He used to call me Mrinal: Golam Farida Chhonda on Mustafa Monwar
For 25 years, Golam Farida Chhonda has been a familiar face on television, appearing in numerous single-episode dramas, telefilms and serials. A graduate of the University of Dhaka’s Department of Theatre, the actor remains active on screen and is currently working on four serials.
Recently, Chhonda spoke to The Daily Star about some of the most memorable moments of her acting career, including her experience working with legendary director Mustafa Monwar.
At one point in her career, Chhonda became completely immersed in acting, working with some of the country’s leading directors. There were even times when she shot every day of the month.
“I received immense love from the audience. There have been many memorable moments in my acting career. One of the biggest was working on a telefilm directed by Mustafa Monwar sir,” she said.
In 2002, Chhonda acted in “Strir Potro”, directed by Mustafa Monwar and based on a story by Rabindranath Tagore. The telefilm went on to earn her widespread praise.
“I still remember the response I received after it was aired. The praise was overwhelming,” she recalled.
But getting the role of Mrinalini was far from certain. Chhonda had to audition for the part.
“Before going for the audition, I thought to myself, ‘How is this even possible? Mustafa Monwar sir is such a great director, and I am going to act in his drama? And that too as Mrinalini?’”
She went to Mustafa Monwar’s office for the audition and found several other actors waiting there. Nervous, she sat quietly as the director guided the candidates through Rabindranath Tagore’s poetry.
“Then my turn came. I read, and he said, ‘Chhonda,’” she said.
At the time, Chhonda assumed that more established actresses would eventually be chosen for the role.
“I thought Shomi, Mitu, Bipasha apa and others would probably be called. Surely one of them would play the character. I didn't think they would choose me.”
After the audition, three or four hours passed before Mustafa Monwar finally told her, “You will come tomorrow. We will start rehearsals from tomorrow.”
“I couldn't believe it,” Chhonda said.
She returned the following day, and what followed was nearly three months of rehearsals. Mustafa Monwar would have her read the letters repeatedly, helping her understand the character and the text.
“Mustafa Monwar sir used to call me ‘Mrinal’. He also called me ‘Mejho Bou’. After about two and a half months, my voice was recorded.”
One day, Mustafa Monwar told her that they had rehearsed enough and that she would not need to rehearse again once they went to the shooting location.
“I was stunned. I asked, ‘What are you saying, Sir? Am I really Mrinalini in ‘Strir Potro’? Even after all those rehearsals, Sir had never told me that I was the one playing the character.”
The production then moved to Cumilla, where the first phase of shooting took place at an old zamindar house. They also shot at Mustafa Monwar’s residence.
“We shot there for three or four days. But suddenly, one day, the owner of the house said he would no longer allow us to shoot there. His son had given us permission earlier, so he was also embarrassed and found himself in a difficult situation. Sir was very upset,” she recalled.
The team had no choice but to return to Dhaka before completing the shoot.
“After about a month and a half, we resumed shooting at Sir’s house. A set had been built in his studio. It turned out beautifully.”
Chhonda also remembers an incident that demonstrated Mustafa Monwar’s meticulous approach to filmmaking.
“One day, the cinematographer was taking a shot, but Sir wasn't satisfied with it. He picked up the camera himself. He understood exactly which lens should be used and how the colours should look. He shot it accordingly.”
The telefilm's broadcast brought Chhonda further recognition. Among the first people to call her was filmmaker and cinematographer Saidul Anam Tutul.
“Saidul Anam Tutul bhai called me first. He praised my performance immensely. He said, ‘Chhonda, why didn't I get the chance to work with you? I've fallen in love with your acting,’” she recalled.
For Chhonda, however, the greatest legacy of “Strir Potro” was what she learned from Mustafa Monwar.
“After doing “Strir Potro”, I have always considered Mustafa Monwar sir my mentor. I will never forget what I learned from him. I will never forget what I learned from Syed Jamil sir either. Sir is no longer with us, but his words still echo in my ears. Being able to act under the direction of such a renowned person was truly one of the greatest experiences of my artistic life.”
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