Home ›› 10 Nov 2022 ›› Show Biz
Renowned Bangladeshi actor, director, writer and painter Afzal Hossain was one of the most iconic performers in our television industry during the 80s. Shot to fame through his iconic role in Humayun Ahmed’s BTV production ‘Bohubrihi,’ Afzal is now back in the limelight during the ongoing OTT wave. Starting from Farooki’s ‘Ladies and Gentlemen,’ Shawki’s ‘Karagar,’ and Nuhash’s ‘Shaw’ to recently released Amitabh Reza’s ‘Bodh,’ the veteran actor is being praised for each of his recent works. Afzal spoke at ‘Mangal Shomabesh,’ a regular discussion event organised by Pathak Shamabesh Publications, on Tuesday at the capital’s Kataban region. The Business Post’s Purba Zannat brings you the highlights of Afzal’s discussion at the event.
Tell us a bit about your journey to Dhaka from your hometown Satkhira.
I first learned about art school after my uncle told me that I should go to art school after seeing me draw. I am sort of different from other students. So, after I finished school I came to Dhaka and admitted myself to Art College (Currently known as Dhaka University’s Faculty of Fine Arts). Although my father didn’t want that. That’s how I first came to Dhaka.
How do you compare your time to the present? Do you think our cultural sector is going through a crisis now?
I’m frustrated because we witnessed this country’s golden era. In our time, nobody actually judged us based on our background. We could even visit Jaynul Abedin, but we went there to help them with their work. In our time people used to notice our works not just they used to read the articles but even spent time seeing the art or the picture used with the article. We used to sit with seniors and used hang out with them from where we used to learn about a lot of things but nowadays youth usually don’t get that chance and that kind of makes me frustrated. Things have changed a lot nowadays
How did you start your journey with Dhaka theatre?
I was busy with art when I was in art college. I’m talking about 1975. So one day, when we were arranging a program for the 25th anniversary of the institute, I thought it would be better to have a theatre performance in the program. At that time, I only knew the name Selim Al Deen but didn’t know him personally. One of my friends came to me and said Al Mansur would write the script for the play was ‘Biday Monalisa’. I wasn’t supposed to play any role, but due to a situation, I had to play a part in that play. That time, Dhaka Theatre helped us pull off that play. Then one day I went to the place where Dhaka Theatre used to practice but didn’t get the courage that day. Later, I went to TSC, where Dhaka Theatre was reselling. Instantly after I went there, Nasiruddin Yousuff asked to play a role. That was my starting point.
Will you tell us about Humayun Faridi?
I want to say that no artiste like Faridi came to Bangladesh. But I think it is good that he is no more. He used to play strong roles. We had a long discussion about why the film industry in our country can’t change as Bollywood did. He started to act in cinemas and became successful too. But after some time it became the same for him and he started to become frustrated too. Then I asked him to do theatre workshops with the young generation but he said he won’t do anything but act. I still want to say our industry doesn’t deserve someone like him who has had such dedication but people here couldn’t utilize that properly. Now youths are coming up with good stories and creating good opportunities but now when the time has come he is no more between us.
What is your opinion about an artistes responsibility towards the nation?
I don’t think everyone has come to take to the streets or organise protests and processions. But we have to play our roles properly and as an artiste and a member of the cultural arena I have to keep playing my part responsibly.
