country, one family, one set of keys, one movement, one film.” Zahir Raihan depicted the exploitation of the state through the lens of an ordinary family.
Rawshan Jamil’s character symbolised the dictatorial control of Pakistan’s rulers, Ayub Khan and Yahya Khan, with all authority concentrated in her hands, signified by a set of keys at her waist. Her oppressive actions reflected West Pakistan’s exploitation of the East.
In contrast, Anwar Hussain portrayed a patriotic, militant political leader, while Razzak represented the student protest movement.
Zahir Raihan faced significant obstacles during filming. Actress Suchanda recalled that the director intended to make a film that would shake Pakistan.
On one occasion, the Pakistani army attempted to remove Zahir Raihan from the set, but he refused, insisting the censor board had the final say. Martial Law Administrator Rao Farman Ali ordered the production halted on March 11, 1970, and Zahir Raihan even received threats of being poisoned.
The film’s music, directed by Khan Ataur Rahman, boldly included Rabindranath Tagore’s ‘Amar Sonar Bangla’, later Bangladesh’s national anthem, despite a ban on Tagore’s songs.
Abdul Gaffar Chowdhury’s ‘Amar Bhaiyer Rokte Rangano Ekushey February’ appeared on screen for the first time, evoking the spirit of Ekushey, while Kazi Nazrul Islam’s ‘Karaar Oi Louho Kopat’ and ‘Ae Khacha Bhangbo Ami Kemon Kore ‘expressed the Bengali desire for freedom.
Despite attempts by the Pakistani authorities to block the film, public pressure and audience protests forced the censor board to grant clearance.
The first day of release saw nationwide excitement, though authorities initially confiscated the reels. Protests erupted outside Gulistan Hall in Dhaka, compelling permission for re-screening, even as General Rao Farman Ali issued threats to Zahir Raihan.
The film concludes with the end of Rawshan Jamil’s dictatorship and the unification of the family. A baby girl, named Mukti, symbolised the forthcoming liberation of Bengal. The final scene, depicting a wreath-laying at the Shaheed Minar, was filmed during the actual dawn procession on February 21, 1970.
Jibon Thekey Neya ran in cinemas for 25 consecutive weeks. Legendary filmmaker Satyajit Ray praised Zahir Raihan, saying, “Why is the boy still in Dhaka? His place is far higher.”
Demonstrating his patriotism, Zahir Raihan donated the film’s proceeds to the Freedom Fighters Fund.
