Sumon channels student movement into new drama

When the student movement began in July, Mezbah Uddin Sumon was one of the vocal supporters on social media, encouraging the students' cause. He remained active in his support throughout the movement, even after 5 August. 

As a playwright who has always been in tune with the pulse of the times, it was natural for him to channel the essence of this movement into his next project.

Sumon, a well-known playwright, has gained a reputation for his compelling way of storytelling. His work has resonated deeply with audiences through dramas like 'Monforing-er Golpo,' 'Monsuba Junction,' 'Neelpori Neelanjana,' 'Neel Projapoti,' and more recent OTT content such as 'Golam Mamun,' 'Tekka' and 'UNO Sir.' 

These stories have made him a familiar name among entertainment enthusiasts. 

Inspired by the recent student-led movement, Sumon is currently penning a long-running serial drama titled 'Gen Z, Tumi Ke Ami Ke?' The drama is set to begin production this month.

Sumon explained that the idea for his upcoming drama originated with director Abu Hayat Mahmud, and together they developed the storyline. The drama centres on a family where the father's authoritarian behaviour creates dysfunction, with the Gen-Z members ultimately challenging his rule. 

Simultaneously, a national movement against dictatorship unfolds, leading to the fall of tyranny both within the family and the country.

Reflecting on the lack of participation from the entertainment industry in the movement, Sumon noted that many new artists, who rose through social media, lacked theatre experience and the moral drive to support the nation. He added that fear of losing popularity kept many from speaking out. 

The controversial stance of Actors' Equity further discouraged participation. 

Sumon expressed deep regret when his organisation failed to condemn the massacre. "It's painful to admit that we couldn't even get a statement from our president or general secretary condemning the massacre," he said, "Our organisation couldn't stand by the nation in its time of need, and there's nothing more heartbreaking than that." 

Sumon believes that had the artist community united as they did during flood relief efforts, the brutality might have been less severe.

Although contemporary events are not often the focus of stories in Bangladeshi dramas and films, recently, local OTT content has begun to reflect real-life issues, and audiences have appreciated this trend. 

However, this trend is less common in TV dramas. 

Sumon explained that TV drama creators often avoid contemporary issues out of fear that they might offend certain groups, leading to legal troubles. He said that this fear has made them shy away from such stories. Over time, this has weakened their ability to speak out, resulting in a decline in unique storytelling. 

"The kind of authority we portrayed in 'Golam Mamun' on 'Hoichoi' or what Ashfaque Nipun showed in 'Mohanagar' could never be shown on TV," he noted. However, Sumon remains hopeful, believing that if TV channel authorities are willing, they can still tell honest, life-based stories.

Sumon, reflecting on his career, said, "To survive, I've had to write romantic and comedic dramas, but I always try to offer something meaningful. However, I know these won't sustain my legacy. To truly survive, I need to tell stories about life itself." 

He noted that out of the 450 scripts he's written, only a few have truly "fed his soul and kept him alive."

As drama production shifts from TV to platforms like YouTube and social media, Sumon believes he plays a key role in bringing audiences back to TV. He remarked, "The playwright holds significant power in TV dramas, but only with system support, which we rarely get. Our vast TV audience consists of women—our mothers and sisters—so we must tell stories that resonate with them." 

Despite the challenges, Sumon remains hopeful. "I love to dream. After the fall of the Ershad dictatorship in 1991, there was a wave of new energy. I believe we will see that again."