11-06-2004, 12:51 AM
[attachment=82]The continuation of the photographic odyssey of Anwar Hossain:
........Anwar came a long way after that. He completed his diploma in architecture, though never practiced it in life. He was in love with photography. It is the truthfulness of photography that at last won over painting, which is practiced in isolation at one\'s home or studio.
As a member of a poor family who never felt poor and son of a caring and giving mother, Anwar took life for granted. \"All the difficulties and hardship was part of life,\" he feels in retrospect.
Anwar remembers what slowly drew him to the movies. \"It was Khosru Bhai of Film Society and Badal Rahman who pickled my young mind with ideas of exploring the reel,\" he recalls. The spectacles in movies amazed him. He went on to study cinematography, heading for Pune in 1974 on an ICCR scholarship, causing resentment in the family. He sat out on a journey that would later put him in the path to greatness.
The history of cinema in Bangladesh changed with that. Anwar Hossain is a living legend now. The imprint of his skill as well as his sensibility is now in demand. Though not many films could provide him with the turf that Shurjo Dighol Bari did, his signature is still something that most of the new filmmakers crave to have in their work. He often finds himself behind the camera. Though he is not satisfied with the kind of substandard equipment he works with, his impression is clearly visible in the end results. His most notable touches lie in the exquisitely done cinematography of Emiler Goenda Bahini, Puroshkar, Dohon, Hulia, Chitra Nadir Parey, Nadir Nam Modhumoti, Lalshalu,--- movies that have earned considerable critical acclaim. There are soon to be released works like Lalon that will again reveal his acumen as a cinematographer.
As for still photography, Anwar continues to record the reality with all its bites intact. \"Abstraction works only when it remains eloquent, when it strongly proposes a concept,\" this seems like a motto to him. For him everything harks back to the reality that they came from. His word stand for his work, \"The purpose of art is not to please or to beautify, but to transmit your own soul or thoughts or conviction into the media you are working with\".
source: Star Weekend Magazine
** I liked the article so much that couldn\'t cut it down short enough to match with the size of my other posts like this and thus made it a series. Hope you all would enjoy these.
........Anwar came a long way after that. He completed his diploma in architecture, though never practiced it in life. He was in love with photography. It is the truthfulness of photography that at last won over painting, which is practiced in isolation at one\'s home or studio.
As a member of a poor family who never felt poor and son of a caring and giving mother, Anwar took life for granted. \"All the difficulties and hardship was part of life,\" he feels in retrospect.
Anwar remembers what slowly drew him to the movies. \"It was Khosru Bhai of Film Society and Badal Rahman who pickled my young mind with ideas of exploring the reel,\" he recalls. The spectacles in movies amazed him. He went on to study cinematography, heading for Pune in 1974 on an ICCR scholarship, causing resentment in the family. He sat out on a journey that would later put him in the path to greatness.
The history of cinema in Bangladesh changed with that. Anwar Hossain is a living legend now. The imprint of his skill as well as his sensibility is now in demand. Though not many films could provide him with the turf that Shurjo Dighol Bari did, his signature is still something that most of the new filmmakers crave to have in their work. He often finds himself behind the camera. Though he is not satisfied with the kind of substandard equipment he works with, his impression is clearly visible in the end results. His most notable touches lie in the exquisitely done cinematography of Emiler Goenda Bahini, Puroshkar, Dohon, Hulia, Chitra Nadir Parey, Nadir Nam Modhumoti, Lalshalu,--- movies that have earned considerable critical acclaim. There are soon to be released works like Lalon that will again reveal his acumen as a cinematographer.
As for still photography, Anwar continues to record the reality with all its bites intact. \"Abstraction works only when it remains eloquent, when it strongly proposes a concept,\" this seems like a motto to him. For him everything harks back to the reality that they came from. His word stand for his work, \"The purpose of art is not to please or to beautify, but to transmit your own soul or thoughts or conviction into the media you are working with\".
source: Star Weekend Magazine
** I liked the article so much that couldn\'t cut it down short enough to match with the size of my other posts like this and thus made it a series. Hope you all would enjoy these.