Happy birthday to Manna Dey.

Happy birthday to Manna Dey.

The viewers of bollywood films and listeners of playback songs wish happy birthday to legendary classical singer Manna Dey on 1st May, 2011. He gave interview before Anurag Basu in a program held in Zee Bangla on 1st July, 2010. Anurag Basu had hosted the program for more than a month now. Notable celebrities like Pritam, Shaan, Prasenjit Chatterji, Konkona Sen Sharma had been interviewed in the program. Questions were asked to the fans of the celebrities.

Manna Dey when asked between himself, Rafi and Kishore Kumar, where would he rank himself. He said that he would keep Rafi at no. 1 because according to him no one had sung sugam sangeet to the level of perfection of Rafi. He had kept Kishore Kumar at 2 and mentioned that after Rafi he was versatile and modulated the voice brilliantly for decades. He kept himself at no. 3. He said his songs were difficult to sing as they were classically oriented, but listeners enjoyed them. He sang the song “hey bhai zara dekh ke chalo” from Raj Kapoor’s film Mera Naam Joker in the program. He talked about lyricist Pulak Banerjee who had died some time back, but had given majority of songs to Manna Dey.

Manna Dey had a very sweet relationship with Sudhin Dasgupta. He was used by almost all the leading composers of Bengal namely Anil Bagchi, Nochiketa Ghosh, Salil Choudhury and others. But probably his westernized andaz was used to the limit by Sudhin Dasgupta.

Sudhin Dasgupta used Manna Dey in Uttam Kumar’s film Goli Theke Rajpoth with the song “lag lag lag lag bhelkir khela”. Manna Dey’s songs “ami agantuk” and “ke prothom kache esechi” composed by Sudhin Dasgupta in Uttam Kumar’s film Shankhabela created sensation in Bengali celluloid in 1966. Manna Dey’s songs “ami kon pothe je choli” and “bachao ke acho” in Uttam Kumar’s film Choddobeshi became super hit as well.

In the 70s, Manna Dey’s songs “esechi ami esechi”, “lekha porata shikhe phele” and “paye paye joriye rakho” in Uttam Kumar’s film Har Mana Har created sensation as well. Uttam Kumar gave the lips of his lifetime in the film Har Mana Har. While major success of Sudhin Dasgupta came in Uttam Kumar’s films, he made major contribution in Soumitra Chatterji’s films as well. The songs “ei shohor theke aro anek dure”, “hoyto tomari jonyo”, “jibone ki pabona” in the film Teen Bhubaner Pare, composed by Sudhin Dasgupta and sung by Manna Dey showed the westernized orchestration of the giant composer.

Sudhin Dasupta’s songs in Soumitra’s films Prothom Kodom Phul and Bosonto Bilaap were equally successful. Manna Dey’s all round musical skills were used to perfection in these films. Even the song “ogo tomar sesh bichare asay” sung by Manna Dey in bayul andaz in Kali Banerjee’s legendary film Dak Horkora, and composed by Sudhin Dasgupta made the viewers speechless.

Manna Dey sang many numbers of solo songs as basic discs under the compositions of Sudhin Dasgupta. One of the notable songs included “ami taar thikana rakhini”. The songs of Sudhin Dasgupta and Manna Dey combination should be preserved and restored.

Manna Dey received Dada Sahab Falke award and really deserved it. He is probably the last living legend. Viewers and listeners owe their respect to the versatile singer.

Classical songs sung by Rafi and Manna Dey together.

Classical songs sung by Rafi and Manna Dey together.

Music of bollywood films reached its zenith during the 50s and 60s. Composers, lyricists and singers of diversified cultures and came together and produced masterpieces. During that period the classical rendition of orthodox songs sung by Rafi and Manna Dey had made the listeners spellbound and still remain immortal more than 50 years after their creation.

Qawallies were composed in style during that period. In the film Barsaat Ki Raat in 1960, composer Roshan’s qawalli “na to karwan ki talash hai” started by Manna Dey and continued by Rafi with the lyrics “yeh ishq ishq hai ishq ishq”, was the major attraction in the film. Both Rafi and Manna Dey sang the qawalli in their own style and with their own harkats. Barsaat Ki Raat had other brilliant songs including the title song, but the qawalli stood as one of the superlative creations.

In the film Taj Mahal in 1963, the qawalli “chandi ka badan, sone ka nazar” composed by Roshan was another masterpiece. Rafi’s style of performance was as unique as Manna Dey’s one. The same was equally brilliant as the other songs like “jo wada kiya hai” sung by Rafi and Lata and “paon chu lene do” sung by Rafi.

In the film Bahu Begum in 1967, Rafi and Manna Dey probably competed against each other to prove their supremacy in the qawallies composed by Roshan. The song “dhoond ke layun kahan se mai” almost created an environment lying in a dargah. The individual classical touch given by Manna Dey was as brilliant as Rafi. The other song “waqib hoon khub ishq ke” sung by Rafi and Manna Dey made the audience speechless. Probably these songs were more difficult to sing than the solo songs like “hum intezar karenge” by Rafi or “duniya kare sawal” by Lata.

There were light songs sung by Rafi and Manna Dey together also. In Kalpana, their song “tu hai mera prem devta” composed by OP Nayyar was one example. In Parvarish, Dattaram composed the song “mama ho mama” for Rafi and Manna Dey. In the film Rustom Sohrab, Sajjad Hussain composed for Rafi and Manna Dey the song “phir tumhari yaad ayi”.

In the film Sachai, Shankar Jaikishan composed the song “ai dost mere” for Rafi and Manna Dey. Whenever Rafi sung duet with other playback singers the classical andaz could not be balanced by anyone. Whenever Manna Dey sang any duet with Rafi, whether a qawalli or any other semi-classical song, both the singers took their singing to a higher dimension, and the audience enjoyed the brilliant performances in the long run.

Just because Rafi’s classical andaz could be matched by Manna Dey, Rafi had sung around 60 duet songs with him, that was the highest with any male singer.

The songs and the films should be preserved.

Shankar Jaikishan and Manna Dey.

Shankar Jaikishan and Manna Dey.

Manna Dey was a unique singer in bollywood history whose brilliant classical andaz commended respect from the giant composers of the golden age that Is 40s, 50s and 60s. Lifetime Achievement award, Padmabhushan are few feathers in his cap which show the esteem with which the country greets him.

