One taka selami used to redouble my Eid joy

Dilara Zaman is a renowned actress from Bangladesh, widely recognized by name across the country. For over sixty years, she has been performing on stage and television with great acclaim. She is a pioneer in the country's acting industry, particularly for female artists.

She has acted in some of Bangladesh’s most iconic dramas, including Sokal Sondha, Eisob Dinratri, Ayomoy, and Barorokomer Manush. Throughout her long career, she has also appeared in numerous films, such as Chaka, Aguner Poroshmoni, Chandragrahan, Monpura, and Lal Moroger Jhuti.

In recognition of her outstanding contributions to acting, she has received the National Film Award and the Ekushey Padak. Even at the age of 81, she continues to act.

In a special Eid feature, Views Bangladesh had the opportunity to speak with this legendary actress. The interview was conducted by Kamrul Ahsan.


Views Bangladesh: How are you?

Dilara Zaman: I’m doing well, as well as one can at this age. I’m 81 now, and the fact that I can still work is a blessing. If I can keep working until the end, that would be enough for me.

Views Bangladesh: How was Eid during your childhood?

Dilara Zaman: Everything has changed over time. The world has become much smaller, and now we have the whole world in our hands. Different cultures have blended into ours, and we have adopted many elements from other traditions. In our childhood, we didn’t have access to so much knowledge. Eid was celebrated in a much simpler way, yet the joy was incomparable. As children, we would get just one new outfit—one dress and maybe a pair of sandals or shoes. We would hide them away and wear them only on Eid day. Then, we would go around greeting everyone and asking for salami. We would receive small coins—four annas, eight annas, or a quarter anna. There were no banknotes back then. If we ever got one whole taka, that would make our Eid feel limitless. My siblings and friends in the neighborhood would sit together and count how much salami we had collected. The happiness of those days is impossible to describe.

Views Bangladesh: What did you eat on Eid day?

Dilara Zaman: In the morning, we had semai, but not like the store-bought ones available today. We had to make it by hand. Before eid, we would use a special machine to prepare semai, turning the handle manually. We would help our mother with the machine, making the semai strands, which were then dried in the sun. This was a long time ago, around 1947, when we lived in Asansol, and later when we moved to Jashore. Nowadays, there are many varieties of semai, often fried in ghee and quickly prepared. Back then, making semai was a major event. for lunch, we had chicken or beef pulao, mutton curry, zarda (sweet rice), firni, and payesh (rice pudding). There were also different kinds of homemade pithas.

Views Bangladesh: When did you come to Dhaka? How did you feel when you first arrived?

Dilara Zaman: We came to Dhaka in 1953. I enrolled at Banglabazar Government Girls' High School. Everything around me filled me with curiosity. I still remember how we used to visit New Market. When the massive entrance gate was being constructed, I would look up at it in awe—it was a sight to behold. Back then, we lived in Azimpur Colony. We would walk there in groups, enjoying every moment.

Views Bangladesh: How was Eid in Dhaka back then, and how do you feel about it now?

Dilara Zaman: After coming to Dhaka, I realized that Eid was also about a bit of glamour. I got to meet people from different backgrounds. Back then, we had to go to Islampur for Eid shopping. We used to buy fabric from Amrit Bastralaya and other shops. We would get fabric for dresses, but not more than one or two. Now, people change outfits throughout the day—one for the morning, another for noon, and something else for the evening. Clothes are now designed based on foreign trends, and everyone makes sure their outfits are unique. In our time, we didn’t think about such things. However, there was still a sense of fashion. Mothers used to sew dresses inspired by the outfits of movie actresses. My mother also designed and stitched our frocks with a little extra care.

Views Bangladesh: Tell us about your college life and the early days of your career.

Dilara Zaman: I passed my matriculation from Banglabazar Girls' School in 1958 and then got admitted to Eden College. After my matriculation exams, I started wearing sarees, and in that attire, I participated in various cultural activities. I passed my IA in 1960 and got involved in the anti-Ayub movement. Matia Chowdhury and I were in the same batch. She was the VP of the student council at Eden College, while I was the Literary Secretary. I used to write, so that role suited me. We roamed around together a lot, attended meetings at Amtala, and returned to the hostel late at night. I still remember those days vividly. Sometimes, I wonder how I used to run wearing a saree! When the police chased us, we ran in sarees. Now, I feel like I might trip even while walking!

Views Bangladesh: Tell us about the early days of your acting career. What were the plays like back then?

Dilara Zaman: When I started acting, Muslim women hardly acted, you could say. Even those who did, couldn’t imagine taking acting as a profession. There were a few actors, but they didn’t work consistently. They would act in annual office events, that’s it. I first acted during my school days, in Class Seven. I played Fotik’s aunt in Rabindranath Tagore’s story Chhuti. Then, in college, I performed small roles in annual functions. From there, I moved to radio. I used to recite in literary programs on the radio. There were storytelling sessions in the afternoon. Back then, these were broadcast live, not pre-recorded. I got married in February 1964. That same year, in December, Pakistan Television’s East Pakistan division launched. It used to air for only a few hours—all live. Mohammad Zakaria was there, and Shahid Kader, a friend of my husband, knew I acted and brought me in. I had acted in a play for DUCSU (Dhaka University Central Students' Union)—Alauddin Al Azad’s Mayabi Prohor. I received a lot of praise for it. When my name appeared in the papers, many came to know that Dilara acted.

