The answer is a strong 'yes' and Saidul Anam Tutul in his recently made, debut film 'Adhiar'/The Battle of the Sharecroppers, has recounted that great historical occasion for us. It is the 'Thebhaga Movement' of the mid-forties that took shook many regions of Bangladesh. However, it is not one of most publicised events of our history. The mainstream historiography has not given it the attention it deserves.

On the contrary, has not the story of the upsurge of the common people during the 'Thebhaga Movement' been shoved into the background? Facts about it are available only to diligent students who are willing to dig into our past to form an authentic knowledge about our history. Such an enterprise requires not only a passion for knowledge, but also involves labour of love.

The economic crisis in the wake of the Second World War, the famine of '43 and the general exploitation of the peasants by the landed gentry, particularly the zamindars, had almost impoverished the Bengal peasantry. To make things worse, they were denied the fundamental right to the crop they cultivated. The landowners used to take away the lion's share of the produce. With their back against the wall, the peasants, at last, got united demanding two-thirds share of their produce. The landed gentry also didn't sit idle when they saw the peasants uniting for their rights. With the support of the major political forces and the civil and police administration, the two arms of the British imperialism, they, too, organized to quash the movement of the peasants. A confrontation ensued which is known as the 'Thebhaga Movement' or the 'Battle of the Sharecroppers.'

Saidul Anam Tutul's film 'Adhiar's is situated in the context of that movement. It recounts for us the story of the confrontation locating it in Rangpur. One by one, the film brings before us all the major figures involved in the battle -- the peasants, the zamindar and his supporters. The story reaches its climax when the peasants and the forces defending the interest of the zamindar clash and the former score victory. The zamindar of the story runs away even before the battle begins and all his supporters are thoroughly beaten by the peasants for the time being. Even the police flee at the resistance of the peasants. As the film shows us, the Bengal peasantry succeeded in routing their enemies and liberated them at least for a while.

The last shot of the film holds for us a picture of that moment of glorious liberation. The young hero of the film, Sher Ali stands on the main road with his beloved Moti Banu, a simple kitchen maid employed in the zaminder's household, saying farewell to the zaminder's kept Ferdous, who was left behind by the zaminder, but saved by Moti, another representative of the common man, magnanimous enough to show mercy, not seek vengeance. As Ferdous, the last remnant of the zaminder leaves, Sher Ali and Moti stand under the blue sky with the horizon extending endlessly and freed of the forces that had exploited them for ages.

True, the flag of the Communist Party flies at the back of some scenes, but it has to be there for the sake of factual truth. Historically, it is established that only the Communist Party lent support to the movement. Of course, the role of the Congress and the Muslim League with regard to this struggle for survival of the common man is also unmasked. Other than these few references, the political landscape is chaste. There are no political speeches; nor is there any political leader haranguing the people. They organised and fought for their own survival. Saidul Anam Tutul's film quite clearly shows how the personal ultimately becomes political.

Saidul Anam Tutul is one of our perfect film editors and has so far won several national awards for editing. It will require a talent greater than Tutul's to detect possible editorial lapses in his own film. I think it has been executed superbly. His attention to details is of first order, for example, when for the first time, the peasants begin to divide the paddy on their own, a light radiates from Salimuddi's wife's eyes. The light in her eyes comes not from the feeling that she will get a larger share of the crop at last, but from the contentment that, finally, she has been able to assert her control over her own creation. The performance of the actors and actresses, to my view, is incomparable. The veterans like Asad or Champa have shown there acting skills; even the young ones like Litu or Shamim or others do not lag behind. I think it will be difficult to create another portrait of a grandmother ('Thakuma') as Saidul Anam Tutul has done in the film.

The songs of the film are also unique. We know what roles songs or poetry have played in our political movements. For example, who can think of "'Ekushey February' without the song" 'Amar Bhaier Rakte Rangano ...?' In the same way, we know what emotions are evoked by Shamsur Rahman's great poems about Asad's shirt and the alphabet.

Saidul Anam Tutul has recovered some of the lost songs that acted as the mantra of the movement. They are bound to touch the hearts of the people for their melody, elegance and simplicity.

'Adhiar' has taught me that the 1972 constitution was not the result of any political expediency; rather, it tried to make laws that reflected the spirit of the people. For ages the common people of our country lived side by side and fought shoulder to shoulder without allowing religious divide to disrupt their communal harmony.

I could hardly hold back my tears as 'Adhiar' unfolded before me a great tale of suffering, helplessness and finally, of struggle, courage and heroism. However, at my age it is rather embarrassing to yield to emotions openly. One of my younger colleagues, sitting next to me confessed how deeply moved he was by the film. Instantly, I realised Saidul Anam Tutul's success with the film. 'Adhiar' helped me to re-discover not only my closeness with fellow human beings, but also with our history. Once more, congratulations to Saidul Anam Tutul for producing a rare work of art that is both entertaining and educative. I am confident that viewers will also cherish the memory of the film for its pathos as well as its technical virtuosity.

The writer teaches English in the University of Chittagong.