Celluloid adoration of a poet of camera

If I had been told earlier that a documentary would be made, particularly featuring a photographer from Bangladesh, I would have harbored doubts about whether the work would be done with care. However, after watching "Nasir Ali Mamun in Praise of Shadows" by Makbul Chowdhury, my skepticism has vanished. Makbul has shattered my rigid conception about documentaries. This documentary, a vibrant epitome of the life of Nasir Ali Mamun, a luminary of photography, is the result of love, relentless hard work, profound research, and boundless patience.

I watched the documentary at a time when international OTT platforms like Netflix are breaking the conventional language barriers of documentaries and giving birth to new languages. Continuous experimentation is underway. In this reality, I believe that Makbul Chowdhury's "Nasir Ali Mamun in Praise of Shadows," or "Chayabandona," will easily find its place in the global market. This documentary will serve as a textbook for future generations to study the photographer Nasir Ali Mamun—I have no doubt about that.

The first premiere show of 'Chyabandana' was held on May 10 (2024), at the Jatiya Chitrashala Auditorium of the Bangladesh Shilpakala Academy in the capital. It is supposed to start at 4 o'clock, at 3:30 I see a huge crowd there! No, not to see an exhibition of paintings - the crowd is here to see a documentary about the life and work of a freelance photographer. Not only photographers came, painters, filmmakers, architects, performers, musicians, educators, politicians - who were not there that day!

The audience was more than the capacity of the auditorium. Many sat on the ground, standing back and enjoying the show. From this picture it is easy to understand that people have accepted 'Chhayavandana'. As a result, this documentary is now traveling all over the country. I hope it will also be released internationally.

Nasir Ali Mamun's portrait photographs are characterized by 'simple' presentation. If I was asked to take a picture of poet Ahsan Habib, how could I take it? I used to say to the poet, wear a Punjabi. Wrap a shawl over the panjabi. Then I would tell him to stand with his back to a bookcase. But did the real Ahsan Habib portray himself in that way?

Nasir Ali Mamun did not make any arrangements to take pictures of Ahsan Habib. The poet was wearing an undervest in the picture! In that, the portrait of the poet has not dimmed, but has been revealed. It looked like a sculpture carved in black stone with a knife of light. The additional information that this picture gives is that the poet's life is as simple as the picture.


This is just one example. From the depths of the 1970s to the present day, one of the main themes that Nasir Ali Mamun has captured through his lens is "Life as it is." There's no pretense. Furthermore, this simple documentary photography later had a tremendous impact on photographers. Since then, until now, no one has been able to exert as much influence as Nasir Ali Mamun has.

Portraits taken in the style of Nasir Ali Mamun are still considered "good portraits"! In this documentary photo, renowned photographer Monirul Islam has also stated, "When you see his (Mamun's) photos, you understand that it's a Nasir Ali Mamun photo—it's not a simple matter."
’I think the poet Shamsur Rahman didn't call him a 'camera poet' literally, he believed it. Rabindranath Tagore once said, "Everything in the foreground is clear, everything is clear, it can only be within the rules of grammar; but not in nature, nor in poetry."

The photographs of the "poet of the camera" are also like poetry—a play of light and shadow. "...the convergence of light and darkness, revealing form, awakening taste" —at the end, this line by Rabindranath Tagore becomes synonymous with each of Nasir Ali Mamun's photographic works.

Nasir Ali Mamun has captured individuals with a unique sense of 'simplicity' through his camera, and producer Makbul Chowdhury has seamlessly portrayed Nasir Ali Mamun in this documentary. In an interview, Mr. Mamun mentioned that he has extensively explored himself in this documentary. Indeed, there is no alternative to Makbul Chowdhury's "In Praise of Shadows" to have an overall understanding of Nasir Ali Mamun, a visual artist.

Nearly an era ago, in an interview given to me, Nasir Ali Mamun said, "I am completely independent, solitary, and aloof. I have no friends. Highly intelligent people have no friends. But after death, many friends come. I think I belong to that group. The group, where people don't have friends. But there are many enemies. For the past 40 years, I have been seeing all sorts of monkeys and snakes roaming around me. Through them, I have been flowing for 40 years. Five generations are captured in my camera. Despite being so far away, I am still influencing those who control Bangladesh's media and the world of art and culture. It's still ongoing. They are standing with their guns, some are giving threats, some are shooting, some are killing... I have come this far amidst all this chaos. Now, I am no longer afraid of death.’

In "Chayabandona," we find this distinct, solitary, and lonely Nasir Ali Mamun. It can be called an observational documentary, where the camera observes the lonely journey of the "poet of the camera." In the documentary, we see Nasir Ali Mamun walking alone from one country to another, as if he still hasn't found the perfect picture he seeks. He wanders from place to place in search of it.


It was not easy for Makbul Chowdhury to reintroduce the country's first influential photographer through the camera. He crafted the documentary with the artistry of the camera alone. There is no narration, no attempt to impose his own perspective. Those who have known Nasir Ali Mamun for a long time, who respect or admire him, have spoken about him. The filmmaker has woven these various perspectives into a cohesive narrative, presenting it to us like a garland. Due to Makbul Chowdhury's expertise, the documentary is not burdened with excessive information but instead takes on a poetic quality. Mr. Makbul has mentioned that he has been an admirer of Mr. Mamun's photographs since childhood. This admiration is evident in every aspect of the documentary. He believes there is much to learn from the life of Nasir Ali Mamun as an artist.

In the documentary, the late educator and essayist Anisuzzaman mentioned that Nasir Ali Mamun combines the individual with art. From the beginning until now, how has Mr. Mamun been able to maintain the integrity of art in his photography practice? Is it because he made photography a companion to his way of life rather than a means of livelihood? Is this why he is so relevant in the discussion and study of fine arts?

I will conclude with one or two more questions.
Would it have been better if there were fewer interviews in "Chayabandona"? Was it a deliberate choice to exclude members of Mr. Mamun's family to clearly emphasize his solitude as an artist? Could the camera have delved deeper into Nasir Ali Mamun's daily life? For instance, showing him cooking, tending to plants, conversing with his wife about household matters, going to the market, writing (as he is also a writer), painting and chatting with friends and well-wishers? Or is it necessary for this expectation or sense of unfulfillment to exist for the audience?

Sudeepto Salam: writer, journalist and teacher