Master Bhai: From Rozina’s lodging master to the distributor of 300 films including Tandab and Utsab
Shahidullah—later known to the film industry as “Master Bhai”—is a living witness of Bangladesh’s golden era of cinema. A man who never cared for remuneration, he rose to prominence in the country’s film distribution network owing to his relentless dedication and unparalleled connection with hall owners. This is the remarkable story of a man who quietly became a legend behind the scenes
When Rozina became the face of Maya Bori (Maya pills), she was known as Maya Kannya (Maiden Maya). Her contract with the advertising agency earned her three thousand taka per month, a handsome sum at the time. But that fame came with a price.
Rozina was still about a year away from her debut as a heroine. A live-in tutor (lodging master) was hired for her home — a young man named Shahidullah, from Jajira, Shariatpur. Rozina had four younger sisters and two younger brothers, and Shahidullah was tasked with teaching them all.
Even after being selected for A. J. Mintu's film Mintu Amar Naam (1978), she was eventually dropped. However, the advantage was that since her advert was shown in cinemas, she needed no introduction to audiences.
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Filmmaker F. Kabir Chowdhury gave Rozina her breakthrough as a heroine in the film 'Rajmohol'. The film was a resounding success, and Rozina quickly rose to prominence. Several other films starring her, including 'Shishnag' and 'Sonar Cheye Daami', were also released in 1978.
The following year, ten of her films came out within twelve months. Notable among them were Nishan, Hoor-e-Arab, Anarkoli, Rajnandini and Shahi Darbar. In 1981, films such as Aladdin Alibaba Sindbad, Manoshi, Rajshinghashan and Allah Meherban were released. Within two to three years, she had become the 'Maharani' (Queen) of folk-fantasy cinema.
The schedule manager
Rozina's schedule became increasingly unmanageable. She needed a trustworthy and reliable schedule manager. Shahidullah was already in her household, and with his diligence, he was the obvious choice.
In 1985, Shahidullah graduated and secured a position in the accounts department of the Ministry of Health. Yet, he left the government job after only eleven days and returned to Rozina's family. Gradually, he became a pillar of support.
Around this time, Rozina married producer Fazlur Rashid Dhali. Dhali's production company, Boni Pictures, shared an office with Rozina Films. Shahidullah joined the distribution team under Selim Mohiuddin, the chief. His first experience came with the distribution of 'Roser Baidani'. Initially, eighteen prints of the film were produced, yet it was released simultaneously in twenty-two halls.
Cyclists made it possible
How was it possible to screen a film in twenty-two halls with only eighteen prints?
Shahidullah explained, "That was a fun time. There was no traffic congestion in Dhaka. A group of professionals would cycle from one hall to another, delivering film prints at lightning speed. A single print could serve two halls at once."
A three-hour film was divided into nine metal cans, twenty minutes per can. The first can would begin screening in one hall, and ten to fifteen minutes later, another would start in a second hall. Meanwhile, the cyclist dashed off with the next reel. This continued until the midnight shows were over.
Cinemas in Dhaka such as Shabistan, Manoshi, Lion, Rupmohol and Jonaki often shared film prints. Obhishar also ran on shared prints. The reason was obviously the cost: printing on Japanese Positive cost fourteen thousand taka, while the Chinese Positive, introduced privately, was cheaper by three thousand taka, though it scratched far more easily.
From Shahidullah to Master bhai
'Rosher Baidani' was a runaway hit. With Eid only two weeks away, forty-four more prints were made. By then, the film had already proven its appeal, drawing packed audiences in Dhaka and Narayanganj.
Cine-goers began calling Shahidullah 'Master Bhai' simply because he had once been Rozina's live-in tutor.
"In the eighties, there were between twelve hundred and fourteen hundred cinema halls across the country," he recalled. "Some sub-districts had three halls, like Muktagacha, Nagarpur and Bhurungamari. Modhupur in Tangail had four. The numbers were even higher in Barishal and Bhola."
He added, "Mymensingh and Pabna audiences loved social dramas. But now, with so few halls left, the recently released film Utsab, directed by Tamim Noor, could not be shown widely. If the halls were still operational and the environment conducive, it would have done far better business."
Anything for film promotion — agents even crossed turbulent rivers
In those days, posters were the main form of film promotion. They prominently displayed the stars and the subject matter, and rural audiences decided largely on that basis. Radio advertising reached both cities and villages, while newspapers were more urban in influence.
Films were given to cinema halls in two ways — guarantee money (where the hall owner paid a set fee regardless of success) and percentage (where revenue was shared). Agents played a vital role in transporting film prints and tracking ticket sales.
"Agents would cross turbulent rivers on small launches," Master bhai remembered. "They protected the film prints with their lives. In villages, when they arrived, the excitement was such that people welcomed them as if Wasim or Farooq themselves had come."
Master bhai travelled to sixty districts in his career. In recent years, he has distributed more than a dozen Shakib Khan films, including Tandab, Tufan and Barbad.
Distribution — a game of wit and strategy
After 'Roser Baidani', he distributed Miss Lolita (1986), starring Rozina and Wasim. This experience taught him the intricacies of the trade. He later managed the distribution of Boni Pictures' films.
"Film distribution is actually a game of wit and strategy," he explained. "Releasing a film against a star-studded one is risky. You must follow trends. If martial arts films are in demand, don't release a social drama beside them. A poorly timed release can ruin even a good film."
Giving an example, he said, "Recently, I handled both Tandab and Utsab. Tandab had the bigger star and higher production costs. So, I delayed Utsab by four weeks, until the Tandab frenzy subsided. Utsab then did well comparatively. It won't out-earn Tandab, but its lower budget means the profit margin is higher. It ran for seven weeks in Shyamoli cinema hall alone."
Sustained by honour and affection
Many hall owners in the sixties, seventies and eighties were Hindu families or wealthy businessmen. During the Pakistani era, many non-Bengalis also owned halls, such as Dhaka's Gulistan Cinema and Khulna's Picture Palace.
Today, just over sixty halls remain operational. Yet their names evoke nostalgia: Chompaakoli, Anarkoli, Bonrupa, Monoroma, Cholontika, Hira, Panna, Ayna, Minerva, Jhumur, Jhankar, Chhonda, Chhayabani, Toronggo, Hiramon, Onamika, Falgooni, Modhuchhonda, and so many more.
Some owners keep their halls open out of reputation and affection, not for profit. Master bhai mentioned Iftekharuddin Naushad of Modhumita, Badal Shaheb of Borsha Hall in Tongi, and Siraj Shaheb of Monihar as examples.
A liking for fine tea leaves
Master bhai stayed with Boni Pictures until 1994. He then spent two years in the transport business before returning to cinema with Pinki Films, where he worked until 2010. Afterwards, he freelanced as a distributor.
In 2015, he joined Jaaz Multimedia. From 2018 onwards, Jaaz allowed him to distribute films from other production houses too. Since then, he has continued almost without remuneration, with payment only from Alpha Eye for Tufan.
Now salaried at Jaaz, he has released sixty films for the company. He leads a simple life — unmarried, living with a colleague, eating one proper meal a day and fruit or salad for the other. His only indulgence is a good cup of tea made with fine leaves.
To date, Master bhai has distributed around three hundred films. At sixty-nine, he stands as the last surviving stalwart of his generation in film distribution — a quiet jewel of the industry.
This article was originally written and published in Bangla, and has been translated by Anonno Afroz.
