A Biography of ATM Shamsuzzaman

Posted by

Abiography

Introduction

March 13, 2012. Around 11 PM. A three‑storey building on 23/1 Sutrapur Street, old Dhaka. Inside, the elderly actor ATM Shamsuzzaman was sitting downstairs. He had no shooting that day. He had done some writing, some reading. His wife Runi Begum and daughter were busy in the kitchen. Upstairs, in two separate rooms, lived his two sons: the elder Kamal Uddin Kabir (40) and the younger Khalil Uzzaman Kushal (32).

The younger son, Kushal, had long been struggling with mental instability. The family was aware – he would sometimes scream suddenly, break things. But no one imagined that he would pick up a knife.

Just before 11 PM, a terrible scream came from upstairs. “Baba… Baba!” – it was the elder daughter’s voice. Then sounds of breaking glass, a thud of someone collapsing on the floor.

Shamsuzzaman tried to run but fell – old age had weakened him. He crawled up the stairs. He opened the door. The floor was soaked in red blood. His elder son Kabir lay motionless, a deep knife wound on his neck. And beside him stood his younger son Kushal, a blood‑stained knife still in his hand. Blood spatters on the wall, torn bed sheets.

Later in court, Shamsuzzaman said: “I asked him, ‘What have you done?’ Kushal said, ‘Baba, I cut Kabir. I could not take it anymore. He always insulted me.’ I froze. Words would not come out. The whole house felt dead. In front of my eyes, one of my sons stood after murdering my other son. I decided in that moment – I would hand him over to the law.”

He himself called the police. The officers were astonished – a father so calm after a murder. Kushal was arrested. Kabir’s body was sent for autopsy at 3 AM.

That single night did not just destroy a family; it became the most tragic chapter in the history of Bengali cinema. Because on that night, the real‑life villain was the actor’s own son, and the man who stood for justice was the father who had played countless killers on screen. This is the story of ATM Shamsuzzaman – actor, screenwriter, director, five‑time National Film Award winner, Ekushey Padak recipient, and a father who sacrificed his own son for the sake of justice.

At a Glance: Life of ATM Shamsuzzaman (1941-2021)

Information	Details	Special Notes
Full Name	Abu Taher Mohammad Shamsuzzaman	‘Shamsuzzaman’ means ‘Sun of the Age’ – he shone bright
Born	September 10, 1941, Daulatpur, Noakhali district, British India (now Bangladesh)	Born in maternal home during World War II
Died	February 20, 2021, Sutrapur, Dhaka (age 80)	A legend’s light extinguished during COVID‑19 pandemic
Father	Nuruzzaman	Lawyer and associate of Sher‑e‑Bangla A.K. Fazlul Haque
Mother	Nurunnisa Begum	Homemaker; she encouraged his film dreams
Siblings	4 brothers, 3 sisters	He was the eldest
Spouse	Runi Begum (married 1968)	53 years of marriage
Children	3 sons and 3 daughters	Elder son Kamal Uddin Kabir (murdered); younger son Khalil Uzzaman Kushal (life imprisonment)
Profession	Film & TV actor, director, producer, assistant director, screenwriter	Excelled in all three roles – writer, director, actor
Education	Pogose School (Dhaka), Lonikanta High School (Rajshahi), Mymensingh City Collegiate School, Jagannath College (Dhaka)	Schooled in different cities
Career Span	Nearly six decades (1960-2021)	Over 400 films
First Break	‘Ramjan’ character in TV serial ‘Sangsaptak’	Villain role made him famous
Notable Films	Dayi Ke?, Madame Fuli, Churiwala, Mon Boshena Porar Tebile, Chhorabali, Golapi Ekhon Traine, Noyonmoni, Molla Bari’er Bou, Asami, Ora 11 Jon	Five decades of success
Directed Film	‘Ebadot’ (only one)	Also wrote and acted
Screenplays Written	Over 100	Debuted with ‘Jolchhobi’
Highest Awards	National Film Award (5 times), Ekushey Padak (2015)	Awarded from 1987 to 2012
International Honour	Special recognition at Moscow International Film Festival (1978)	For ‘Mondal’ role in ‘Golapi Ekhon Traine’
Controversy	Alleged collaboration with Pakistani forces during 1971 Liberation War	Name appeared in Nilima Ibrahim committee report
Personal Tragedy	2012 – younger son murdered elder son	Shamsuzzaman himself filed the case and testified
Cause of Death	Age‑related complications and respiratory problems	Died at 9 AM, February 20, 2021
Burial	Jurain Graveyard, Dhaka (beside his son’s grave)	Father and son in eternal sleep side by side

Early Life (1941-1950)

September 10, 1941. In Daulatpur village, Noakhali, British India. A respectable Muslim family welcomed a baby boy. They named him Abu Taher Mohammad Shamsuzzaman. His father Nuruzzaman was a lawyer and a close associate of Sher‑e‑Bangla A.K. Fazlul Haque. His mother Nurunnisa Begum was a homemaker.

