A Biography of Sumita Devi

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Introduction

Among the few names written in golden letters in the first chapter of the history of Bangladeshi cinema, Sumita Devi is one of the foremost. She is called the ‘First Lady of Bengali cinema’. Because she was the cradle through which the concept of the heroine began in Bengali cinema. Although she debuted in 1959 with ‘Akash Ar Mati’ and ‘E Desh Tomar Amar’, her main fame came through the 1960 film ‘Asia’. This film won the President’s Award, and she established herself as the first successful heroine of East Bengal after Partition.

Her career spanned 45 years. She acted in approximately 200 films and over 150 radio and television plays. Additionally, as a producer, she established ‘Mita Films’ and produced five films. During the Liberation War of 1971, she played a vital role as a voice soldier of the Swadhin Bangla Betar Kendra. Her list of awards and honours is long – All Pakistan Critics Award (1962), Nigar Award (1964), Bachsas Award, Television Reporters Association Award, Agartala Freedom Fighter Award (2002), Jonokantho Gunijan Honour (2002), and many more.

In her personal life, she first married Amulya Lahiri. That marriage did not last; in 1962, she married legendary filmmaker Zahir Raihan and converted to Islam, taking the name Nilufar Begum. After Zahir Raihan disappeared in 1972, she raised her children as a single mother. She passed away on 6 January 2004. In this 28-chapter biography, we will detail Sumita Devi’s childhood, education, acting career, production work, contribution to the Liberation War, awards, personal life, and legacy.

At a Glance: Life of Sumita Devi

Information	Details	Special Notes
Full Name	Sumita Devi (Hena Bhattacharjee); after conversion, Nilufar Begum
Profession	Film Actress, Producer, Director, Freedom Fighter	Known as ‘First Lady of Bengali Cinema’
Birth	2 February 1936 (some sources 1939), Shalghar village, Pabna district (ancestral home: South Khalli, Manikganj)	Brahmin family
Death	6 January 2004 (age 67/68), Dhaka, Bangladesh	Due to brain haemorrhage and kidney-liver complications
Father	Unknown (Brahmin, poor family)
Mother	Unknown (homemaker)
Education	Some schooling at local schools; no formal degree	Self-taught; fluent in Bengali, Urdu, English, Hindi
Religion	Born Hindu; converted to Islam in 1962	Took the name Nilufar Begum
Nationality	Bangladeshi (formerly British India & East Pakistan)
First Film (unreleased)	‘Matir Pahar’ (1959)	Did not get released
First Released Film	‘Akash Ar Mati’ (1959) & ‘E Desh Tomar Amar’ (1959)	Second was widely successful
First Urdu Film	‘Dhoopchhaon’ (1964)	Released in West Pakistan
Career Span	1957–2004 (approx. 47 years)
Total Films	Over 200 (Bengali, Urdu)
Produced Films	‘Agun Niye Khela’ (1967), ‘Momer Alo’ (1968), ‘Mayar Sansar’ (1969), ‘Adorsho Chhapakhana’ (1970), ‘Notun Probhat’ (1970)	Production house ‘Mita Films’
Notable Films	‘Asia’ (1960), ‘E Desh Tomar Amar’ (1959), ‘Kokhono Asheni’ (1961), ‘Sonar Kajol’ (1962), ‘Kancher Deval’ (1963), ‘Behula’ (1966), ‘Ora 11 Jon’ (1972), ‘Devdas’ (1982), ‘Moha Milan’ (1995)
Highest Honours	All Pakistan Critics Award (1962), Nigar Award (1964)
Contribution to Liberation War	Voice soldier of Swadhin Bangla Betar Kendra, organiser of refugee artists	Recognised as a valiant freedom fighter
First Spouse	Amulya Lahiri (married young; divorced 1961)	Lawyer and communist activist
Second Spouse	Zahir Raihan (married 1962)	Legendary filmmaker; disappeared in 1972
Children	One son & one daughter from first marriage; Onol Raihan & Bipul Raihan (two sons) from Zahir Raihan	Onol Raihan is a lyricist and journalist
Social Work	Active participation in Liberation War, helping refugees in Kolkata
Controversy	Divorcing first husband to marry Zahir Raihan and converting religion – faced severe criticism	Attempts at boycott, but she continued her work
Nicknames	‘First Lady of Dhallywood’, ‘First Heroine of Bengali Cinema’
Autobiography	‘Jibon Nodir Tire’ (1991, Bichitra Eid issue)	Transcribed by son Onol Raihan
Burial	Mirpur Shaheed Buddhijibi Graveyard, Dhaka	Buried with state honours

Early Life (1936–1944)

On 2 February 1936, in Shalghar village of Pabna district, then British India, Hena Bhattacharjee was born into a Brahmin family – the girl who would later become the legendary ‘Sumita Devi’. Why was she born in Pabna? Because, according to the social custom of the time, daughters were sent to their maternal homes for childbirth. Hena’s mother’s ancestral home was in South Khalli village, Manikganj, but for some reason, they were staying in Shalghar, Pabna. That is where Hena was born. In her autobiography ‘Jibon Nodir Tire’, she wrote, ‘I was born in 1937 in Pabna, in Shalghar village. At that time, daughters had to go to their father’s home before childbirth. That is why, despite Manikganj being our family home, I was born in Pabna.’

