Looking for Tareque…

L-R: Tareque Masud in Cannes in 2002. “Matir Moina” won the FIPRESCI award at that year's festival.

In 2009, British filmmaker Ken Loach made a film “Looking for Eric”, in which, the football freak protagonist Eric Bishop always seeks redemption from his icon, the former Manchester United legend Eric Cantona. Whenever Eric Bishop feels depressed or falls in trouble, he recalls his icon and somehow overcomes the tough situation.
It's been exactly a year when our iconic filmmaker Tareque Masud (1956-2011) breathed his last. It was a disastrous road accident that also saw the departure of Masud's colleague and DoP Mishuk Munier.
Paying tributes to the filmmaker through referring a storyline from a British film may seem irrelevant. But somehow, we can make a connection.
Tareque Masud, born on December 6, 1956, was a fighter in every aspect. From his early initiative “Adam Surat” (1989) to the last project “Runway” (2010) or the supposed to be dream project “Kagojer Phul”, we find a never-say-fall-back Masud. He spent day after day on SM Sultan to present him in his light before the country. In return we have a precious account of one of the most recognised artists of the country.
The behind the scenes incidents for the film “Muktir Gaan” (1995) are known to all. Showing the utmost dedication, Masud revealed one of the country's most precious documents before the public which was almost lost in a New York City basement for years. We are grateful to our foreign friend Lear Levin for helping the Masuds to make the project a success.
Tareque's “Matir Moina” (2002) is one of the very few Bangladeshi films, which makes us proud of our motherland being on the international circuit. When screening of a film in festivals such as Cannes or Berlin is considered a satisfactory achievement for any Bangladeshi filmmaker, Masud not only achieved such a feat with “Matir Moina” but also bagged an award at Cannes in 2002.
“Ontorjatra” (2006), arguably his best project both in terms of developing the storyline and good camera work, is a sign of empathy and connection to his roots. This thought provoking work not only tells us about the NRBs but also shows us a silent yet apparent change in society.
While “Matir Moina” is his very personal journey-- in which we see an adolescent's inner cry over losing his sister or in a broader perspective for losing his freedom-- in “Ontorjatra”, we are able to go back to our forgotten roots.
Alongside “Muktir Gaan” and “Muktir Kotha” (1996), his small piece “Naroshundar” (2010) is also a testament of the Liberation War.
We know how Tareque struggled in his early days to make a base for himself. We know how he spent night after night in Dhaka city to make a start, as filmmaker and cultural personality Nasiruddin Yousuff recalled those days in a Masud memorial meeting last year. At the same programme, we got to know that Masud blazed the trail for independent filmmakers in the country, as his friend and colleague Morshedul Islam recalled their early days together.
Later, Masud silently stepped aside from the movement to concentrate more on making films that he found the best possible way to speak about. He proved that he was right, as in return, we the cine buffs are blessed with some brilliant works which are no doubt our national treasures.
But the best comment was made by his wife and colleague Catherine Masud who said, “Tareque taught me not to stay confined in a box”. Yes, Tareque did not believe in staying confined in a box and we want to believe that those who carry on his legacy will follow his motto.
For any aspiring filmmaker of the country, Tareque Masud is an example, and can be an inspiration like Eric Cantona. Whenever any filmmaker comes up against challenges, s/he can recall Tareque's struggle to find a way out.
We pay our heartfelt tribute to the icon on his first death anniversary.
Tareque Masud died on this day last year in a road accident somewhere in between Aricha and Manikganj. He along with his crew was returning to Dhaka from the location of the film “Kagojer Phul”.