The untapped potential of colour theory in Bangladeshi cinema
Colour theory is a crucial tool in the bond between a story’s narrative and aesthetics, which many local filmmakers seem to be sidestepping
Amitabh Reza's 'Rickshaw Girl' (2021) has a way with colours. Its bold and colourful palette helps the audience see through the eyes of a young and determined girl. The protagonist, a young painter named Naima, is often framed against bright cityscapes. It contrasts her traditional rural upbringing against the modern urban environment.
Colours seem to be a minor detail for post-production, but they end up becoming the driving force in films like Rickshaw Girl.
The use of colour in films is never accidental; it's a deliberate, calculated choice driven by the principles of colour theory. Like art, movies rely on the thoughtful application of colour to enhance storytelling.
Yet, Bangladeshi films seem to be missing one crucial ingredient—colour theory. While the industry has compelling stories to share, thoughtful colour choices could deepen the audience's connection and make these films even more impactful.
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But on the rare occasions it is utilised in local films, the weight of each hue becomes prominent. It shapes the mood and guides emotions, creating an immersive visual experience. The colours function as their own characters within the films, silently influencing the narrative and bringing depth to every scene.
The practice of utilising colour theory is much more prevalent in international films, such as in the works of the renowned cinematographer, Vittorio Storaro. In the documentary 'Visions of Light'(1992), Storaro uses colours to explore the journey of life in the film.
Colour theory enhances textures in cinema and provokes emotions. It also signifies metaphor, which is not commonly explored in Bangladesh
Vittorio's relationship with colour becomes even more visible in his work on 'The Last Emperor' (1987).
"Red is the colour of the beginning, orange is warmth, family and the maternal embrace. Yellow is our identity; it leads the light and represents the sun itself," Vittorio stated in an interview in 'Visions of Light'.
Academy Award-winning cinematographer Roger Deakins, the man behind 'Blade Runner 2049'(2017), is also known for his dexterity with colours. His works stand as a testament to the nuances of colour theory on the screen.
"It is easier to make colours look good, but harder to make it serve your story," stated Deakins to Postpace.
However, when it comes to the context of Bangladesh, Director Amitabh Reza agrees that the film industry has missed the mark in this regard.
"Visually, we are not educated, and there aren't too many examples that can represent colour grading properly," stated Reza.
"However, I try to incorporate colours in my works, and 'Rickshaw Girl' is an example of that. The film is all about colours."
Just as Reza said, 'Rickshaw Girl' really is brought to life through its palette. The rich, saturated colours capture the energy and diversity of Dhaka, symbolising Naima's journey of self-discovery and empowerment despite the challenges of poverty.
'Matir Moina' (The Clay Bird, 2002), directed by the late Tareque Masud, is another example of how colour can reflect emotional and political themes.
Set during the 1971 Liberation War, the film employs a muted, earthy palette that mirrors the simplicity of rural life while hinting at the underlying socio-political struggles.
The natural tones reinforce themes of tradition, innocence, and the tension between conservatism and modernity, grounding the story in authenticity and symbolising the characters' constrained lives within rigid societal structures.
To achieve such depth, cinematographer Ridoy Sarker believes that the pre-production and planning stage is crucial.
"A good cinema requires thorough pre-production, a proper budget, thoughtful colour scheming, time, and detailed discussions about the finer aspects of filmmaking. This is what we currently lack," stated Sarker.
'Aynabaji' (2016) is another example of colour theory done right. The film's noir-inspired palette is dominated by deep blues, heavy shadows, and stark contrasts, which reflects both Dhaka's gritty urban landscape and the morally ambiguous world of its protagonist, Ayna.
Minimal colour grading and low lighting enhance the suspense, while rare moments of warmth suggest that morality in Ayna's world is just as fleeting.
Senior cinematographer Rashed Zaman, who worked on Aynabaji, believes there is a strong bond between colours and the story.
"Colour theory enhances textures in cinema and provokes emotions. It also signifies metaphor, which is not commonly explored in Bangladesh," shared Rashed.
Due to the lack of formal training in Bangladesh, Rashed believes that one has to study classical paintings to understand colour theory. In his words, that is where it all began.
He echoes the sentiment of Sarker, sharing how he depended on the six to eight month long pre-production phase of Aynabaji.
'Deyaler Desh' (2024) is a recent film that uses colour introspectively. It deals with isolation, human resilience, and social reflection, employing a subtle, muted colour palette. The film opts for subdued blues, greys, and browns to emphasise the emotional weight of the narrative.
The use of shadow and light creates a sense of entrapment, both physically and emotionally. As the film progresses, the shift in colour tones mirrors the characters' internal journeys, moving from cold detachment to moments of warmth and hope.
Cinematographer Sahil Rony, who was behind the camera for Deyaler Desh, shared insight on his creative decisions behind the film.
"The story was sombre and in a hospital scene, we avoided white walls, using blue instead to reflect the darkness of the situation," shared Rony.
These films stand testament to how Bangladeshi cinema has the potential to elevate its storytelling through the use of colour theory. This missing element could be key to enriching our films both visually and emotionally.