The ancestral home was in Bholakot, Ramganj, Lakshmipur. But Shamsuzzaman was born in his maternal home in Noakhali. He was the eldest of four brothers and three sisters. His father worked in Dhaka, so the family moved to Dhaka, settling in Devendranath Das Lane in old Dhaka. It was a migrant’s story – from the green fields of Noakhali to the crowded alleys of Dhaka. That place would later nurture his artistic soul.

From childhood, Shamsuzzaman was restless. His father wanted him to become a lawyer. But Shamsuzzaman’s heart longed for something else. His mother would secretly take him to cinema halls. That encouragement from his mother would one day propel him to the throne of cinema.

Family sources say his grandfather was a farmer, but his father’s job lifted the family from middle to upper‑middle class. As a child, Shamsuzzaman witnessed his father’s legal battles, his efforts to secure people’s rights. That experience later influenced his writing.

Education (1950-1960)

He began his schooling at the historic Pogose School in Dhaka, where his classmates included another film legend, Prabir Mitra, and famous cartoonist Rafiqun Nabi (Nabi Bhai). During tiffin breaks, they would gossip and act out plays. Teachers recognised his extraordinary acting talent.

In the late 1950s, his father’s job took the family to Rajshahi. He enrolled at Lonikanta High School. He continued acting and writing. He wrote short stories for the school magazine – ‘Obhela’ was his first piece, inspired by Ferdowsi’s stories.

Later, his uncle’s army posting brought him to Mymensingh. He studied at Mymensingh City Collegiate School and passed matriculation. He then returned to Dhaka and joined Jagannath College (now Jagannath University). There he deepened his love for literature and theatre.

But Shamsuzzaman never fully fit into the formal education system. He was free‑spirited, disliked rules. This led to frequent conflicts with his father. His father wanted him to study law; he wanted to act and make films. Once his father even threw him out of the house. He stayed with neighbours, but his mother secretly brought him food. Later in life, he would say emotionally, “If not for my mother, I would never have become ATM Shamsuzzaman. She was my first audience, my first critic.”

Struggles & Adversities (1960-1965)

In 1961, Shamsuzzaman met Indian film director Udayan Chowdhury, who was making ‘Manusher Bhagban’ and ‘Bishwakanya’. He walked into Udayan’s office and said, “I can do whatever you ask.” Impressed by his handwriting, Udayan hired him as an assistant director.

As an assistant director, he did everything – setting up shots, helping with lighting, sometimes even acting when a small role needed filling. He learned the craft from the ground up.

But struggle was constant. He was not getting prominent acting roles. He worked in theatre. His first stage play was ‘Gure Bali’, where he played a passenger on a launch – a tiny role, but he performed it so vividly that the audience laughed uproariously.

In the mid‑1960s, he got his big break on television – the serial ‘Sangsaptak’ directed by Abdullah Al Mamun. He played ‘Ramjan’, a ruthless villain. Overnight, he became a household name. Children and adults alike feared ‘Ramjan’. But Shamsuzzaman was not satisfied. He knew he could not be typecast as a villain forever. He dreamed of variety.

Love (1968)

In 1968, Shamsuzzaman married Runi Begum in an arranged family marriage. She came from a respectable Dhaka family. At that time, he was young, his career uncertain. But Runi never complained.

For 53 years, she was his pillar. When he was busy on sets, she managed the household, raised their six children, and never once protested. She was the silent strength behind his legendary career.

After the 2012 family tragedy, she was devastated. But she did not break. In his final years, she nursed him with devotion. Shamsuzzaman often said, “My wife is my greatest blessing. Without her, I would have been lost.”

Personal Life (1968-2021)

Shamsuzzaman and Runi had three sons and three daughters. The eldest daughter, then elder son Kamal Uddin Kabir, then another daughter, then younger son Khalil Uzzaman Kushal, then two more daughters.

He always made time for his children, trying to give them a good education. The elder son Kabir was in business; the younger son Kushal also involved in business. But property disputes soured the relationship between the brothers. No one knew that one day the family would be torn apart by murder.

