Lutfur Rahman George started his acting career in theatre in 1985, working with the renowned company, Nagorik Natya Sampradaya. He went on to essay the role of Mojnu, in Humayun Ahmed’s hit television series, Kothao Keu Nei. His role in Mostofa Sarwar Farooki’s 420 was also highly praised. He has worked in films like Aguner Poroshmoni and Aynabaji. We caught up with the artiste to find out more about his work in films and television.
How was the experience of working in Humayun Ahmed’s ‘Kothao Keu Nei’?
Frankly speaking, I never wanted to work in front of the camera. I have always wanted to work in theatre. In 1993, Asaduzzaman Noor called me, and asked me to come to the BTV office. When I reached there, I saw that Humayun Faridee, Suborna Mustafa and many other actors were rehearsing for Kothao Keu Nei. Humayun Ahmed was observing me. At the time, I was not ready for television at all, but nonetheless, I played Mojnu.
Tell us a little about Mojnu, your character in the hit television series.
My character, Mojnu, was not a part of the novel. He was just created for the series. Mojnu rides a bike. Assaduzzaman Noor knew that I can ride one, so, he recommended me. Initially, Mojnu was supposed to appear in only three episodes. But after I finished three episodes, they called me in for more. I was getting restless because I missed being on the stage. I still worked on the series till it ended.
How do you feel about the popularity of ‘Kothao Keu Nei’?
Baker Bhai, played by Asaduzzaman Noor, is an iconic character till date. People asked me for spoilers for the upcoming episodes wherever I went. In fact, the audience was so emotionally invested in the series that they protested against the execution of Baker Bhai, which was unlike anything I had seen.
Between theatre, cinema and television, which field interests you the most?
I have a soft spot in my heart for theatre. In fact, I could never imagine myself acting in front of the camera. I did not actually want to do television ventures. I was talked into it. I have consistently worked in theatre till 1998, especially with Nagorik Natya Sampradaya. My last show was Roktokorobi in Egypt.
How do you think the industry has changed over the years?
I see a sense of rush and competition in the industry today, as people are running after quantity and not quality. As a result, many of the projects are not up to the mark, and we also have problems with budgets in television and films.
How do you feel about the success of ‘Aynabaji’?
I usually do not watch any of my work, but Shatabdi Wadud forcefully made me watch Aynabaji. I am pleased to see that people have appreciated my work in the film.