Director Tareque Masud, who co-wrote the script with his wife Catherine, reportedly based The Clay Bird's story on events from his own childhood. The film begins in the 1960s with Anu (Nurul Islam Bablu), a shy young boy from rural East Pakistan, being sent by his orthodox Muslim father to a madrasah (learning center). Far from his family, Anu struggles to acclimate himself to harsh conditions at the school, which is becoming torn between moderate and extremist factions. In the nearby village, similar tensions drive a wedge between proud, stubborn Kazi (Jayanto Chattopadhyay) and his increasingly rebellious wife, Ayesha (Rokeya Prachy). The cultural and religious forces depicted in this 2002 drama—said by some to be one of the most important to come from a Muslim filmmaker—lie at the root of the West's increasing discomfort with some aspects of Islam, and that's why The Clay Bird makes such fascinating viewing. It would be a mistake, though, to see in Masud's visually splendorous film a widespread indictment of life in what is now known as Bangladesh. To the contrary, he celebrates his native land while making a subtle plea for religious tolerance and cultural diversity. Recommended. (E. Hulse)
The Clay Bird
New Yorker, 98 min., in Bengla w/English subtitles, not rated, DVD: $29.95 Volume 21, Issue 6
The Clay Bird
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