The Clay Bird
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THE CLAY BIRD is an authentic and loving portrait of Bangladesh, showing the country in all its color and complexity its seasonal beauty, rich folkloric traditions, extraordinary music, and pluralistic culture. Touching upon themes of religious tolerance, cultural diversity, and the complexity of Islam, Tareque Masuds poignant film has a universal relevance in a crisis-ridden world THE CLAY BIRD should not be missed .
"One of the finest films of this year or any other." -- Elvis Mitchell, THE NEW YORK TIMES
"The acting is superb and understated, while the scenes of East Pakistans waterways buildings, and village life are unforgettable." -- Jonathan Curiel, SAN FRANCISCO CHRONICLE
- Video Introduction to the film by Tareque and Catherine Masud
- Video Interviews with the Cast and Crew of The Clay Bird
- "The Making of The Clay Bird Video Documentary (30 Mins.)
- Three Songs from the Soundtrack
- Stills Gallery
- The French and American Theatrical Trailers
- DVD-ROM: Theatrical press kit
Top Customer Reviews
Matir Moyna, however, is not simply a film about Bangladesh. Intentionally or not, Masud's film speaks to struggles not unique to the subcontinent. While the impact of communalism, of language, of borders may be particularly stark in Sonar Bangladesh, these struggles are found around the world.
There is something particularly amazing about watching a film that takes place in a time and place about which most of us know nothing, yet seeing in the struggles not only Bengalis and Pakistanis, not only Hindus and Muslims - but all people, from the dispossessed in urban ghettoes, to the families fighting to survive in the rural countryside; men and women not in control of their government, their society, their nation, but determined to fight, to survive.
Matir Moyna is a beautiful film, and can be enjoyed as such. But it also speaks to us at a deeper level, one in which we recognize not only our faults, our mistakes, but our hopes and dreams for a better life.
The film exoticizes the world it portrays by showing many of the folk traditions of the culture from a tourist's point of view, probably to maximize its appeal to a western audience. It is also fairly heavy-handed in presenting its message through dialogue rather than action and occasionally lapses into melodrama. The characters often come across more as types than real human beings. Yet, despite these flaws, it somehow pulls you into its world through the sheer beauty of its imagery.Read more ›
In a society in turmoil, the arguments mostly revolved around what form of Islam to follow, the liberal, tolerant and the indigenous type--propagated by the sufi saints or the strict tenets of Arabic variety, not in harmony with that particular society. Questions emanating from this polemics suffuse the narrative of the movie--in the fraught relationships at Anu's home; between the headmaster and the liberal minded teacher, Ibrahim at the Madrasah; in the many folk songs and in the belligerent politics of Pakistan, ominously looming in the background. Things come to a head with Pakistan's military action, which in turn opens doors for a new identity for the beleaguered people.
The strength of the movie lies in succinctly depicting the malady and the dilemma of a nation in a simple story of children's psychology, unfolding amid Bangladesh's stunning landscape and its earthy folk culture.Read more ›
Kazi, the father, is a strict Muslim who does not want his children to be tainted by secular ideas. He sends his son Anu to a Madrassa and is angry when his brother, the bespectacled, open minded Milon brings Anu to watch a Hindu festival. His obedient though doubtful wife, Ayesha, quietly expresses her concerns and feels more and more at odds with Kazi's religious fervor (the movie is quite critical of Islamic fundamentalism, and because of that it was released in Bangladesh only several years after it was filmed) Kazi's is loyal to Pakistan, and is devastated when he learns of the war coming in which the Muslim Pakistani army attacks and massacre Muslim Bengalis. His brother Milon, on the other hand, favors the Bengalis and decide to fight the Pakistani army.
The director has sympathy for all his characters -even the harsh father is given a reason for his actions. This is indicative of a humanist approach to cinema. In that sense, it's easy to relate this movie to the Asian tradition of social realist cinema to people like Satyajit Ray (especially his Apu trilogy), Ritwik Ghattak or the earlier films of Abbas Kiarostami.
Is there a flaw in this movie? At times, their characters express too directly their political views. If it would have been just a little more subtle and less didactic in that regard, it might have been a perfect film. Bengali folk songs are nicely intercalated during the movie, mostly explaining the religious and political situation.
Most Recent Customer Reviews
I wish there were more movie coming out of Bangladesh like this one! Did I mention that I love this movie! Read morePublished 19 months ago by Silver Rain
I watched this film with my parents, who lived through the 1971 war between Pakistan and Bangladesh. Read morePublished on December 25, 2013 by Sadia101