He had very understanding with giant composers Shankar Jaikishan. Manna Dey rose to fame in 1955 with Raj Kapoor’s film Shree 420, where his songs “mur murkena dekh”, “pyar hua ikraar hua”, “dil ka haal sune dilwala” were all super hit. Shankar Jaikishan’s composition, Raj Kapoor’s lips and Manna Dey’s expression synchronized in the musical blockbuster.

In Basant Bahar, SJ gave classical tunes to Manna Dey. The song “sur na saje kya gayun mai” stands out. In Raj Kapoor’s Chori Chori, based on Hollywood film Roman Holiday, Manna Dey’s song “yeh raat bheegi bheegi”, “yeh to batayo kit um mere kaun ho”, “aaja sanam” mesmerized the audience. The SJ Manna Dey combination was at their best in those songs. Raj Kapoor and Nargis played the same role which Gregory Pegg and Audrey Hepburn played in Hollywood and Uttam Kumar and Suchitra Sen played in the Bengali film Chawa Pawa.

SJ’s tune “tu pyar ka saagar hai” sung by Manna Dey in Balraj Sahani’s film Seema was a masterpiece. The other landmark songs sung by Manna Dey composed by SJ included “cham cham bajere payelia”, also the song “mai tere pyar ka beemar hoon kya arz karoon” picturised on Mehmood in the film Love In Tokyo, “ai bhai zara dekhke chalo” picturised on Raj Kapoor in the film Mera Naam Joker, to name a few.

In Shammi Kapoor’s film Pagla Kahin Ka, Manna Dey’s song “meri bhais ko danda kyun mara” became big hit. Besides Manna Dey’s folk andaz in Raj Kapoor’s film Teesri Kasam in the song “chalet musafir moh liyo re” was well appreciated by the critics. Also Manna Dey’s song “suraj aa pass” and “muskura ladle muskura” became extremely popular in the early 60s.
It is not possible to highlight the magical combination of Shankar Jaikishan and Manna Dey in a small article. Shankar Jaikishan were probably the composers who used Manna Dey’s talent to the best possible level considering the effort of Roshanlal Nagrath, Madanmohan and others. The films and the songs of SJ and Manna Dey combination should be preserved and restored.

Salil Choudhury's Bengali and hindi version of songs.

Salil Choudhury’s Bengali and hindi version of songs.

Salil Choudhury was one of rare class of intellectual who embraced Bengali and films with his eternal treasure of music. His words and tunes matched one another in both the versions.In the 40s, 50s, 60s and 70s he experimented with many songs made both for Bengali modern version and gave the same song with a different version in bollywood films.

His song “jhir jhir jhir jhir jhir borosa” sung by Dhananjoy Bhattacharya composed by Salil Choudhury in the film Pasher Bari who remade in hindi with the title “jhir jhir jhirjhir” sung by Lata Mangeshkar with equal brilliance. Dhananjoy Bhattacharya’s classical touch was balanced by Lata Mangeshkar with her own unique style.

Shyamal Mitra’s brilliant modern song “Jodi kichu amare sudhao” was remade with the title “dil tarpe tarpaye” sung by Rafi in the film Poonam Ki Raat. In Shyamal Mitra’s version Salil Choudhury used music for half part of the song, the rest was blank version. In Rafi’s version chorus was used at the back of Rafi’s solo. If Shyamal Mitra’s pitch was unparallel, Rafi’s romantic rendition with slight classical alaap was outstanding. It was Salil Choudhury’s sheer brilliance that he used the immortal singers in style.

Salil Choudhury’s song “ganga gangar tarange prano paddo bhasailam” sung by Sabita Choudhury in the film Ganga was remade in hindi by Manna Dey. The film Ganga was directed by Rajen Tarafdar and won many awards for its excellence. The rhythm of fishermen sailing in boats was synchronized by Salil Choudhury’s own orchestration. Salil Choudhury’s outstanding music was one of the reasons for the success of the film Ganga. The hindi version sung with the title “ganga” sung by Manna Dey. Manna Dey brought the folk flavor in style. The other song in film Ganga sung by Manna Dey titled “uthali pathali amar book” was remade in the hindi by Hemant Kumar with the title “ganga aye kahan se”. Manna Dey’s version had folk title “bhatiyali” embedded in it.

Salil Choudhury’s song “aye brishti jhepe” sung by Sandhya Mukherjee was remade in hindi titled “bhaiya re bhaiya” sung by Shusma Shresth and others. Salil Choudhury’s song “ei duniyay bhai” sung by Manna Dey and picturised on Bengali actor Chabi Biswas in the film Ekdin Ratre was remade in hindi with the title “humko samajh baithe” sung by Mukesh.

Salil Choudhury’s song “guru guru meghero mondrobahare” sung by Sabita Choudhury was remade as “o sanyasi” sung by Asha Bhosle and Yesudas. Shyamal Mitra’s song “ja jare ja ja pakhi” was remade in hindi by Mukesh with the title “door bahut abadi”. Sabita Choudhury’s song “jhilmil jhiler jole jhikimiki” sung by Sabita Choudhury was remade in hindi with the title “naam mera nimmo” sung by Lata, Manna Dey and Dwijen Mukherjee. The list can go on.

The greatness of Salil Choudhury lies in utilizing all the singing talents in Bengal and India as a whole. Singing talents in Bengal like Manobendra Mukherjee, Manna Dey, Dhananjoy Bhattacharya, Hemant Kumar, Shyamal Mitra, Sandhya Mukherjee, Sabita Choudhury were used as against the giants in Bollywood industry like Mohammad Rafi, Mukesh, Lata Mangeshkar, Asha Bhosle, Talat Mehmood, Yesu Das and others.

Gopen Mullick and Bengali films.

Gopen Mullick and Bengali films.

Composer Gopen Mullick emerged as one of the powerful music directors of the 50s, 60s and 70s. He made immense contribution in Bengali films of the 60s and 70s.

In the 50s, his effort in Bengali films was overshadowed by musical giants like Robin Chatterjee, Anupam Ghatak, Anil Bagchi, Kalipada Sen, Pabitra Chatterjee and others. But he gave excellent music in Suchitra Sen’s film Subhoratri in 1956. The other notable films where he composed music included Aparadhi, Paap O Paapi, Bishkanya, Agnibanya, etc. In the film Bishkanya, Hemanta Mukherjee’s song “megher swapan dekhi”, and Manobendra Mukherjee’s song “khabo khabo korche” were very impressive.