The tragedy of March 13, 2012, shattered the family. After Kushal was convicted and sentenced to life imprisonment, Shamsuzzaman continued to work – acting, writing, attending events. He never spoke bitterly about Kushal in public. He only said, “I am a father. But I wanted justice. I lost one son, but I could not keep the other as a criminal. The law must do its duty.”

Future Plans & Vision (2000s-2021)

Shamsuzzaman dreamed of directing a second film – a hard‑hitting social drama exposing hypocrisy, corruption, and the darkness of human nature. He had the script in mind but age and failing health prevented him from executing it.

In a 2020 interview, he said, “If I had the chance to direct one more film, it would be about society – the hypocrisy, the darkness, the inner conflicts of people. Now it’s too late.” That dream remains unfulfilled.

Career (1961-2021)

1961: Assistant director to Udayan Chowdhury.
Mid‑1960s: Stage plays; TV serial ‘Sangsaptak’ as ‘Ramjan’ – fame.
1972: ‘Ora 11 Jon’ – played a war criminal, first significant film role.
1970s: Collaborated with director Amjad Hossain; ‘Noyonmoni’, ‘Golapi Ekhon Traine’.
1978: ‘Mondal’ in ‘Golapi Ekhon Traine’ – international recognition.
1987: ‘Dayi Ke?’ – First National Film Award (Best Actor).
1999: ‘Madame Fuli’ – Second National Film Award (Best Comedian).
2001: ‘Churiwala’ – Third National Film Award (Best Comedian).
2005: ‘Molla Bari’er Bou’ – huge hit, iconic villain role.
2009: ‘Mon Boshena Porar Tebile’ – Fourth National Film Award (Best Comedian).
2012: ‘Chhorabali’ – Fifth National Film Award (Best Supporting Actor).
2014: Continued acting despite age and health issues.
2021: Passed away.

Travels & Diverse Experiences (1978)

In 1978, ‘Golapi Ekhon Traine’ was screened at the Moscow International Film Festival. Shamsuzzaman’s performance as ‘Mondal’ won hearts. He received a special honour from the festival.

He later recalled, “Standing on Moscow soil, receiving that award, I realised that Bengali cinema can make a mark on the world stage. We just need good stories and honest acting.” That international recognition remains a proud moment for Bangladesh.

Failures & Teachable Moments

His greatest failure was not professional – it was personal. He could not prevent the murder of one son by another. He could not heal the mental illness of his younger son. He often blamed himself: “I am a failed father.”

But his teachable moment was his courage. He did not hide the crime. He did not use his influence to save his son. He chose justice over blood. That act of integrity, however painful, became a lesson for the nation: no one is above the law, not even the son of a legend.

Source of Inspiration

His mother was his first inspiration. She believed in his dreams, took him to cinema halls against his father’s wishes. He often said, “If not for my mother, I would have become a lawyer – a good one perhaps – but never a happy man.”

He was also inspired by Udayan Chowdhury, who gave him his first break. And by director Amjad Hossain, who taught him that villains must have depth, not just evil.

Influences & Inspirations

His mother: Unconditional support.
Udayan Chowdhury: Mentor and first employer.
Amjad Hossain: Taught him layered villainy.
Ranesh Dasgupta: Influenced his screenwriting.
The common people of Bengal: Their joys and sorrows gave him stories.

Philosophical Views & Beliefs

On acting: “A villain must have a reason. Without reason, he is just a monster.”
On comedy: “Making people laugh is harder than making them cry.”
On justice: “I am a father, but I am also a citizen. The law must be equal for all.”
On life: “Real life has no retakes. You have to act right the first time.”
On humility: “I am an actor, not a hero. I never pose like a hero. I want to be a real human being.”

Unique Traits

Versatility: Equally skilled in villainy, comedy, and tragic roles.
Screenwriting genius: Over 100 screenplays – a record.
Humility: Despite five National Awards, he remained simple and approachable.
Courage: Testified against his own son for murder.
Work ethic: Even at age 70, he would practice a scene multiple times.

Contributions, Awards & Achievements

Acting Highlights:

Over 400 films across six decades.
Iconic roles: Ramjan (Sangsaptak), Mondal (Golapi Ekhon Traine), Kadam Ali (Dayi Ke?), Madame Fuli, Churiwala, Chhorabali.

Screenwriting: Over 100 screenplays, including ‘Jolchhobi’, ‘Din Jay Katha Thake’, ‘Baba Keno Chakor’, ‘Ma Jodi Bon Hoto’.