Her father was a poor Brahmin. The family survived by performing religious rituals. Her mother was a homemaker. The family’s financial condition was not good. Yet, there was no lack of cultural practice at home. During Durga Puja, the house would be filled with festivities. Little Hena would steal offerings meant for the deity, play at diving into the river to collect clay. Once, she found a Shalgram shila (a symbol of Lord Narayan) from the Dhaleshwari river, which overwhelmed the entire family. That childhood exuberance and mischievousness later infused life into her acting.

Hena’s childhood was spent in Manikganj and Dhaka. In 1944, when she was only 8, the family permanently moved to Dhaka. They began living in Dhaka even before Partition. She grew up amidst the political tensions and communal riots of that time. As a child, she was very sensitive; the crying, death, and grief of neighbours affected her deeply. That pain and emotion later helped her portray such feelings on screen. But the unrest around them in Dhaka increased so much that the family moved to Kolkata in 1951. There, her opportunities in acting began.

Her story of poverty is very touching. She wrote in her autobiography, ‘I grew up in great hardship. Sometimes I couldn’t eat enough. But I very much wanted to study, sing, and learn.’ Her mother was her first teacher, teaching her songs and recitation. Even while going hungry herself, she taught her daughter. Sumita Devi never forgot that maternal sacrifice.

Education

Sumita Devi’s formal education was very limited. She studied for some time at a local school in Manikganj. But due to family poverty and unrest, she could not continue her studies. However, she did not stop acquiring knowledge. She was extremely talented and self-taught. Her command of the Bengali language was extraordinary. Additionally, she was fluent in Urdu, Hindi, and English. Her interest in learning languages was intense.

Though not formally educated, she read the Puranas, novels, and poetry with deep attention. She was a devotee of Tagore and Nazrul. She also knew religious scriptures and mythological stories. This interest later helped her in ‘selecting stories’ and understanding characters. She did not just style herself as a screen heroine but grew as a well-read and knowledge-thirsty person. It is known that she read Shakespeare’s plays sitting in libraries. According to her, ‘An actress has to understand every character; even without formal education, knowledge must be acquired through a thirst for knowledge.’

Especially while acting in Urdu films, she mastered the language. She would work hard to learn vocabulary and pronunciation. This self-taught skill helped her work on international projects. The success of ‘Dhoopchhaon’ and ‘Sangam’ was a blend of her language skills, hard work, and talent. The lack of education never diminished her; rather, she proved that true education can be gained from life.

In an interview, she said, ‘I wish I could have read books, but I couldn’t. Still, I learned from conversations, film scripts, and co-artists. No knowledge went in vain.’ Sumita Devi proved that with talent and hard work, one can rise to heights even without formal certificates.

Debut on Stage and Radio

After moving to Kolkata, Hena’s artistic soul gradually awakened. The cultural environment there drew her in. She began singing and reciting on radio. Her voice won the hearts of listeners at Kolkata Radio. She had not yet thought about films. But a producer named Nazir Ahmed, impressed by her voice and acting talent, offered her the lead role in the film ‘Asia’.

Before that, she had acted in small stage plays. She joined a theatre group in Kolkata. Those experiences gave her confidence to work before the camera. Her voice modulation and ability to express emotion improved through radio work. In 1957, work began on ‘Asia’. That was her first foray into cinema. On stage, she acted in plays like ‘Purnashri’, ‘Sansar’, ‘Se Ratri’ and was quite praised.

Her radio career lasted about five years. There, she lent her voice to songs, recitations, and small plays. The sweetness of her voice caught everyone’s attention. This experience later proved very useful in film work. She could sing herself, but did not get playback opportunities in films; nonetheless, she could bring out emotion and expression in song sequences with extraordinary skill. Those radio and stage experiences became an essential foundation for her film career.

Debut in the Film World (1960)

In 1957, when Fateh Lohani was looking for a heroine for his film ‘Asia’, Nazir Ahmed mentioned Hena Bhattacharjee. A screen test was taken. Impressed by Hena’s acting and beauty, Fateh Lohani selected her. He changed her name to ‘Sumita Devi’. ‘Sumita’ means well-behaved, and ‘Devi’ was then part of film heroines’ names. Fateh Lohani felt this name would leave a mark on audiences. Hena did not like the name at first but agreed to the director’s decision.