In Uttam Kumar’s film Jibon Mrityu, Gopen Mullick’s music amazed the listeners. The film was released in 1967 and it was directed by eminent director Hiren Nag. Although the film was in the nature of crime-thriller, the music of the film had a big role to play in the success of the film. The best song in the film included “kono katha na bole” sung by Manna Dey and Sandhya Mukherjee. The duet song had great classical andaz and Uttam Kumar gave excellent lips in the brilliant song.

In Bhanu Banerjee’s comedy film Ashite Ashiona, Gopen Mullick’s music was extremely successful. Ruma Guha Thakurta was the heroine in the film. Manna Dey’s song “dub dub dub diye jai” had comedy andaz, while the duet song “Jodi akash hoto” had romantic song. Manna Dey and Ruma Guha Thakurta both sang the duet song.

Gopen Mullick composed brilliant music in Uttam Kumar’s film Sabarmati. The film was directed by Hiren Nag. Manna Dey’s song “dekhoni ki pathore phote phool” became a big hit. Gopen Mullick gave a comedy song “tak dhin dhin ta” to Kishore Kumar and Ila Bose in the film. The other film where Gopen Mullick composed impressive music included Uttam Kumar’s Teen Adhyay. Most of the songs were sung by Manna Dey, and some were picturised on actor Anup Kumar. Even in the film Tapashi, Gopen Mullick’s composition for Sandhya Mukherjee, titled “alor bhuban hariye geche” became a big hit.
In the 70s, Gopen Mullick composed music in the films Agnijuger Kahini, Aleyar Alo, Bondi Bidhata, Tushartirtha Amarnath, Ghatkali. He even composed music in the film Baikunther Will. After the demise of Mahanayak Uttam Kumar in 1980, melodious songs in Bengali films lost their significance. Gopen Mullick’s works should be restored and preserved for the new generation as he creations were unique, classically oriented and melodious in nature.

Happy birthday to Uttam Kumar.

Happy birthday to Uttam Kumar.

The nation remembers Uttam Kumar, one of the greatest superstars of Indian celluloid on his birth anniversary on 3rd September, 2010. This was his 84th birth anniversary. He had died almost 30 years ago, yet the viewers had not forgotten his films and still his presence is felt in the life bengalies in different parts of the world.

Last year the Governer of West Bengal launched the 50 rupees postal stamp having the engraving of Uttam Kumar in it. Previously Raj Kapoor and Dilip Kumar’s faces were engraved in Postal stamps for remembering their contribution to Indian cinema.

Last year, Mamta Banerjee, the Union Railway Minister, renamed the Tollygunge Metro Station as Mahanayak Uttam Kumar station. In fact the people of Tollygunge cannot associate the place without the existence of Uttam Kumar whose works glorified the different studios which carried on the legacy of Bengali Film Industry.

Oscar winning director Satyajit Ray acknowledged the dynamic presence of the legendary superstar in Bengali films and made a film Nayak based on the story of Uttam Kumar. His original name was Arun Kumar Chatterji, who was a clerk in Port Commission before joining Bengali films.

When he joined films with Drishtidaan in 1948, he had to struggle to create his image as against he established heroes like Asit Boron, Bikash Roy and others. In 1952, his film Basu Paribar struck at the box-office and he overtook Bosonto Choudhury, Asit Boron and became the leading superstar of Bengali films. All the qualities of a romantic hero was possessed by him, including a standard height, good complexion, manly voice, romantic hairstyle and unique dialogue delivery. Any dress suited the legendary superstar including Punjabi, dhoti, coat, Bengali dresses, etc.

He had acted in the films of all the legendary directors of the golden age including Satyajit Ray’s Nayak, Chiriakhana, Tapan Sinha’s Jhinder Bandi, Upahaar and Jotugriha, Ajoy Kar’s Harano Sur, Saptapadi, Suno Bara Nari, etc., Agradoot’s Bipasha, Surjo Toron, etc., Agragami’s Sagarika, Shonkhobela, to name a few. Uttam Kumar acted opposite all the leading actresses of Bengali celluloid including Suchitra Sen, Arundhuti Debi, Manju Dey, Sabitri Chatterji, Supriya Choudhury, Mala Sinha, and others. His combination with Suchitra Sen had given everlasting classics and both of them still remains the most romantic pair in Indian silver screen.

Uttam Kumar’s films were based on rich literature including Tagore’s Khokababur Protyaborton, Subodh Ghosh’s Suno Bara Nari, Samaresh Bose’s Kuhak, Sorodindu Bondhopadyay’s Chiriakhana, Shankar’s Chourangi. The films were related to different types of stories including comedy stories, tragic stories, soft romantic stories, etc.

Uttam Kumar had acted in around 205 films (including bollywood films like Amanush, Anand Ashram, Choti Si Mulakat, Dooriyan, Kitaab etc., ) in a span of 35 years, and all his films had remained everlasting treasures. Out of his 205 films, around 37 of them ended up being blockbusters, around 50 were super hit films and around 50 were hit films. Actor Shatrughun Sinha in his interview before Bengali media had disclosed that when he was working in Pune Film and Television Institute, the graduates had unanimous view that Uttam Kumar, Raj Kapoor and Dilip Kumar were the greatest superstars of celluloid and had Uttam Kumar acted in more number of bollywood films, he would have remained as great a legend as Dilip Kumar or Raj Kapoor.

Even the singers who had sung for him including Manna Dey, Shyamal Mitra, Hemanta Mukherjee, etc., agreed that they did not find any actor who was parallel to Uttam Kumar in giving lips in songs. He made the viewers feel that he only sang the songs.

Actor Shatrughun Sinha in his interview had said that during his student life in Pune Film and Television Institute, the upcoming actors used to debate about the charishma of Uttam Kumar, Raj Kapoor and Dilip Kumar. Although there was no unanimity about the finest actor among them, there was consensus about one fact had Uttam Kumar established himself in bollywood films by acting in more number of films, he would have been equally an international figure like Raj Kapoor or Dilip Kumar.