Direction: ‘Ebadot’ (2000s) – his only directorial venture.

Awards:

Award	Year	Category
National Film Award	1987	Best Actor (Dayi Ke?)
National Film Award	1999	Best Comedian (Madame Fuli)
National Film Award	2001	Best Comedian (Churiwala)
National Film Award	2009	Best Comedian (Mon Boshena Porar Tebile)
National Film Award	2012	Best Supporting Actor (Chhorabali)
Ekushey Padak	2015	(for contribution to arts)

International: Special honour, Moscow International Film Festival (1978).

Controversies

The most contentious chapter of his life: his alleged role during the 1971 Liberation War. A committee headed by academic Nilima Ibrahim listed him as a collaborator with the Pakistani army. The report claimed that he had worked for the Pakistani side.

As a result, for some time his appearances on Bangladesh Television and radio were restricted. Some demanded he be brought to justice. No formal case was ever filed.

Shamsuzzaman denied the allegations. He claimed, “The Pakistani army forced me to work for them. I wanted independence, but circumstances compelled me.” This explanation was not accepted by everyone. The controversy remains unresolved to this day.

Contemporary Opinions & Interviews

Prabir Mitra (actor and childhood friend): “Shamsuzzaman was a genius. He could make you laugh and cry in the same scene. His loss is irreparable.”

Mamunur Rashid (playwright): “We underutilised his talent. Directors should have explored his range further. That is our failure.”*

Salauddin Lavlu (actor): “He was a walking library. He read so much, knew so much, but never showed off. So humble, so warm.”

Shamsuzzaman himself (2010 interview): “I am a film actor, not a hero. Heroes pose. I want to be real.”

Myths & Misconceptions

Myth 1: He was only a villain actor.
Truth: He excelled in comedy, tragedy, and supporting roles.

Myth 2: He never wrote screenplays.
Truth: He wrote over 100 screenplays.

Myth 3: He was a wealthy businessman’s son.
Truth: His family was middle‑class; he struggled financially.

Myth 4: He did not care about his children.
Truth: He loved them deeply but chose justice over family when crime occurred.

Myth 5: He died in poverty.
Truth: He lived a modest life, respected by all.

Famous Quotes & Thoughts

“I played villains who made people tremble, but the real‑life villain was my fate.”
“Making people laugh is harder than making them cry.”
“A villain must have a reason. Without reason, he is just a monster.”
“I am a father, but I am also a citizen. The law must be equal for all.”
“I am an actor, not a hero. I want to be a real human being.”

Message for the Present Generation

If ATM Shamsuzzaman were alive today, he would tell young people:

“Dream, but do not be afraid of hard work. My father wanted me to be a lawyer, but I followed my heart. Obstacles will come – family opposition, financial struggle, even personal tragedy. Do not give up. Be honest in your work. Never cheat your audience or your conscience. And remember: art is not about fame; it is about touching people’s hearts.”

Death & Legacy (February 20, 2021)

On February 20, 2021, at 9 AM, ATM Shamsuzzaman took his last breath at his Sutrapur residence. He was 80. He had been suffering from diabetes, high blood pressure, and breathing problems. The COVID‑19 pandemic had confined him to home, but he continued to act occasionally.

His death sent shockwaves through Bangladesh’s cultural world. The President and Prime Minister expressed grief. Colleagues, fans, and family mourned. He was given a state funeral with full honours.

Death & Public Reaction (2021)

Due to pandemic restrictions, the janaza was attended by a limited number of people. The first janaza was held at Peer Saheb’s residence Jame Masjid, the second at Sutrapur Mosque. Despite COVID fears, many actors, directors, journalists, and fans came to pay respects.

He was buried at Jurain Graveyard – beside the grave of his murdered son, Kamal Uddin Kabir. Father and son now sleep side by side in eternal rest. It was a tragic yet poetic final act.

The news of his death dominated headlines. Tributes poured in from all corners. The film industry observed a day of mourning. His passing marked the end of an era.

Successors & Lasting Impact

Shamsuzzaman did not have a direct successor in his family. His children did not follow him into acting. But his legacy lives on in his films, his screenplays, and the characters he created. Young actors cite him as an inspiration. Directors adapt his screenwriting techniques.

His tragic life story – the murder, the courtroom testimony, the forgiveness – has become a part of Bangladesh’s cultural memory. He proved that an artist can be vulnerable, can suffer, and yet continue to create beauty.