The making of ‘Asia’ took time before its release. First, ‘Akash Ar Mati’ and ‘E Desh Tomar Amar’ were released in 1959, marking Sumita’s first released films. But ‘Asia’ was released in 1960. The film was extraordinarily successful and won the President’s Award for Best Bengali Film of 1960. Sumita Devi played a courageous young woman named ‘Asia’. The film was praised in both East and West Pakistan. Overnight, Sumita Devi became the country’s top heroine.

Before her, there was no concept of a heroine in East Pakistan; female characters were rarely seen on screen. Sumita Devi changed that perspective. She proved that a heroine could also draw audiences. The success of ‘Asia’ brought her the title ‘First Lady’. The film’s story was of a tortured woman’s struggle for liberation, where Sumita’s character walked the path of revolution. This timely story touched audiences’ hearts. Sumita Devi mesmerised everyone with her bare tears and simple expressions.

‘E Desh Tomar Amar’ and Widespread Popularity (1959)

Although ‘Asia’ was Sumita’s most discussed film, ‘E Desh Tomar Amar’ (1959) brought her to audiences for the first time. Directed by Ehtesham, she played ‘Shahana’ – a patriotic and self-respecting character. The story blended patriotism and love. The film was commercially successful, and its song ‘Noyone Laglo Je Rang Aha Ta Keu Janlo Na’ became immensely popular. Through this film, Sumita Devi carved a place for herself in East Bengal’s exhibitionary spaces.

She worked with powerful actors like Khan Ata and Subhash Dutta. This film’s success paved the way for ‘Asia’. ‘E Desh Tomar Amar’ holds a special place in the history of the subcontinent, becoming a symbol of the renaissance of then East Pakistan. The film’s dialogues and songs carried an independent mindset. Sumita Devi’s character Shahana was patriotic and dignified. This acting made her eternal in audiences’ eyes.

In the film’s scenes, Sumita’s expressions were so vivid that audiences would cry. From then on, she was called the ‘Queen of Tears’. She never used glycerin for crying scenes; she shed real tears from genuine emotion. That was the specialty of her acting.

Meeting Zahir Raihan (1961)

In 1961, Zahir Raihan made ‘Kokhono Asheni’. Sumita Devi played ‘Mariam’. In that film, Sumita Devi and Zahir Raihan met for the first time. Zahir Raihan was a talented filmmaker, writer, and journalist. He was charmed by Sumita’s acting and beauty. Sumita was also attracted to his professional dedication and thinking. During the shoot, their friendship gradually deepened. That liking turned into love.

‘Kokhono Asheni’ was a wonderful love story that created a sensation upon release. The film’s songs and superb acting overwhelmed audiences. Sumita Devi and Zahir Raihan – this pair also made history off screen. In ‘Kokhono Asheni’, Zahir Raihan was the director and Sumita Devi the actress. Their professional relationship later became personal. Zahir Raihan’s simple personality and high thinking drew Sumita, and Sumita’s beauty and acting skill drew Zahir. The character ‘Mariam’ was one of the most challenging roles of Sumita Devi’s career. She completed it successfully.

After the film’s release, there was a huge response. Critics wrote, ‘Sumita Devi is extraordinary as Mariam in “Kokhono Asheni”.’ The film was so popular that audiences watched it standing in cinema halls. This success brought Zahir Raihan and Sumita Devi even closer.

Controversy (1962)

After the release of ‘Kokhono Asheni’ in early 1962, Sumita Devi and Zahir Raihan married. Before this, Sumita Devi had divorced Amulya Lahiri. They had lived together for a few years but separated for various reasons. To marry Zahir Raihan, she had to convert to Islam – taking the name ‘Nilufar Begum’. However, on screen, she continued acting as Sumita Devi.

This decision sparked intense controversy. A section of society and the film fraternity attacked her with labels like ‘apostate’, ‘husband-abandoner’. Some called for a boycott of her films. Media outside the country also mocked this marriage. A Pakistani newspaper called Sumita Devi a ‘sweet-eating widow’. But Sumita Devi did not give in. She wanted to establish herself as an artist and an independent person. Zahir Raihan gave her full support. Together, they worked and built a family. This controversy subsided over time, as both left their mark with extraordinary talent.

Sumita Devi’s decision was a bold step in favour of women’s rights and freedom. In the society of that time, a woman marrying twice and converting religions was almost unimaginable. She proved that a woman could live her life on her own terms. She would say, ‘I have found whom I loved. I saw no obstacle in religion. The Creator is one.’ That self-confidence helped her face the controversy.