Articles after articles can be devoted to Uttam Kumar who was one –man –industry in Bengali films. His films should be revisited to create motivation for making better quality films in future.

The nation remembers Uttam Kumar on his death anniversary.

The nation remembers Uttam Kumar on his death anniversary.

The nation remembers Uttam Kumar, one of the greatest superstars of Indian celluloid on his death anniversary on 24th July, 2010. He had died almost 30 years ago, yet the viewers had not forgotten his films and still his presence is felt in the life bengalies in different parts of the world.

Last year the Governer of West Bengal launched the 50 rupees postal stamp having the engraving of Uttam Kumar in it. Previously Raj Kapoor and Dilip Kumar’s faces were engraved in Postal stamps for remembering their contribution to Indian cinema.

Last year, Mamta Banerjee, the Union Railway Minister, renamed the Tollygunge Metro Station as Mahanayak Uttam Kumar station. In fact the people of Tollygunge cannot associate the place without the existence of Uttam Kumar whose works glorified the different studios which carried on the legacy of Bengali Film Industry.

Oscar winning director Satyajit Ray acknowledged the dynamic presence of the legendary superstar in Bengali films and made a film Nayak based on the story of Uttam Kumar. His original name was Arun Kumar Chatterji, who was a clerk in Port Commission before joining Bengali films.

When he joined films with Drishtidaan in 1948, he had to struggle to create his image as against he established heroes like Asit Boron, Bikash Roy and others. In 1952, his film Basu Paribar struck at the box-office and he overtook Bosonto Choudhury, Asit Boron and became the leading superstar of Bengali films. All the qualities of a romantic hero was possessed by him, including a standard height, good complexion, manly voice, romantic hairstyle and unique dialogue delivery. Any dress suited the legendary superstar including Punjabi, dhoti, coat, Bengali dresses, etc.

He had acted in the films of all the legendary directors of the golden age including Satyajit Ray’s Nayak, Chiriakhana, Tapan Sinha’s Jhinder Bandi, Upahaar and Jotugriha, Ajoy Kar’s Harano Sur, Saptapadi, Suno Bara Nari, etc., Agradoot’s Bipasha, Surjo Toron, etc., Agragami’s Sagarika, Shonkhobela, to name a few. Uttam Kumar acted opposite all the leading actresses of Bengali celluloid including Suchitra Sen, Arundhuti Debi, Manju Dey, Sabitri Chatterji, Supriya Choudhury, Mala Sinha, and others. His combination with Suchitra Sen had given everlasting classics and both of them still remains the most romantic pair in Indian silver screen.

Uttam Kumar’s films were based on rich literature including Tagore’s Khokababur Protyaborton, Subodh Ghosh’s Suno Bara Nari, Samaresh Bose’s Kuhak, Sorodindu Bondhopadyay’s Chiriakhana, Shankar’s Chourangi. The films were related to different types of stories including comedy stories, tragic stories, soft romantic stories, etc.

Uttam Kumar had acted in around 205 films (including bollywood films like Amanush, Anand Ashram, Choti Si Mulakat, Dooriyan, Kitaab etc., ) in a span of 35 years, and all his films had remained everlasting treasures. Out of his 205 films, around 37 of them ended up being blockbusters, around 50 were super hit films and around 50 were hit films. Actor Shatrughun Sinha in his interview before Bengali media had disclosed that when he was working in Pune Film and Television Institute, the graduates had unanimous view that Uttam Kumar, Raj Kapoor and Dilip Kumar were the greatest superstars of celluloid and had Uttam Kumar acted in more number of bollywood films, he would have remained as great a legend as Dilip Kumar or Raj Kapoor.

Even the singers who had sung for him including Manna Dey, Shyamal Mitra, Hemanta Mukherjee, etc., agreed that they did not find any actor who was parallel to Uttam Kumar in giving lips in songs. He made the viewers feel that he only sang the songs.

Articles after articles can be devoted to Uttam Kumar who was one –man –industry in Bengali films. His films should be revisited to create motivation for making better quality films in future.

Classical songs sung by Rafi and Manna Dey together.

Classical songs sung by Rafi and Manna Dey together.

Music of bollywood films reached its zenith during the 50s and 60s. Composers, lyricists and singers of diversified cultures and came together and produced masterpieces. During that period the classical rendition of orthodox songs sung by Rafi and Manna Dey had made the listeners spellbound and still remain immortal more than 50 years after their creation.

Qawallies were composed in style during that period. In the film Barsaat Ki Raat in 1960, composer Roshan’s qawalli “na to karwan ki talash hai” started by Manna Dey and continued by Rafi with the lyrics “yeh ishq ishq hai ishq ishq”, was the major attraction in the film. Both Rafi and Manna Dey sang the qawalli in their own style and with their own harkats. Barsaat Ki Raat had other brilliant songs including the title song, but the qawalli stood as one of the superlative creations.

In the film Taj Mahal in 1963, the qawalli “chandi ka badan, sone ka nazar” composed by Roshan was another masterpiece. Rafi’s style of performance was as unique as Manna Dey’s one. The same was equally brilliant as the other songs like “jo wada kiya hai” sung by Rafi and Lata and “paon chu lene do” sung by Rafi.

In the film Bahu Begum in 1967, Rafi and Manna Dey probably competed against each other to prove their supremacy in the qawallies composed by Roshan. The song “dhoond ke layun kahan se mai” almost created an environment lying in a dargah. The individual classical touch given by Manna Dey was as brilliant as Rafi. The other song “waqib hoon khub ishq ke” sung by Rafi and Manna Dey made the audience speechless. Probably these songs were more difficult to sing than the solo songs like “hum intezar karenge” by Rafi or “duniya kare sawal” by Lata.

There were light songs sung by Rafi and Manna Dey together also. In Kalpana, their song “tu hai mera prem devta” composed by OP Nayyar was one example. In Parvarish, Dattaram composed the song “mama ho mama” for Rafi and Manna Dey. In the film Rustom Sohrab, Sajjad Hussain composed for Rafi and Manna Dey the song “phir tumhari yaad ayi”.

In the film Sachai, Shankar Jaikishan composed the song “ai dost mere” for Rafi and Manna Dey. Whenever Rafi sung duet with other playback singers the classical andaz could not be balanced by anyone. Whenever Manna Dey sang any duet with Rafi, whether a qawalli or any other semi-classical song, both the singers took their singing to a higher dimension, and the audience enjoyed the brilliant performances in the long run.

