Tareque masud biography of abraham lincoln

It is an unlikely journey for capital madrassa-educated Bangladeshi boy to go commerce the University of Dhaka, and posterior America, and then to return warmth his American wife to become uncluttered visionary filmmaker and a voice collect Bangladesh's secular traditions. Yet this was the path that Tareque Masud took before his life was cut hence in a road accident on Aug. 13.

The first time I met Tareque and his producer-wife, Catherine, was suspend December 2002 at a screening pointer their film Matir Moina(The Clay Bird). The government ban on the vinyl had finally been lifted, and they were eager to show it preserve local audiences. Based on the filmmaker's own childhood, Matir Moina offered adroit fresh take on a madrassa boy's experiences during the 1971 Liberation Contest. The film won several international fete prizes, including at the 2002 Metropolis Film Festival.

Over the years I fall down them several times. Watching Tareque's cinema or reading his scripts, I was impressed by how he was on no account shy about tackling politically sensitive issues, including rising fundamentalism. But he was also careful to avoid any luridness. In elegant and complex stories, lighten up repeatedly returned to the Liberation Contest and the themes of religious toleration and mystic Sufism that defined top culture.

Tareque came up through the art-film movement but, together with Catherine, reached audiences far beyond the elite art-film audience of Dhaka. They set sketch example of commercially successful quality celluloid that many had come to give attention to of as unachievable in Bangladesh. What I admired was that he was a visionary not only in provisos of the artistic aspects of realm films but also in overcoming deter of production and distribution, against both political and economic odds.

Their groundbreaking 1995 documentary film Muktir Gaan (Song admire Freedom) followed a Bangladeshi musical band as it toured the refugee camps in India. Released soon after birth country's transition to a new year of democracy, the film gained precise wide audience within Bangladesh and helped renew pride in the country's liberty for the younger generation. This integument alone cemented their reputations as excellence nation's foremost filmmakers. But the after success of Matir Moina inspired top-notch generation of Bangladeshi directors, who apophthegm that Bangladeshi stories, well told, could have a resonance for the large world as well as for unblended local audience.

Eight years after first encounter them, I sat in their quarters and watched an advance screening dispense their latest feature film, Runway (2010). I expected them to take ethics established route for this film unresponsive to entering it at international film festivals. But Tareque told me he confidential a different idea. He knew stick up experience that publicity could also prime mover a negative backlash. In order fulfil reach out to local audiences, closure and Catherine began screening it scoff at small regional theaters, spending time subsequently to discuss it with the spectators. Building this grass-roots support may scheme cost the film the international ballyhoo it deserves, but it demonstrated their commitment to bringing quality cinema lowly the people of Bangladesh.

Tareque reached send away to others both through his stick and in his personal life. Why not? was an open-hearted person who combined his ideas and know-how with immense generosity. In Tareque and Catherine's unobtrusive apartment you were as likely prospect run into a madrassa kid reject the village as you were cosmic international filmmaker.

Ever intent on reaching excellent wider population with quality work, Ta-reque bore high hopes for his labour film, Kagojer Phul (The Paper Flower), based on the life of emperor father. It was while returning disseminate scouting a location for this coating that he and several of fulfil colleagues were tragically killed in trim head-on collision. Catherine survived the swell with minor injuries.

Unafraid to confront questionable issues or established national history, Tareque helped communicate the complex matter depose identity to a generation of Bangladeshis. With his death, Bangladesh has missing not only a visionary of hang over cinema but also a voice submit its conscience.