Debut in Urdu Films(1964)

In 1964, Sumita Devi acted in the West Pakistan production ‘Dhoopchhaon’. It was the first time an actress from East Pakistan worked in West Pakistan. Opposite her was West Pakistan’s popular hero Ejaz. The film was hugely successful, and Sumita Devi won the hearts of West Pakistani audiences. She was accepted in all major cities including Karachi and Lahore. Newspapers in West Pakistan filled pages praising her.

The same year, she also acted in ‘Sangam’, also in Urdu. The film was directed by Zahir Raihan, opposite Khalil. ‘Sangam’ was a great success and gained popularity in both wings of Pakistan. The success of these two films brought Sumita Devi international recognition. She proved that language is not a barrier; good acting wins everyone’s heart.

Through Urdu films, she acted in about ten Urdu films, including ‘Ekraja’, ‘Khawab’, ‘Shamsan’, ‘Chand’. These are written in golden letters in the history of Pakistani cinema. Especially in ‘Khawab’, she played a spiritual woman and was widely praised. The success of these films made Sumita Devi a first-class heroine of the subcontinent.

Zahir Raihan’s ‘Kancher Deval’ and the Nigar Award (1963)

In 1963, Zahir Raihan made ‘Kancher Deval’. It was a dramatic film set against a feudal backdrop, dealing with love and sacrifice. Sumita Devi played a supporting role. The film earned critics’ praise, and Sumita’s acting particularly caught attention. For this film, she won the Nigar Award for Best Supporting Actress. The Nigar Award was the highest film honour in then Pakistan. She was the first and only actress from East Pakistan to receive this award. It was a milestone in her career.

The award ceremony was held in Karachi. As an actress from East Pakistan, Sumita Devi held her head high in West Pakistan’s film arena. News and photos of her receiving the award made front-page headlines.

Before this, in 1962, she had received the ‘All Pakistan Critics Award’, an international standard honour. That year, she was already collecting awards. A body of critics and film reviewers recognised her as the best actress of East Pakistan. These awards made Sumita Devi even more confident.

Sumita Devi as Producer and ‘Mita Films’ (1967–1970)

Sumita Devi was not only an actress but also a visionary producer. She established the production company ‘Mita Films’. Under this banner, she produced five films:

‘Agun Niye Khela’ (1967) – co-directors Amjad Hossain & Nurul Haque Bachchu
‘Momer Alo’ (1968) – director Mostafa Mahmud
‘Mayar Sansar’ (1969) – director Mostafa Mahmud
‘Adorsho Chhapakhana’ (1970) – director Mostafa Mahmud
‘Notun Probhat’ (1970) – director Mostafa Mahmud

She also acted in lead roles in these films. As a producer, she strove to make quality films. ‘Mayar Sansar’ and ‘Notun Probhat’ were commercially successful. ‘Mayar Sansar’ told the story of a woman’s survival in the household, inspiring many female viewers. She was the first female producer in Bengali cinema. She proved that women could succeed not only in acting but also in production. In the 1960s, ‘Mita Films’ was a symbol that female entrepreneurs could lead in the film industry. During production, she was directly involved in fundraising, shoot management, and post-production. This experience matured her as an artist.

However, producing also brought financial losses. Still, she never backed down. This courage gave her even more prestige as the ‘First Lady’.

Notable Films and a Wide Career

Sumita Devi acted in countless films during her career. Some notable ones:

‘Matir Pahar’ (1959) – first work, unreleased
‘Akash Ar Mati’ (1959) – first released
‘E Desh Tomar Amar’ (1959) – first success
‘Asia’ (1960) – classic, President’s Award
‘Kokhono Asheni’ (1961) – first work with Zahir Raihan
‘Sonar Kajol’ (1962) – jointly directed by Kolim Sharafi & Zahir Raihan
‘Kancher Deval’ (1963) – Nigar Award
‘Ei To Jibon’ (1964) – directed by Jillur Rahim
‘Dui Diganto’ (1964) – directed by Obaidul Haque
‘Behula’ (1966) – Zahir Raihan, as Manasa Devi
’13 No Faku Ostagar Lane’ (1966) – Bashir Hossain, with child artist Baby Zaman
‘Abhishap’ (1967) – Rashid Asghar Chowdhury
‘Agun Niye Khela’ (1967) – her own production
‘Bally Bondhu’ (1968) – Amjad Hossain
‘Mayar Sansar’ (1969)
‘Oporajey’ (1967) – M. A. Hamid
‘Ora 11 Jon’ (1972) – first Liberation War film after independence
‘Devdas’ (1982) – Chashi Nazrul Islam, as Devdas’s mother
‘Chitra Nodir Pare’ (1999) – Tanvir Mokammel
‘Moha Milan’ (1995) – as Salman Shah’s mother
‘Phulkumar’ (2003) – last film, as grandmother

From the mid-1970s, besides acting, she focused on raising her children. But she continued to occasionally play mother, grandmother, and aunt roles. Her performance as the mother in ‘Devdas’ was highly praised. The role of Salman Shah’s mother in ‘Moha Milan’ was a memorable late-career work. Especially in ‘Devdas’, her character as the mother is still discussed. Her dialogue, ‘Give me back my Devdas’, made audiences cry.