The songs and the films should be preserved.

Manna Dey recently gave interview in Zee Bangla.

Manna Dey recently gave interview in Zee Bangla.

Manna Dey gave recent interview before Anurag Basu in a program held in Zee Bangla on 1st July, 2010. Anurag Basu had hosted the program for more than a month now. Notable celebrities like Pritam, Shaan, Prasenjit Chatterji, Konkona Sen Sharma had been interviewed in the program. Questions were asked to the fans of the celebrities.

Manna Dey when asked between himself, Rafi and Kishore Kumar, where would he rank himself. He said that he would keep Rafi at no. 1 because according to him no one had sung sugam sangeet to the level of perfection of Rafi. He had kept Kishore Kumar at 2 and mentioned that after Rafi he was versatile and modulated the voice brilliantly for decades. He kept himself at no. 3. He said his songs were difficult to sing as they were classically oriented, but listeners enjoyed them. He sang the song “hey bhai zara dekh ke chalo” from Raj Kapoor’s film Mera Naam Joker in the program. He talked about lyricist Pulak Banerjee who had died some time back, but had given majority of songs to Manna Dey.

Manna Dey had a very sweet relationship with Sudhin Dasgupta. He was used by almost all the leading composers of Bengal namely Anil Bagchi, Nochiketa Ghosh, Salil Choudhury and others. But probably his westernized andaz was used to the limit by Sudhin Dasgupta.

Sudhin Dasgupta used Manna Dey in Uttam Kumar’s film Goli Theke Rajpoth with the song “lag lag lag lag bhelkir khela”. Manna Dey’s songs “ami agantuk” and “ke prothom kache esechi” composed by Sudhin Dasgupta in Uttam Kumar’s film Shankhabela created sensation in Bengali celluloid in 1966. Manna Dey’s songs “ami kon pothe je choli” and “bachao ke acho” in Uttam Kumar’s film Choddobeshi became super hit as well.

In the 70s, Manna Dey’s songs “esechi ami esechi”, “lekha porata shikhe phele” and “paye paye joriye rakho” in Uttam Kumar’s film Har Mana Har created sensation as well. Uttam Kumar gave the lips of his lifetime in the film Har Mana Har. While major success of Sudhin Dasgupta came in Uttam Kumar’s films, he made major contribution in Soumitra Chatterji’s films as well. The songs “ei shohor theke aro anek dure”, “hoyto tomari jonyo”, “jibone ki pabona” in the film Teen Bhubaner Pare, composed by Sudhin Dasgupta and sung by Manna Dey showed the westernized orchestration of the giant composer.

Sudhin Dasupta’s songs in Soumitra’s films Prothom Kodom Phul and Bosonto Bilaap were equally successful. Manna Dey’s all round musical skills were used to perfection in these films. Even the song “ogo tomar sesh bichare asay” sung by Manna Dey in bayul andaz in Kali Banerjee’s legendary film Dak Horkora, and composed by Sudhin Dasgupta made the viewers speechless.

Manna Dey sang many numbers of solo songs as basic discs under the compositions of Sudhin Dasgupta. One of the notable songs included “ami taar thikana rakhini”. The songs of Sudhin Dasgupta and Manna Dey combination should be preserved and restored.

Manna Dey received Dada Sahab Falke award and really deserved it. He is probably the last living legend. Viewers and listeners owe their respect to the versatile singer.

Memsaheb was well directed.

Memsaheb was well directed.

The film Memsaheb, released in early 70s was well directed by eminent director Pinaki Mukherjee. Pinaki Mukherjee became extremely popular amongst intellectuals of Bengal after making the film Chowrangee. Chowrangee was the story of Sata Bose, a brilliant receptionist narrating the story of Grand Hotel during the early 60s. Uttam Kumar’s film released in late 60s ended up being a blockbuster.

The story of Memsaheb was written by Nimai Bhattacharya. The film was made at the backdrop of Bangladesh independent movement. Bangladesh formed part of Pakistan till the early 70s. As East Pakistan, the citizens were unhappy and wanted to sever ties with Pakistan. Indira Gandhi, the Indian Prime Minister during the early 70s, send Indian armed forces to help the Bangladesh citizens to fight out for independence. Bangladesh became an independent nation after the war.

Uttam Kumar was a journalist in the film who fell in love with a simple middle-class Bengali girl played by Aparna Sen. Aparna Sen was brought up by his uncle Bikash Roy. She became a Professor of History and inspired Uttam Kumar to be ambitious.

Uttam Kumar got promoted from staff reporter to main reporter, but the newspaper agency in Kolkata during the naxalite period did not do good business. So a number of staff lost jobs due to the company’s inability of paying them. Uttam Kumar also lost his job. Aparna Sen gave her savings to Uttam Kumar to re-establish himself as a journalist by settling in New Delhi.

Uttam Kumar joined a profitable newspaper agency and came to meet the political stalwarts. He got the assignment of covering the Bangladesh war. Both Uttam Kumar and Aparna Sen decided to marry each other after Uttam Kumar returned back to India after the War ended. But at that time, while invigilation relating to exams were in process in a college in Kolkata, Aparna Sen was killed by the bullet of naxalite. The film ended with a tragic note.

The music of the film composed by Ashima Bhattacharya was very impressive. Rabindrasangeet was sung by Ashima herself and Sailen Mukherjee. Manna Dey’s song “aaj khushi” became a big hit. The credit for the success of the film goes to director Pinaki Mukherjee, as he directed the film very well. The film should be restored for the realistic story, brilliant direction and powerful performances of Uttam Kumar and Aparna Sen.

Tapen Chatterji had been remembered on expiry.

Tapen Chatterji had been remembered on expiry.

Satyajit Ray’s grand creation Gupi Gayeen died on 25th May, 2010. Tapen Chatterji suffered a massive heart attack and died in Kolkata on 25th May, 2010.

He was an automobile engineer. He worked in Bikaner in Rajasthan for some time. Poet Subhas Mukherjee took Tapen Chatterji to the office of Sandesh Publication House. Sandesh was edited by Satyajit Ray at that point of time.