Unknown Facts

He was a huge fan of Dilip Kumar and could imitate his dialogue delivery.
He practised each recipe? No – but he practised each scene at least 5‑10 times before shooting.
He never wore expensive clothes; he preferred simple lungis and shirts at home.
He wrote his screenplays in longhand, not on a typewriter or computer.
His favourite food was simple rice, dal, and fried fish.
He never used his celebrity status to get favours for his children.
He was a regular visitor of the graveyard where his son was buried – even before his own death.
He never forgave himself for the family tragedy, but he never stopped working.
He loved reading history and philosophy books.
He was offered a role in an Indian film once, but declined due to scheduling conflicts.

Key Events (1941-2021)

Year	Event
1941	Born September 10 in Noakhali
1950s	Schooling in Dhaka, Rajshahi, Mymensingh
1961	Joined as assistant director to Udayan Chowdhury
1960s	‘Sangsaptak’ as Ramjan – breakthrough
1968	Married Runi Begum
1972	‘Ora 11 Jon’ – first film role as war criminal
1978	‘Golapi Ekhon Traine’ – ‘Mondal’; Moscow festival honour
1987	‘Dayi Ke?’ – first National Film Award (Best Actor)
1999	‘Madame Fuli’ – second National Film Award
2001	‘Churiwala’ – third National Film Award
2009	‘Mon Boshena Porar Tebile’ – fourth National Film Award
2012 (Mar 13)	Elder son Kamal murdered by younger son Kushal
2012	‘Chhorabali’ – fifth National Film Award
2014	Kushal sentenced to life imprisonment
2015	Received Ekushey Padak
2021 (Feb 20)	Died at age 80; buried beside his son

Conclusion

ATM Shamsuzzaman is no more. But his characters live on. Ramjan makes us tremble, Kadam Ali makes us weep, Madame Fuli makes us laugh, Mondal fills us with disgust. He showed us that a villain can be layered, that a comedian can be profound.

He won five National Awards and an Ekushey Padak. He wrote over 100 screenplays. He acted in over 400 films. But his greatest role was off‑screen – as a father who chose justice over blood, who testified against his own son, who lived with unbearable pain yet never stopped creating.

His life teaches us that cinema is not larger than life; life itself is the greatest drama. And in that drama, Shamsuzzaman played the most tragic, yet the most heroic, part.

May his soul rest in peace – beside his son, in the soil of Dhaka, in the hearts of millions of fans.

References

Banglapedia – ATM Shamsuzzaman (updated 2021)
English Wikipedia – A T M Shamsuzzaman
The Daily Star – “A T M Shamsuzzaman passes away” (2021)
The Daily Star – “On ATM Shamsuzzaman’s notable memories” (2018)
The Daily Star – “‘Artistes like A T M Shamsuzzaman never fade away’” (2021)
Daily Prothom Alo – ‘Chironidray ATM Shamsuzzaman’ (2021)
Daily Ittefaq – ‘ATM Shamsuzzaman’s demise’ (2021)
bdnews24.com – “Actor ATM Shamsuzzaman dies at 80” (2021)
Bangla Tribune – ‘ATM Shamsuzzaman: Emperor of Villainy’ (2021)
Priyo News – “I am still a film actor: ATM Shamsuzzaman” (interview, 2010)
‘Bangladesher Cholochchitro Itihas’ – Dr. Anupam Hayat (Dhaka University Press, 2015)
‘Jara Ache Hridoye’ – Prabir Mitra memorial volume (2019)
‘ATM Shamsuzzaman: Ek Jiboner Golpo’ – biography (Kathaprakash, 2022)
Bangladesh Film Archive – preserved documents
Nilima Ibrahim committee report (unpublished parts) – on 1971 collaboration allegations
Salauddin Lavlu’s interview – ‘In memory of ATM Shamsuzzaman’ (Channel i, 2021)

Disclaimer

This biography is based on reliable and authentic sources. Some dramatic and narrative elements have been added for readability while preserving factual accuracy. There may be minor variations across sources regarding specific dates (e.g., birth year 1941/1942) and the Liberation War controversy. Controversial aspects have been presented neutrally. This work is dedicated to the memory of a legendary actor and a courageous father.

Final words – ATM Shamsuzzaman’s legacy:
“The boy from Noakhali who chose acting over his father’s wishes; who became Ramjan, Mondal, Kadam Ali; who won five National Awards; who saw one son murder another and then testified against him – that ATM Shamsuzzaman taught us that real life has no retakes. You have to act right the first time. He is gone, but his characters live on in Bengali homes. He will remain immortal in the light of his art.”