The art of Foley: Crafting cinematic soundscapes at FDC

How much does a simple sound of a footstep really matter? For a Foley artist, it can completely alter the tone of a movie scene.

Consider the walk of the poor and the walk of the rich. The rich man's stride exudes power, while the poor man's steps are so light, even the ground barely feels his presence.

And these minute sound details are masterfully brought to life by Foley artists.

Talking movies (talkies) began their journey in 1927 with Hollywood's "The Jazz Singer". Two years later, "Show Boat" was released, featuring several sound effects created by Jack Donovan Foley of Universal Studios – what would become known as Foley effects.

In Bangladesh, several sound pioneers shaped the auditory landscapes of local films. Until 1978, filmmakers relied on direct sound recording, capturing both pictures and dialogues simultaneously, with vocals and background music added later in the studio.

From 1978 onwards, Liaquat Ali, with six years' experience at the Bangladesh Film Development Corporation (BFDC) starting as a sound technician, used cassette players and imported sound spools to record ambient sounds at various locations. 

Using a Sony cassette player, Liaquat captured a variety of sounds: aeroplanes taking off and landing, passing trains, buzzing insects, sailing boats, and the roaring sea. Each environment – from desert to cityscape to bridge – offered distinctive auditory experiences.

In the early 1980s, multitrack sound recording gained popularity with the introduction of four- and six-track technologies, allowing for separate tracks dedicated to various sound effects.

However, professional Foley artists were not yet present, and directors' assistants continued handling sound effects work.

Jamal, Shambhu, Anwar

By the end of the decade, Sheikh Md Jamal, who started as an assistant to the movie director Delwar Jahan Jhantu, transitioned his career towards Foley artistry and became essential at FDC.

Jamal learned Foley techniques from Jhantu, known primarily as a movie director, who innovated by using techniques such as clapping hands for horse hooves and employing unconventional items like cigarette packets and lozenge wrappers.

Then came Shambhu Sarkar, also known as Sanjay, who joined the FDC in 1995 with dreams of becoming an actor. He initially undertook menial tasks for directors, later transitioning to stunt work after pursuing small acting roles.

In the late '90s, Shambhu developed an interest in Foley work after observing Jamal. Their bond grew stronger over shared drinks and betel nuts. Recognising Shambhu's interest and the high workload, Jamal invited him to assist in Foley tasks. 

Md Anwar Hossain, another Foley pioneer, initially focused on dubbing but later refined his skills in Foley artistry, forging a close partnership with Jamal. Motivated by Jamal's continuous improvement, Anwar spent nights planning strategies for the challenges of the following day.

During this period, Foley artists created sounds for chaotic scenes, including fight sequences and the sounds of drums being thrown and running.

Shambhu, Jamal, Anwar, and their fellow Foley artists at FDC were known as the "breakers' crew". Their work often involved creating sound effects like breaking glass and tools. They always kept a box of broken items handy for their productions.

140kg Foley box now 40kg

According to Anwar, now in his 60s, Foley is essential for the film's richness and depth. It adds substance that background music or dialogue alone cannot achieve, preventing scenes from feeling empty.

He says Foley stands alone without other sounds, like tapping a finger on a table, which can convey emotions such as happiness, excitement, or absorption.

Anwar now acts in supporting roles and frequently does voice acting. He has dubbed for the Islamic speaker Zakir Naik.

Shambhu, also in his 60s, recalls maintaining Jamal's Foley box, which once weighed 140kg and contained items like torn shoes, rickshaw bells, paper, bricks, carpets, curtains, plastic bottles, and wooden swords.

Today, the box weighs 40kg and remains with Shambhu.

Reflecting on his career, Shambhu remembers busy days before the digital age, working on blockbuster films. "The money I earned per shift covered my living expenses. I did it because I enjoyed it; when I was working, nothing else mattered – not money, not fatigue."

After Jamal's passing, opportunities dwindled, with Shambhu lamenting his last job seven to eight months ago.

Digital sound era

Sajib Ranjan Biswas and Rajesh Saha are busy Foley artists in Bangladesh now with a passion for guitar playing that began in childhood. 

Sajib studied medicine in Pune, India, amidst film student friends and gained experience in Foley through practice films. He later apprenticed at sound studios in Mumbai and Chennai. 

Rajesh completed his Diploma in Sound from Mumbai and both are now sound artists at Cowbell Studio in Dhaka.

Sajib recalls, "Digital sound in our films was introduced by Ratan Paul, who returned in the mid-nineties with a sound engineering degree from India. At that time, digital technology was scarce at FDC and elsewhere."

Ratan Paul said initially he spent more time familiarising the technology. "Only a few were curious enough to explore new possibilities back then."

Artists undervalued

Sajib and Rajesh expressed dismay over the lack of recognition for Foley artists in Bangladesh, despite their significant contributions.

In Hollywood, dedicated studios such as Skywalker and Universal focus exclusively on Foley. Internationally, studios such as Foley Walker Sound in Ukraine and Foley Tales in the Netherlands are highly esteemed.

"The lack of recognition for sound effects as a distinct category leaves us feeling undervalued here. Foley artists often don't receive the acknowledgment they deserve," says Sajib.

"You can tolerate a shaky picture, but without sound, the viewer's experience is incomplete. Even though Jamal Bhai and Shambhu da made crucial contributions, they were seldom acknowledged," he adds.

He notes that survival in the market often requires compromises. Despite the age of OTT platforms, significant progress in this regard has been slow.

In Bangladesh, the film industry now boasts films with substantial budgets, numerous TV channels, and a burgeoning number of OTT platforms. Alongside films, dramas, web series, commercials, cartoons, and music videos, Foley sound is gaining prominence.

However, Ratan Paul hopes that with a new generation of trained youth entering the sound industry, a standardised development of sound art would emerge and with increased recognition of Foley sound in the days ahead.