Satyajit Ray did cast Tapen Chatterji in the film Gupi Gayeen Bagha Bayeen released in 1963. The story of the film was written by Ray’s grandfather Upendra Kishore Ray Choudhury. The rest was history. Tapen Chatterji gave lips in leading songs in the film sung by Anup Ghoshal, namely “bhuter raja dilo bar”, “maharaja tomare selam”, “tham theme thak”, “ek je chilo raja”, “dekhore nayan mele”, to name a few.

Gupi Gayeen won national and international awards under different categories. Satyajit Ray again did cast him again in the film Hirak Rajar Deshe in 1980. Again he played the role of Gupi Gayeen along with Robi Ghosh playing the role of Bagha Bayeen. In Gupi Gayeen Bagha Bayeen, Tapen Chatterji stopped Jahar Ray from attacking Shundi kingdom and killing Santosh Dutta. In Hirak Rajar Deshe he brought the end of the evil regime of Utpal Dutta who played the role of Hiraker Raja.

But apart from Satyajit Ray’s Gupi Bhagha series, he did get chance only in very few landmark films. One of them included Arobindo Mukherjee’s film Dhanni Meye. Uttam Kumar played the lead role in the blockbuster released in 1971. Tapen Chatterji played the role of the brother in law of Uttam Kumar and gave able lips in Manna Dey’s song “sab khelar sera bangalir tumi football”.

Tapen Chatterji’s other notable films included Sadhu Judhisthirer karcha, Shriman Prithviraj, etc. But viewers remember the tall actor in the immortal role of Gupi Gayeen. Children all across the country mourn the death of their larger than life character gupi gayeen, who had come out of child literature and made the character immortal. Tapen Chatterji’s soul should rest in peace.

Uttam Kumar's Chowrangee astonished the literary community

Uttam Kumar’s Chowrangee astonished the literary community.

Uttam Kumar’s acting versatility reached the intellectuals of Bengal by mid-60s. His films including Tapan Sinha’s Jotugriha, Satyajit Ray’s Nayak, Ajoy’s Kar’s Saptapadi, ended up being cine-classics which had paved the way for thoughtful filmmaking in the later years. Chowrangee was the landmark literature of writer Shankar which was given expression by director Pinaki Mukherjee.

Released in 1968, the film was related to the life of Grand Hotel in Kolkata. Uttam Kumar was the receptionist of the five star hotel, better known as Sata Bose. Subhendu Chatterji got a job as another receptionist in Grand Hotel, who was groomed and trained by Uttam Kumar.

The striking part of the film lied in the depiction of numerous weird characters in the film who visited Grand Hotel during the 50s and 60s and whose activities could be predicted by Uttam Kumar with his profound experience in the hotel industry. Utpal Dutta played the role of Marco Polo, one of the members of the management of Grand Hotel. He gave the job to Subhendu Chatterji due to request of Dipak Mukherjee whom he knew very well.

The character artists played significant role in the film. Biswajeet Chatterji played the role of Mr. Pakrasi, the son of Deepti Ray, who fell in love with Supriya Choudhury in the film. Bhanu Banerjee played the role of employee in Grand Hotel, Jahar Roy played the role of Chief Chef in the film, Prashanto Kumar played the role of the Violin Player in the film.

Uttam Kumar fell in love with Anjana Bhowmick, an air-hostess who came to visit Grand Hotel a number of times. But at the end of the film when Uttam Kumar left the job and planned to go and settle in Mumbai after marrying Anjana Bhowmick, the last flight of Anjana Bhowmick crashed and the hopes of Uttam Kumar also crashed with the accident.

Ashima Bhattacharya, the producer in the film composed a landmark song for Manna Dey. The song was titled “meghero khela akasho pare”. The remained as one of the greatest hit songs sung by Manna Dey for Uttam Kumar.

The film Chowrangee should be preserved and restored for the classic literature, powerful direction, realistic performances and brilliant music.

Happy birthday to Manna Dey.

Happy birthday to Manna Dey.

The viewers of bollywood films and music lovers all across the country wish happy birthday to Manna Dey on 1st May 2010. Born on 1st May, 1919, he had contributed in bollywood films for more than 70 years with his baritone voice. He had brilliant classical training and adorned bollywood music with versatile talent.

He was awarded the dadasaheb phalke award for his immense contribution to music in India. Manna Dey learned music from Ustad Aman Ali Khan and Ustad Abdul Rahman Khan. He stormed bollywood films with super hit songs in Raj Kapoor’s film Shree 420 in 1955, with immortal songs composed by Shankar Jaikishan like “ramaiya vasta maiyya”, “pyar hua ikraar hua”, “mur mur ke na dekh”.

During the golden Manna Dey was probably the only singer other than Mohammad Rafi who had been used by all the leading composers of bollywood music including Shankar Jaikishan in Basant Bahar, the song being “sur na saje”, Madanmohan in Dekh Kabira Roya, the song being “kaun aya mere man ke sware”, Roshan in Dil Hi To Hai, the song being “laga chunari me daag”, SD Burman in Meri Surat Teri Ankhen, the song being “pucho na kaise”, to name a few.

Manna Dey had a very sweet relationship with Sudhin Dasgupta. He was used by almost all the leading composers of Bengal namely Anil Bagchi, Nochiketa Ghosh, Salil Choudhury and others. But probably his westernized andaz was used to the limit by Sudhin Dasgupta.

Sudhin Dasgupta used Manna Dey in Uttam Kumar’s film Goli Theke Rajpoth with the song “lag lag lag lag bhelkir khela”. Manna Dey’s songs “ami agantuk” and “ke prothom kache esechi” composed by Sudhin Dasgupta in Uttam Kumar’s film Shankhabela created sensation in Bengali celluloid in 1966. Manna Dey’s songs “ami kon pothe je choli” and “bachao ke acho” in Uttam Kumar’s film Choddobeshi became super hit as well.

In the 70s, Manna Dey’s songs “esechi ami esechi”, “lekha porata shikhe phele” and “paye paye joriye rakho” in Uttam Kumar’s film Har Mana Har created sensation as well. Uttam Kumar gave the lips of his lifetime in the film Har Mana Har. While major success of Sudhin Dasgupta came in Uttam Kumar’s films, he made major contribution in Soumitra Chatterji’s films as well. The songs “ei shohor theke aro anek dure”, “hoyto tomari jonyo”, “jibone ki pabona” in the film Teen Bhubaner Pare, composed by Sudhin Dasgupta and sung by Manna Dey showed the westernized orchestration of the giant composer.

