Zahir Raihan

Amirabad High School (1950): After moving from Calcutta, he completed his matriculation here in Feni.

Jagannath College (1953): He completed his intermediate science (ISc) examinations at this historic institution in Dhaka.

University of Dhaka (1958): He earned his Bachelor of Arts in 1956 and his Master of Arts in Bengali Literature in 1958.

Zahir Raihan commenced his professional journey as a journalist in 1950, joining the newspaper "Juger Alo." His early exposure to the press allowed him to acutely observe the socio-political climate of the era. He subsequently worked for various publications, including Khapchhara and Jantrik, and served as the editor of the magazine Probaho in 1956. During this period, he also cultivated his literary talents, publishing his first collection of short stories, "Suryagrahan," in 1955.

Raihan's transition into the world of cinema began when he worked as an assistant director on the film "Jago Hua Sabera" in 1957. He continued to hone his craft by assisting established directors like Salahuddin and Ehtesham. In 1961, he made his highly anticipated directorial debut with "Kokhono Asheni," marking the beginning of a revolutionary cinematic career. His early films quickly demonstrated his unique ability to blend artistic vision with compelling social narratives.

Throughout the 1960s, Raihan broke new ground in the Pakistani film industry with exceptional technical and creative milestones. In 1964, he directed and produced "Sangam," which made history as the first full-length color movie in Pakistan. The following year, he directed "Bahana," the country's first CinemaScope film. During this incredibly prolific period, he also published his most acclaimed novel, "Hajar Bachhar Dhore," proving his mastery across multiple storytelling mediums.

In 1970, Raihan released his magnum opus, "Jiban Theke Neya," a powerful film that utilized family drama as a metaphor for the autocratic rule in East Pakistan. The film became an immense commercial and critical success, effectively galvanizing the Bengali nationalist movement. As the Liberation War erupted in 1971, he was forced to halt production on his English-language film, "Let There Be Light." He relocated to Calcutta, where he directed the harrowing documentary "Stop Genocide," bringing international attention to the atrocities committed by the Pakistani military.

Following the liberation of Bangladesh, Raihan returned to a newly independent nation in December 1971. Tragically, his older brother, the prominent writer Shahidullah Kaiser, was abducted by anti-liberation forces during the war's final days. On January 30, 1972, Raihan left his home to investigate a tip regarding his brother's whereabouts in Mirpur and was never seen again. Decades later, in 2026, his extraordinary contributions to film and literature continue to be revered, and his disappearance remains a profound national tragedy.

Zahir Raihan was born into a culturally rich environment, heavily influenced by his father, a professor at the Calcutta Alia Madrasah. He shared a profound bond with his elder brother, the celebrated writer and intellectual Shahidullah Kaiser. Their shared commitment to progressive ideals and Bengali nationalism profoundly shaped their respective artistic and political paths.

Raihan experienced a dynamic and highly publicized personal life, navigating two marriages within the film industry. He married his first wife, actress Sumita Devi, in 1961, and they had two sons, Bipul and Anol Raihan. In 1968, he married his leading actress, Suchonda, with whom he had another son, Topu Raihan. Despite the complexities of his personal relationships, he remained a devoted father.

Outside of his intense work in literature and cinema, Raihan was a deeply committed political activist who actively participated in the Language Movement of 1952. His life was entirely intertwined with the struggle for Bangladesh's independence, making immense personal sacrifices for the cause. The tragic disappearance of both Zahir and his brother remains an open wound in the nation's history, symbolizing the immense toll of the 1971 war.