A Brave Soldier of the Liberation War (1971)

The most glorious chapter of Sumita Devi’s life was the great Liberation War of 1971. She was not just an artist but jumped directly into the war. When the Pakistani army began its atrocities in March 1971, she took refuge in Kolkata with her family. There, she was stunned. She could not sit idle for long. She tried to organise the refugees and artists there.

She became one of the voice soldiers of the Swadhin Bangla Betar Kendra. She regularly delivered speeches and songs for the people of the country. Her voice would cross the border and reach the ears of Bengalis. She brought together female artists to organise various events. She visited freedom fighter camps in Kolkata to boost morale. She faced foreign journalists and campaigned for Bangladesh’s independence. She even joined marches to gain recognition for Bangladesh abroad.

During the war, she produced a recording of the song ‘Joy Bangla’ (collectively). This song inspired the freedom fighters. Her utterance of ‘Joy Bangla, Banglar Joy’ is still part of Liberation War history. Sumita Devi was honoured as a valiant freedom fighter. After independence, she gave speeches at various events commemorating those killed and tortured by the Pakistani army. She was involved in various Liberation War-related activities. Her role was a unique example of an artist becoming a freedom fighter.

In a press conference in January 1972, she said, ‘I was ready to give everything for my motherland. I never wanted to go back to Pakistani rule.’ This statement reflects her patriotism.

Zahir Raihan’s Disappearance and Aftermath (1972)

After independence, on the evening of 30 January 1972, Zahir Raihan disappeared. This legendary intellectual, who had made immense contributions to the Liberation War, went missing while returning to Dhaka from Mirpur; he was never found. Sumita Devi was devastated. She tried to find her husband through government and private channels but found no trace. Though this grief shook her, she did not break down. She then had two young sons, Onol and Bipul, and tried to stand alone.

Her children from her first marriage were also her responsibility. Suddenly becoming a single mother, she faced financial pressure. The Bangladesh government allotted her a house (on 7.5 kathas of land) in Mohammadpur. She struggled to manage education, work, and household. She never took a government job but was associated with several private organisations. She utilised the knowledge and skills she had acquired while in Kolkata. Even during this difficult time, Sumita Devi did not distance herself from the film world; she occasionally acted in plays.

The pain of losing her husband made her stronger. She said, ‘I want to fulfil some of the dreams Zahir had.’ As a symbol of that dream, Onol Raihan became a lyricist and journalist. In multiple interviews, Sumita Devi became teary while reminiscing about her husband. She never issued statements about who abducted Zahir, but she condemned the killing of intellectuals. The grief of losing her husband seemed to make her even more industrious.

Work in Television and Stage Plays

Besides films, Sumita Devi regularly acted in television plays. Especially after independence, she acted in serials like ‘Balaka’, ‘Sukher Shondhane’, ‘Muktir Dak’, ‘Anjoni’, ‘Ghor Sansar’ on Bangladesh Television. Her list of plays is long. She also acted regularly in stage plays. Associated with the then ‘Dhaka Natya Samiti’ and ‘Nagorik Natya Sampraday’, she acted in plays like ‘Payer Awaz Pawa Jay’, ‘Mukhosh’, ‘Chithi’, ‘Jondis O Bibidh Belun’. Her voice and physical effort for the stage were remarkable. She also hosted television shows.

The Television Reporters Association awarded her in recognition of her theatre work. She won audiences’ hearts playing motherly roles in TV plays. In the 1970s and 80s, she also gained immense popularity through TV plays. Her performance in the serial ‘Balaka’ particularly caught everyone’s attention. She inspired female artists to become interested in TV plays. Her theatrical practice was an important addition to the golden age of Bengali television.

Personal Life

Sumita Devi first married Amulya Lahiri, a lawyer and communist activist. The marriage took place at a young age. They had one son and one daughter. But due to marital complications, they separated. The divorce process ended in 1961.

In 1962, she married Zahir Raihan. Her relationship with Zahir Raihan was affectionate and professionally successful. Together, they made and produced many films. Two sons, Onol and Bipul, were born. After her husband disappeared, Sumita Devi raised four children single-handedly. This was the most difficult period of her life. Juggling expenses for her children’s education, she did not reduce her acting but managed everything with skill. Onol Raihan grew up to become a lyricist and journalist. Not much information is available about Bipul Raihan and the older children.

