For cinema lovers, the Bangladesh Film Development Corporation (FDC) is more than just an institution; it’s a rich history and a unique cultural landmark. Established in 1957, FDC was the country’s sole modern cinema production facility for several decades. Especially from the 1970s to the 1990s, multiple cinema scenes were shot simultaneously on various FDC floors daily. At that time, shooting was primarily done with 16mm and 35mm cinema cameras, which lent a distinct aesthetic to the cinemas. During those days, floors often lacked sufficient artificial lighting, making reliance on natural daylight essential. Due to the limited audio technology available, dubbing was an indispensable part of the process. Critical tasks like cinema dubbing, editing, sound mixing, and even creating background music were all completed in FDC’s own post-production unit. Visually stunning sets were crafted from wood, fabric, paint, and plaster. Artists, technicians, and assistant directors were all dedicated, punctual, and sincere.
National Cinema Award-winning legendary director Kazi Hayat reminisced about those memorable days, saying, “The environment at FDC was extraordinary in our time. The floors were cleaned daily. Shooting at numerous cinemas was taking place simultaneously, and the premises were crowded with people. The makeup rooms were hot and sometimes smelly, yet everyone’s enthusiasm for work was boundless. With so many cinemas underway at once, coordinating schedules proved difficult. Still, efforts were made to complete everyone’s work properly. Those were the real golden days of cinema. Outside cameras were available for rent, but everyone used FDC cameras. Typically, a cinema would be completed in 40-50 shifts.”
Sharing a memory of FDC, Kazi Hayat recalled, “Once during the shooting of the cinema ‘Jontrona’, I suddenly realized that there were no cameras. There were 12 cameras at that time. I was told that all the cameras had been booked and were out on location. I angrily said, ‘Am I not one of the 12 directors?’ Later, Mr. Mozammel ran and arranged for the cameras to be set up. At that time, all cinemas being made were FDC-centric. Commercial considerations were the primary aim, not much attention was paid to aesthetics.”
Regarding the current state of FDC, Kazi Hayat further said, “I don’t work at FDC anymore. I've heard that modern cameras are available outside, but not at FDC. The editing and dubbing facilities aren’t what they used to be; such conditions did not exist in the era of 35 mm cinema.”
On the other hand, cinema director Malek Afsary stated, “In our days, artists used to arrive on set on time and professionalism was of the highest standard. Actors and actresses, artists socialized with each other and visited each other’s sets. We took our shooting scene, my cinema will be completed in 60-70 days. We used daylight because there was not always sufficient lighting. The artists would give maximum effort in front of the camera. FDC was like a family; everyone knew and respected everyone. Extraordinary cinemas were made with the equipment of that time.”
Regarding the current state of FDC, Afsary added, “Cinemas are being made now and will continue to be made in the future, but there is no obligation to make them in the FDC. The need for the FDC is gradually coming to an end.”
Director Isphahani Jahan said, “There was strong cooperation and relationship between everyone working inside and outside FDC. We worked happily, and the cinema business was good. We were sure that the cinema would be successful when it was released. Today, technology has improved, but FDC’s equipment is outdated. Quality technicians have not been produced. As a result, many cinemas are now shot outside the country. People are turning away from FDC because the cost is high. The work that is done for BDT 2 million elsewhere costs about BDT 4 million at FDC. FDC will not be able to restore its previous glory unless various issues are resolved. However, if they focus on modernization, it will certainly bring a significant positive change to our film industry.”
Film industry insiders suggest that the glorious past of FDC has largely faded. The floors of the FDC are now often empty. The producers are shooting in Pubail, Savar, Bandarban, or abroad. The use of digital cameras, drones, and chroma backgrounds has greatly reduced the need for set construction. Everyone is exploring alternative paths to save time and money. Nevertheless, the FDC is still a memorable pilgrimage site for cinema lovers. Timeless classics like ‘ Golapi Ekhon Traine’, ‘Sutorang’, and ‘Beder Meye Josna’ were produced here. It still feels as if you listen closely to the walls of those floors, you might hear the old call: "Light, Camera, Action!"