Set designers: The masters behind the cinematic world
Set designs are dynamic, with each film requiring unique, immersive environments
The blockbuster "Ammajan" featured several shrine scenes, but throughout the entire shoot, protagonist Manna never once stepped on to the set with his shoes on.
Though fully aware it was a mere film set, its striking realism gave Manna pause.
The shrine was designed by Sirajul Islam, one of those architects of movie production who bring cinematic worlds to life, crafting everything from palaces to crime dens, from cityscapes to quiet village homes.
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In 1968-69, amid a politically turbulent Bangladesh, Sirajul Islam arrived in Dhaka and found shelter with his uncle, a guard at Shahnewaz Hall, allocated for fine arts students near New Market.
To earn a living, Sirajul began learning poster and banner painting from Anjan Banik, a student at the hall. Initially, he assisted with mixing colours, earning a few bucks.
But as the Liberation War broke out, Anjan left for India, and Sirajul lost contact with his uncle as well.
Sirajul then found support from two brothers, Malek and Khalek, who worked as set builders at BTV. After liberation, he searched for his uncle in Shahbagh and found him working as a security guard at the main Fine Arts building.
One day, while helping a sculptor at Rayer Bazar Colony, Sirajul had a surprise encounter. A bearded man stood before him. He was stunned before exclaiming, "Anjan Babu, you're alive!"
It was indeed Anjan Banik, who later took him to the FDC, marking the start of Sirajul's career in set design. Over the years, he worked under several industry veterans before getting his first independent project: designing the set for Malek Afsari's "Khotipuron".
"I created a dilapidated house set for the film and it impressed the director. Next came 'Khoma', where I built an abandoned house where terrorists hide actress Shabana's character. The set was so well-crafted that actor Alamgir personally praised me," says Sirajul.
"Set design is not just about assembling props; it's about storytelling," he believes.
New generation takes over
Another set designer Farid Ahmed's journey to the FDC was much shorter. His uncle was none other than Sirajul, by then a respected name in set design. Under Sirajul's mentorship, Farid was introduced to the art.
His first glimpse of the FDC was during the making of "Sohrab Rustam". A desert scene had been meticulously created using bamboo, straw mats, sand and artificial palm trees. The audience never knew that Sohrab and Rustam's legendary duel took place inside the FDC's enclosed Floor 2.
In the 1990s, set-building methods evolved. Earlier, wooden frames were covered with cloth and clay to create a natural look. Later, plywood and fibreboard replaced traditional methods, making large sets easier to build.
Cloth-based sets provided a seamless finish, whereas fibreboard joints were sometimes visible, says Farid.
"The toughest challenge, according to Farid, was crafting caves - using straw mats, paper and mud to create a rough texture with realistic crevices," says Farid.
Farid also worked on slum sets, including one for "Khoma". Creating an authentic slum was tricky - it had to look impoverished yet be comfortable for the lead actress.
As he progressed, Farid found himself designing sets for a new wave of gangster films. For the movie Hero: The Superstar, Farid's team spent 14 days constructing just the entrance to a gangster's mansion. The set cost Tk14 lakh.
In the past, fantasy films dominated, requiring elaborate sets like throne rooms, palaces, fountains and dance halls. Later, film narratives shifted towards feudal households, mirroring the aristocratic homes of landlords and businessmen.
As cinema evolved, set designs became more dynamic - each film demanded unique, immersive environments. Directors ensured that sets weren't just backdrops but integral to storytelling.
Farid learned from renowned set designer Uttam Guha that a well-designed set is not just a background - it speaks for the film itself.
Today, he also designs sets for commercials, events and music videos.
From theatre to cinema
Uttam Guha, born into an artistic family, studied at Chittagong Art College. His passion for films led him to idolise art director Mohiuddin Faroque, whose name he often saw in movie credits.
In 1987, he moved to Dhaka and joined theatres. One day, he spotted Faroque at a rehearsal but hesitated to approach him. Later, he finally met his idol Mohiuddin Faroque, who invited him to BTV to learn set design.
Uttam's first film was Prothom Prem under Faroque's guidance. He suggested creating a mural using thermocol - a material not commonly used in Dhaka at the time.
He sourced it from Chattogram shipyard, crafting a 10x16 ft mural depicting Omar Khayyam and his companions. When painted silver, it looked indistinguishable from carved stone, marking a breakthrough in set design.
For the film Don, he recreated Michelangelo's Leda and the Swan as a wall mural, which even seasoned set designers came to admire.
"Early FDC set designs lacked differentiation — every set, whether a rich man's mansion or a poor man's hut, had the same red carpet. Faroque was the first to challenge this, ensuring that each environment reflected its character's background," says Uttam.
His solo career took off in 1995 with "Onno Jibon", earning him a National Film Award. He believes that while cinematography, sound and editing are crucial, set design is the hardest aspect - often requiring hundreds of labourers.
Uttam has worked beyond FDC, designing sets for "Matir Moyna", "Lalsalu", "Gahin Baluchor" and "Rabeya". His approach remains the same - creating sets that serve the story, whether it's an opulent Swiss villa in Desha: The Leader or a red-earth tribal landscape for Angaar.
As he puts it, "A good set isn't just decoration — it speaks the film's language."