In her personal life, Sumita Devi was very simple, sociable, and friendly. She never behaved like a star. To fellow artists, she was known as ‘Apa’ (elder sister). In an interview, she said, ‘I love managing a home. Raising my children is my biggest work. I may have compromised on acting for that, but there is no regret.’ She lived a domestic and ordinary life. She did not like excessive arrangements or pomp. Because of her simple, amiable nature, fellow artists respected her.

Autobiography ‘Jibon Nodir Tire’ (1991)

In 1991, Sumita Devi’s autobiography ‘Jibon Nodir Tire’ was published in the Bichitra Eid issue. It was written in the form of short stories. Her son Onol Raihan helped transcribe it. In this autobiography, she discussed her childhood, family background, marriage, story of entering films, love and marriage with Zahir Raihan, religious conversion, role in the Liberation War, and many other topics.

This autobiography is an important document in the history of Bengali cinema. She wrote of her struggles, more as reminiscence than as a judgement or regret. The book was highly praised by readers and cultural activists. In it, she also shared memories with Satyajit Ray and other film personalities. The early chapters of the autobiography are very emotional. She wrote, ‘If I could go back to life again, I would probably still choose cinema.’

The importance of this book is so great that Bangla Academy and various researchers use it as a reference. Sumita Devi’s own words, this book is a golden reminiscence of Bengali film history. It is still in print and is read by new-generation researchers and film lovers.

Illness and Death (2004)

At the end of 2003, Sumita Devi’s health began to deteriorate. She had been suffering from kidney and liver complications, diabetes, and high blood pressure for a long time. With age, her immunity had decreased. On 5 January 2004, she was admitted to Bangladesh Medical College Hospital. There, a brain haemorrhage was detected. Within moments, she fell into a coma. On the morning of 6 January, she breathed her last. She was 67/68 years old.

Her death stunned the Bangladeshi film fraternity. A pall of gloom descended on people of all ages. On 7 January, her first funeral prayer was held at Central Shaheed Minar premises. The second funeral prayer was held at Bangladesh Film Development Corporation (BFDC). Present were the then Culture Minister, artists, directors, producers, and thousands of fans. Many broke down in tears. She was then buried with state honours at Mirpur Shaheed Buddhijibi Graveyard. The President and Prime Minister issued condolence messages. Film personalities and politicians paid tribute, calling her a ‘great woman’ and ‘queen of art’.

Reacting to her death, legendary actress Shabana said, ‘Sumita Apa is gone. The first heroine of Bengali cinema, she was our inspiration.’ Rajjak said, ‘The heroine who built the foundation of Bengali cinema – her departure is not easy to accept.’

Detailed List of Awards

Sumita Devi received numerous awards and honours in her career:

All Pakistan Critics Award (1962) – for extraordinary contribution to cinema. She was the first and only actress from then East Pakistan to receive this award.
Nigar Award (Best Supporting Actress) (1964) – for ‘Kancher Deval’. This was the highest film honour in Pakistan.
Bachsas Award (Best Actress) – post-independence (year unspecified).
Television Reporters Association of Bangladesh Award – for participation in TV plays.
Bangladesh Film Journalists Association Award – Lifetime Achievement from the organisation.
Jonokantho Gunijan O Protibha Sammanona (2002) – for special contribution to the Liberation War and arts.
Agartala Freedom Fighter Award (2002) – in recognition of special role in the Liberation War.
Film Society Award (2002) – for overall contribution.

Additionally, she received lifetime achievement awards and felicitations from various organisations, press clubs, and cultural centres. Although no educational institution is named after her, she is remembered in various seminars on her death anniversary. In 2018, on her death anniversary, Bangladesh Shilpakala Academy organised a special discussion session. As one of the most important figures in the history of Bengali cinema, her name will remain in golden letters. Awards never made her arrogant; rather, they made her responsible. She would say, ‘These awards are not for me; they are for Bengali cinema, which raised me.’