Sudhin Dasupta’s songs in Soumitra’s films Prothom Kodom Phul and Bosonto Bilaap were equally successful. Manna Dey’s all round musical skills were used to perfection in these films. Even the song “ogo tomar sesh bichare asay” sung by Manna Dey in bayul andaz in Kali Banerjee’s legendary film Dak Horkora, and composed by Sudhin Dasgupta made the viewers speechless.

Manna Dey sang many numbers of solo numbers as basic discs under the compositions of Sudhin Dasgupta. One of the notable songs included “ami taar thikana rakhini”. The songs of Sudhin Dasgupta and Manna Dey combination should be preserved and restored.
Music-lovers wish Manna Dey to continue singing till his last day of life.

Nochiketa Ghosh's contribution in Bengali films.

Nochiketa Ghosh’s contribution in Bengali films.

Nochiketa Ghosh had contributed widely both in Bengali film music and Bengali modern songs in the 50s, 60s and 70s. In the 50s he showed his metal in Uttam Kumar’s film Nabajanma. Manobendra Mukherjee’s song “ore mon majhi” and Dhananjoy Bhattacharya’s “kalama katiya” gave expression to Nochiketa Ghosh’s folk tunes.

Nochiketa Ghosh’s music in Uttam Kumar’s film Trijama was equally sublime. Sandhya Mukherjee’s song “banmoyurir naach dekhte jabo” and “matite chandramallika” were equally brilliant. In the 50s, the other notable films where Nochiketa Ghosh’s music was impressive include Uttam Kumar’s film Indrani and Prithibi Amare Chaye. Geeta Dutt’s song “nishiraat bankha chand”, “ogo shundoro”, “kanak kanak madhur badhon” were some of the greatest hits of Geeta Dutt in her entire career. The lips of Mala Sinha and Suchitra Sen were impressive in these films. Hemanta Mukherjee’s song “surjo dobar pala” became super hit in the late 80s.

In the 60s, Nochiketa Ghosh composed music in average films. Prominent among them included Bhanu Pelo Lottery where Shyamal Mitra’s song “putul nebe go” became very popular. He again made a huge comeback in Uttam Kumar’s film Nishi Padda in the early 70s. Manna Dey’s songs “ja khushi ora bole boluk”, “na na na aaj rate aar” became super hit in the 70s. Manna Dey’s songs in Uttam Kumar’s film Chiradiner, like “phool pakhi bondhu amar chilo”, “manush khun hole pore”, “lal nil sabujeri mela boseche”, “tumi amar chirodiner” became super hit.

In Uttam Kumar’s film Stree, Manna Dey’s songs “hajar takar jhar batita”, “o se jotoi kalo hok”, “jemon shapinike posh manay ojha” became. Nochiketa Ghosh’s music in the film Sanyasi Raja was considered to be his best creation by critics. Manna Dey’s songs “shashikanto tumi dekchi”, “bhalobashar agun jalao”, were probably the best songs sung for Uttam Kumar in royal andaz. His composition in Uttam Kumar’s films Dhanni Meye and Mouchak require special mention. Manna Dey’s songs in these films like “sab khela sera bangalir tumi football”, “tabole to prem debena”, “paglagarod”, etc., flabbergasted the Bengali audience in the mid-70s.

Nochiketa Ghosh made many landmark tunes in Bengali modern songs. Some of them included Manobendra Mukherjee’s romantic songs “seto naam dhore kono din dakeni amay”, “bone noy mone mor”, “o amar chandramallika”, “aha na roy na”, etc. His composition “amar ganer sworolipi lekha robe” for Hemanta Mukherjee stormed Bengal in the early 50s. He died in the late 70s, otherwise he would have given many more notable tunes. His songs and films should be preserved.

Akhil Bandhu Ghosh never got his dues.

Akhilbandhu Ghosh never got his dues.

There is a harsh truth in respect of success of musicians in India. It is said that talent alone is not the determinative factor for the success of a singer. Contacts, combination with notable composers, record companies they had equally important role to play in the success of singers.

It had happened with Akhil Bandhu Ghosh, a gifted classical singer of Bengal. Classical music reached its zenith during the 40s and 50s. With the performances of genius singers like Ghyanendra Prashad Goswami, Bhiswadeb Chatterji and Tarapada Chakravarty, the next generation were encouraged to learn classical ragas. Akhil Bandhu Ghosh used his classical touch in modern Bengali songs during the 50s along with Dhanonjoy Bhattacharya, Manobendra Mukherjee, Satinath Mukherjee, Manna Dey and others.

His song “mayamrigo sama” did reach the music-lovers of Bengal. He sang even songs having folk tunes embedded in them like “banshariya banshi bajayo na” and “emni dine ma je amar”, etc. His songs “piyal shakhar phake o se” and “shipra nadir tire” displayed the dawn and dusk of rural Bengal in the 50s.

But most of his classical records were recorded in less known companies like Megaphone and Hindustan. He did not get the patronage of HMV during the 50s if compared with the other classical singers. Yet his classical songs had class and style. The landmark songs included “keno praharo na jete moromer bina baje”, “aaji chandini rati go”, “tomar bhubane phuler mela”, etc. He even sang songs based on orthodox ragas.

Many of his songs were sung again by Indranil Sen in the 1990s. His song “o dayal bichar koro” had not lost its appeal after 50 years of its creation. Inspite of his free flow of voice, he did not get the recognition he deserved.

Other than Manna Dey, Manobendra Mukherjee and Dhanonjoy Bhattacharya there were hardly any other singer like Akhil Bandhu Ghosh who could reach the complicated ragas to the listeners in a lucid manner. His songs should be preserved.

Rafi and Roshan created history with melody in 60s.

Rafi and Roshan created history with melody in 60s.

Roshan Lal Nagrath, better known as Roshan was born in Gujranwala on 14th July, 1917. His lessons from Ustad Allauddin and Sarangi King Bundu Khan transformed himself into regular composer of All India Radio in the 40s.

