Zahir Raihan remains an unforgettable name in Bangla literature and cinema. In his short 36-year time among us, he created timeless works of fiction and films. His short life captured many identities—journalist, editor, novelist, filmmaker, producer, cinematographer, story writer, scriptwriter, leftist activist, language movement hero, and freedom fighter.
He was born on August 19, 1935, in Majupur of Feni. His father was a teacher at Kolkata’s Alia Madrasa, so much of his childhood was spent in the city. His birth name was Abu Abdul Mohammad Zahirullah, and his nickname was Jafar. In 1940, he began formal education at Kolkata Model School, later moving to Mitra Institute. Following the 1947 Partition, his family returned to Dhaka. He completed matriculation with first division from Amirabad School and then studied at Dhaka College before graduating from Dhaka University.
From an early age, Zahir Raihan was drawn to literature, writing, politics, and social responsibility. He often found himself involved, directly or indirectly, in political events in East Bengal. Through journalism, he brought stories of resistance and struggles to the people.
His journalism career began in 1950 with Juger Alo newspaper. In 1956, he became the editor of Prabah. Yet, his fascination with cinema was lifelong. In 1957, he entered the film industry as an assistant director for the Urdu film Jago Hua Savera. His directorial debut came in 1961 with Kokhono Asheni. In 1964, he directed Sangam, the first color film of East Pakistan, and later produced Bangladesh’s first English-language film Let There Be Light. Over his career, he made 12 films, including commercial, non-commercial, and documentaries. His 1970 film Jibon Thekey Neya captured the spirit of the 1952 Language Movement and is considered his masterpiece.
As a novelist, Zahir Raihan’s works reflected society’s struggles, values, and conscience. His 1964 novel Hajar Bochor Dhore depicted the exploitation of peasants under British rule. In Borof Gola Nodi, he painted the subtle realities of lower-middle-class families. The Language Movement inspired him to write Arek Falgun and Ekushay February.
During the Liberation War of 1971, Zahir Raihan moved to Kolkata, where he worked to promote Bangladesh’s cause and produced documentaries. He donated the earnings from Jibon Thekey Neya screenings to the freedom fighters’ fund.
On January 30, 1972, he went to Mirpur with the army and police but never returned. It is believed he was killed by Bihari collaborators that day. The following day, Mirpur was freed, but his body was never found, leaving his disappearance shrouded in mystery.
His contributions were recognized with several awards. He won the Adamjee Literature Award in 1964 for Hajar Bochor Dhore, the Nigar Award in 1965 for Kancher Deyal, the Bangla Academy Award in 1972 (posthumously), the Ekushey Padak in 1977 (posthumously), the Independence Day Award in 1992 (posthumously), and the National Film Award in 2005 (posthumously) for the film adaptation of Hajar Bochor Dhore, among many others.
Zahir Raihan’s legacy is not just in his films or literature. His efforts for independence, his social consciousness, and his artistic vision make him a lasting figure in Bangla culture. Some might say, “People have forgotten Zahir Raihan.” But the truth is, the freedom we cherish today is inseparable from the contributions of people like him—and that can never be forgotten.