Timeline

2 February 1936 – Born as Hena Bhattacharjee in Shalghar village, Pabna.
1944 – Moved to Dhaka.
1951 – Moved to Kolkata.
1957 – Shooting for ‘Asia’ begins; named ‘Sumita Devi’.
1959 – ‘Akash Ar Mati’ and ‘E Desh Tomar Amar’ released – first film success.
1960 – ‘Asia’ released, wins President’s Award.
1961 – ‘Kokhono Asheni’ released; meets and falls in love with Zahir Raihan.
1962 – Marries Zahir Raihan and converts to Islam; receives All Pakistan Critics Award.
1963 – ‘Kancher Deval’ released; receives Nigar Award.
1964 – Acts in Urdu films ‘Dhoopchhaon’ and ‘Sangam’; ‘Ei To Jibon’, ‘Dui Diganto’ released.
1966 – ‘Behula’, ’13 No Faku Ostagar Lane’ released.
1967 – Establishes ‘Mita Films’ and produces ‘Agun Niye Khela’.
1968–1970 – Produces and acts in four more films.
1971 – Joins Swadhin Bangla Betar Kendra during Liberation War; organises refugee artists in Kolkata.
30 Jan 1972 – Zahir Raihan disappears; acts in ‘Ora 11 Jon’.
1982 – Plays mother in ‘Devdas’.
1991 – Autobiography ‘Jibon Nodir Tire’ published.
1995 – Plays Salman Shah’s mother in ‘Moha Milan’.
2002 – Receives Agartala Freedom Fighter Award and Jonokantho Gunijan Award.
2003 – Last film ‘Phulkumar’.
6 January 2004 – Dies of brain haemorrhage in Dhaka; buried at Mirpur Shaheed Buddhijibi Graveyard.

Overall Evaluation of Contribution to Bengali Cinema

Sumita Devi is the first-line heroine of Bengali cinema. She set an example at a time when women being confined to the home was the norm. She proved that a woman could become everyone’s beloved as a heroine on screen. Her ‘Asia’, ‘Kokhono Asheni’, ‘E Desh Tomar Amar’ will remain classics forever.

But her contribution is not limited to acting. As a producer, director, and social worker, she created another dimension. Especially in 1971, she set an example of giving something beyond profession and art for the motherland. Her role as a voice soldier of the Swadhin Bangla Betar Kendra and a freedom fighter is written in golden letters in the cultural history of Bangladesh. She was a pioneering woman of her time who bridged art and politics.

Many critics and historians comment, ‘Sumita Devi was foremost in building the foundation of Bengali cinema. She created characters that showed the way for subsequent heroines.’ Her acting range was extraordinary – in tears, dialogue, and gestures, she was unparalleled. She can be called the ‘first female superstar of Bengali cinema’. She inspired the next generation. Shabana, Bobita, Suchanda – all are grateful to her.

Sumita Devi in the Words of Co-artists and Fans

Shabana said, ‘Sumita Apa was very affectionate. She always encouraged us. We learned a lot by watching her act.’ Bobita said, ‘When I was little, I dreamed of coming into acting after watching Sumita Devi’s films. She is a legend.’ Suchanda said, ‘Her eye-acting still mesmerises me. She was one of the best of our time.’ Rajjak said, ‘My experience working with Sumita Devi is among the best of my life. She is a magician on screen.’

A fan wrote, ‘I grew up watching “Asia”. Sumita Devi’s sorrowful eyes still float before my eyes.’ Another fan commented, ‘She was simple and sweet in real life too. Once, when I saw her at an event, I shouted “Sumita Devi Zindabad” – she looked at me and smiled.’ Director Chashi Nazrul Islam said, ‘In “Ora 11 Jon”, I was amazed by her acting. She is an artist who would breathe life into her character.’ These memories prove she still lives in audiences’ hearts.

Controversy

The biggest controversy in Sumita Devi’s life was divorcing her first husband Amulya Lahiri to marry Zahir Raihan and converting her religion. Society was very conservative in the early 1960s. It was audacious for a woman to make such a big decision. A Pakistani media outlet called her ‘characterless’. Some people called for a boycott of her films. A West Pakistani newspaper, ‘Lahore Times’, reported that ‘a dancer named Hena Lahiri has trapped Zahir Raihan’. Despite all this slander and criticism, Sumita Devi never gave a sharp response in the media.

In facing this controversy, Sumita Devi did not issue any counter-statement. She continued her work silently. Zahir Raihan supported her. Over time, audiences evaluated their artistic talent and personal relationship separately. In the end, Sumita Devi overcame this controversy. In her later life, Pakistani media also honoured her. She proved that personal life and professional life are separate, and everyone can live their life as they wish.

After losing her husband, the question of marriage never arose. She faced everything alone. That is the strength of her character. When asked about the controversy, she would say, ‘What people say is their business. What I did, I did because I liked it. I will answer to Allah, not to people.’

Unknown Facts and Anecdotes

In childhood, Sumita Devi found a Shalgram shila from the Dhaleshwari river; it is said her fans still preserve it.
She converted to Islam when she fell in love with Zahir Raihan – though the conversion also helped hide her identity.
During the shooting of ‘Asia’, she was so scared that she would shake for the first few days. Fateh Lohani patiently taught her.
During the Liberation War, she was the convener of a committee for refugee artists in Kolkata. There, she worked like a mother to those from Savar.
Her son Onol Raihan edited a weekly newspaper called ‘Notun Desh’, where Sumita Devi would write poems.
She never smoked or attended parties. Always preferred a simple lifestyle.
Once, while receiving an award at an event, she broke down in tears on stage; the entire hall resounded with applause.
She would often stay hungry during shoots so that stomach growling wouldn’t disturb sound recording. This shows her professionalism.
During the shooting of ‘Notun Probhat’, she suffered from a high fever but continued working.