On television, there used to be short one-act plays lasting 10-15 minutes or some government promotional dramas. I acted in those. The television office was in the DIT building then. It broadcast for just a few hours, probably from 6 PM to 9 PM. Back then, performing plays was like a tough test. We'd go at 2 PM, rehearse the script, do dress rehearsals, then perform live before the camera. Once broadcasting started, there was no room for mistakes. Even if we had to change costumes, we had to do it within one minute during someone else's scene. The scripts were written keeping this quick costume change in mind! We had to work under extremely challenging conditions. I first acted in a TV play in 1966 - "Tridhara". In this play, Lily Chowdhury (wife of playwright Munier Chowdhury) played my mother's role. Later, Momtaz Begum's serial drama "Shokal-Shondha" became very popular at that time, and I acted in it.

Views Bangladesh: What kind of social barriers did you face while pursuing acting at that time?

Dilara Zaman: There were many obstacles. Even my parents had to hear comments like, "This girl acts in plays; she’ll never get married." But my father and mother were very culturally inclined, so they never stopped me. I always say this—when I faced some resistance while doing a DUCSU play, the respected Munier Chowdhury sir wrote a letter to my father. After reading it, my father said, "Such a great man has written this—go ahead and do it." That’s how I got to act in Mayabi Prohor.

Relatives also made negative remarks. If my picture was published in the newspaper, people would say things to my parents. I was a schoolteacher at one point, and even there, I had to endure criticism. Because of that, I missed out on many challenging roles—I used to think, "If my picture is in the newspaper or if people talk about it, rumors will spread." Some teachers would say, "She acts—what will the children learn from her?" Eventually, out of a bit of disappointment, I resigned from my job in 2001. Since then, I’ve been fully dedicated to acting. And step by step, I’ve come this far.

Views Bangladesh: How do you see the television drama industry now? Is the quality of dramas the same as before?

Dilara Zaman: Television drama has now become a full-fledged industry. So many TV channels, so many actors and actresses—we never imagined that so many people could take drama as a profession. Not just actors, but many others involved in the industry have also found a livelihood through it. As for the quality of dramas… well, a lot has changed over time, and people's tastes have evolved. Drama is a reflection of our lives. Before, every drama used to tell stories about families and real-life struggles. Now, it feels like it’s mostly focused on entertainment. Life has become more difficult, people have more problems, but today’s dramas don’t always explore those realities. Yet, it’s through such stories that people learn about life and find ways to deal with their struggles. I don't blame anyone—it may just be the demand of the times. Maybe one day, people will again start thinking deeply about dramas. Another thing I’ve noticed is that fame comes very quickly now. So many views! This influences everyone, creating a kind of restlessness—people are more focused on becoming popular fast rather than ensuring the quality of their work. However, there are still many talented playwrights, directors, and actors who are doing great work.

Views Bangladesh: Can you tell us a little about the culture of that time? How was women's mobility in society? Was there the same level of insecurity for women as there is today?

Dilara Zaman: No, it wasn’t as unsafe as it is today. Women now have more rights and workplace opportunities, but social security hasn’t increased in the same way. People's mindsets have changed a lot. Before, society had a strong sense of values and principles, but that’s not as prevalent anymore. Family bonds have also weakened. Parents used to be stricter with girls, but that has lessened over time. The way men used to show respect and regard for women has also changed, at least from my understanding. I remember walking alone after a meeting at Curzon Hall, taking a rickshaw back to my hostel late at night, and I never felt scared. But now, stepping out of the house feels risky. Even going to the shop in front of my house makes me anxious. There’s always a fear that someone might snatch my bag and run.

Views Bangladesh: You are a legend. You have seen so much, and multiple generations have grown up watching you. Today, our society has become quite intolerant. How does this change make you feel?

Dilara Zaman: By intolerance, I mean that no one has patience anymore. The moment you step outside, you see people competing—who will get ahead first? A car might be stuck in traffic, waiting for the road to clear, but the car behind keeps honking nonstop. There’s no awareness that this constant honking is disturbing others. This lack of respect for one another wasn’t there before. It pains me deeply.

It breaks my heart to see how quickly we have let go of our values. Did we gain independence only for this? We were supposed to progress much further. Malaysia became independent long after us, yet look at where they are today and where we stand. In terms of justice, ethics, and citizens’ rights, they have far surpassed us. Thinking about this truly saddens me.

Views Bangladesh: Thank you so much for your time. The people of this country know and love you. At this stage of your life, how do you reflect on your journey in acting?

Dilara Zaman: I have come this far with love for the people and passion for acting, and that is my greatest joy. Whatever I have achieved today—national recognition, of course—but more than that, I have received the love of the people. Everyone in the industry calls me ‘Ma’ or ‘Dadi.’ Even on the streets, people recognize me and call me with affection. This sense of belonging, being in people’s hearts—this is the true fulfillment of my life.