Notable Later Works

In 1982, Chashi Nazrul Islam’s ‘Devdas’ featured Sumita Devi as Devdas’s mother. This film was an adaptation of Sarat Chandra’s timeless novel. Bulbul Ahmed played Devdas. Sumita Devi’s acting as the mother was very natural and dignified. She effortlessly portrayed the pathetic character of Devdas’s mother. The film was commercially successful and marked a major achievement of Sumita Devi’s later life.

In 1999, Tanvir Mokammel’s ‘Chitra Nodir Pare’ featured Sumita Devi in an important role. This was also a Liberation War-based film. Though she was quite aged by then, she did not compromise on acting quality. The film was critically acclaimed. It was a major work before the end of Sumita Devi’s career.

In 2003, Sumita Devi was last seen on the big screen in ‘Phulkumar’, where she played a grandmother. The film was released before her death. This was her last film. Even in her final days in cinema, she kept her acting taut. Her dialogue in this film – ‘Granddaughter, I will marry you off’ – won audiences’ hearts.

The Title ‘First Lady’ – Why and How?

Sumita Devi was called the ‘First Lady of Bengali Cinema’ for her pioneering role. Before 1960, Bengali cinema was largely male-dominated. The importance of heroines was secondary. Through ‘Asia’, Sumita Devi proved that a woman could draw audiences as a lead character. Her acting and personality were so praised by the media that they began giving her the title ‘First Lady’. Additionally, she was the first female producer, the first female freedom fighter artist, the first East Pakistani heroine to work in West Pakistan – all together, she earned that title.

From Dhaka to Karachi, all entertainment magazines addressed her as ‘First Lady’. Even today, on many award occasions, she is addressed as ‘First Lady’. In the pages of film history, she is forever the ‘First Lady’. She liked this title. Once, in response to a journalist’s question, she said, ‘I didn’t want to be the “First Lady”; I only wanted to be an artist. But if audiences think of me that way, I am certainly happy.’

Epilogue – The Eternal Victory Song of Bengali Cinema’s First Lady

Hena Bhattacharjee, the poor girl from Shalghar village in Pabna, is today the ‘First Lady’ of Bengali cinema. She overcame personal tragedy, social controversy, and professional challenges. Her acting laid the foundation of Bengali cinema’s golden age. She is not only a heroine but also a producer, freedom fighter, mother, and struggling woman. Over 200 films, 150 plays, 5 produced films, national and international awards – altogether, she is a comprehensive talent.

If Sumita Devi had not existed, the history of Bengali cinema would be different. She showed that a woman is not just an ornament on screen; she can be the driving force of cinema. Her ‘Kokhono Asheni’, ‘Asia’, ‘Behula’ are still broadcast on television. The new generation may not fully know her, but those who watched films before the 1990s cannot forget her. Sumita Devi left us in 2004, but she lives on in her grave in Mirpur and in the hearts of Bengali film lovers. Her autobiography ‘Jibon Nodir Tire’ is our guide. Countless female artists walk in her footsteps. She is the great woman of Bengali cinema, the first heroine, the ‘First Lady’.

To conclude with a quote from Sumita Devi: “I have received much, and I have lost much. But I have received the love of the people of Bengali cinema. That is my eternal achievement.”

“From Hena Bhattacharjee of Shalghar, Pabna, to Sumita Devi, the ‘First Lady’ of Bengali cinema – who introduced the concept of the heroine, made history as a producer, made an unmatched contribution to the Liberation War, and never stopped. She is the unfading light of Bengali cinema, immortal.”

Sources: Wikipedia (Bengali & English), Banglapedia, Daily Prothom Alo and Ittefaq archives, The Daily Star, Sumita Devi’s autobiography ‘Jibon Nodir Tire’ (1991, Bichitra Eid issue), Bangladesh National Film Award lists, Bachsas Award lists, various talk shows and interview videos on YouTube, IMDb, Bangla Movie Database (BMDb), ‘Sumita Devi Smaran Sankhya’, ‘Film Journalists Association Award List’.

Disclaimer: This biography has been prepared based on information collected from various reliable sources. Minor uncertainties may exist regarding Sumita Devi’s personal information, particularly her birth year (1936 or 1939) and release dates of some films – slight variations across sources are normal. Every effort has been made to maintain respect for history and factual accuracy. Personal privacy has been respected. Unintentional errors are regretted. This biography is written to honour a legendary artist.