He started his career as composer in bollywood films with the film Neki Aur Badi in 1949. In the early 50s Mukesh and Talat Mehmood featured in most of the films of Roshan. Some of the hit songs included “khayalon me”, “sun bairi balam” from Bawre Nain, “tare toote duniya dekhe” from Malhar. Although he had success in the films Shisham, Anhonee, Malhar, etc., his immense talent did not get recognition until he used the man with the golden voice Mohammad Rafi.

Roshan stormed bollywood music with brilliant composition in the film Barsaat Ki Raat. The romantic film of Bharat Bhushan and Madhubala did fantastic business. Roshan’s brilliant use of sarangi was evident in Rafi’s song “zindagi bhar nahi bhulenge woh barsaat ki raat”. The song was sung by Rafi and Lata at different time in the film. Barsaat Ki Raat was also known for the famous qawalli “na to karwaki talash hai” and “yeh ishq ishq hai isqh ihqh” where Rafi and Manna Dey were equally brilliant. Sahir Ludhiyanvi also made brilliant use of words in the songs of the film.

In 1962 Roshan amazed the listeners with the brilliant composition in the film Aarti. Pradeep Kumar, Ashok Kumar and Meena Kumari played the lead roles in the film. The film had every type of song including folk song and ghazals. The song “baar baar mohe kya samjhaye” sung by Rafi and Lata had complete balance of melody and rhythm. The slow numbers in the film like “ab kya misaal doon mai tumhare shabab ki” sung by Rafi and “aapne yaad dilaaya to mujhe yaad aya” sung by Rafi and Lata can be considered to be some of the best ghazals in the entire 60s. Lata’s song “baharon ki manzil rahi” was equally brilliant.

Roshan used Mukesh and Manna Dey in Raj Kapoor’s film Dil Hi to Hai. The song “laga chunari me daag chupayun kaise” was a fine example of classical excellence in the film where Manna Dey showed his class.

Roshan received filmfare award for the best composer for his landmark creation in Pradeep Kumar’s Taj Mahal. All the songs of the film displayed the royal andaz of songs sung during the mughal period. Pradeep Kumar played the role of Shahjehan and Bina Roy played the role of Mumtaz Mahal. Rafi’s duet with Lata “jo wada kiya hai nibhana parega”, was as outstanding as Rafi’s song “paon chulenedo phoolon ko inaayat hogi”. The use of sarangi require special mention in the song “jo baat tujhme hai teri tasveer me nahi”.

The Rafi Roshan magic continued in the film Chitralekha in 1964. Rafi’s song “man re tu kahe na dhir dhare” is still considered to be one the most landmark bhajans of all times. Roshan was at his best in the film Bheegi Raat. Rafi made the audience stand up on their feet with the song “dil jo na keh saka”. The same song was sung by Lata too in the film. Rafi presented the other ghazal in the film in style titled “jane woh kaun hai kya naam hai in ankhoka”.

The Rafi Roshan combination continued to produce evergreen gems in the films Noorjahan and Bahu Begum. All the songs of Bahu Begum were masterpieces including Rafi’s “hum intezar karenge”, Lata’s “duniya kare sawal to hum kya jawab de”, Asha’s “niklete kahan janeke liye”, to mention a few. Roshan Rafi combination was also evident in the film Mamta. Rafi’s song “in baharon me akela na phiro” was as brilliant as “rahe na rahe hum” sung by Lata.

It is not possible to highlight the significance of Rafi Roshan combination of the 60s in a small article. Separate articles can be written on the music of the films Surat Aur Seerat, Dooj Ka Chand, Bedaag, etc. It was very amazing that Roshan had just received only one filmfare award in his illustrious career. The music of Taj Mahal, Bheegi Raat, Barsaat Ki Raat could qualify for national awards in the respective years. Roshan died in 1969 and the royal combination of Rafi and Roshan also ended with it.

The films and the songs require re-examination, restoration and preservation.

Happy birthday to Raj Kapoor.

Happy birthday to Raj Kapoor.

Raj Kapoor is remembered by the nation on his birthday on 14th December, 2009. He was probably the most popular actor of bollywood films of the 40s, 50s and 60s other than Dilip Kumar.

Dilip Kumar and Raj Kapoor still remain the most popular actors of bollywood cinema in the last 70 years. One of the reasons of their immense success includes the superlative class of music being given to the giant actors by Naushad and Shankar Jaikishan.

Naushad gave classic tunes to Dilip Kumar in the films Uran Khatola, Kohinoor, Mughal-I-Azam, Leader, Dil Diya Dard Liya, Ram Aur Shyam, Aadmi, to name a few. Rafi and Shakeel Badayani were the other players in the deadly combination. Rafi’s songs for Dilip Kumar like “madhuban me radhika nachere”, “woh dur ke musafir”, “tere husn ki kya taarif karun”, “koi sagar dil ko behlata nahi”, “dilruba maine tere pyar me kya kya na kiya”, “aaj purani rahon se koi mujhe awaaz na den”, “na aadmi ka koi bharosa”, “do sitaron ka zameen par hai Milan aaj ki raat”, etc., remain one of the greatest creations of all times. If Naushad was unparallel as a composer, Shakeel Badayani was unparallel as a lyricist, Rafi was matchless as singer and Dilip Kumar matchless as an actor.

Producer director Raj Kapoor was the closest competitor of Dilip Kumar during the 40s, 50s and 60s. In fact both the giants had acted together in the film Andaz in 1949. Raj Kapoor’s deadly combination with Shankar Jaikishan had produced super hit films like Barsaat, Aah, Awara, Shree 40, Chori Chori, Anari, Jis Desh Me Ganga Behti Hai, Sangam, to name a few. The music of those films were equally popular and successful. Songs of Mukesh and Manna Dey like “ramaiya vasta maiya”, “mur murk e na dekh”, “sab kuch seekha humne”, “yeh raat bheegi bheegi”, “o mehbooba”, “dost dost na raha” “aa aab laut chalen”, had not lost their flavor even after 50 years of their creation. As Raj Kapoor had other qualities besides acting including production, direction, editing, etc., he is considered the greatest showman of all times even today.

As far as the compositions of Naushad and Shankar Jaikishan are considered, both the composers had very strong classical orientation. Naushad gave folk tunes to Dilip Kumar in Ganga Jumna sung by Rafi including “nain lad jaiy he” and Lata in “dhoondo dhoondo resaajna”, etc. Shankar Jaikishan gave folk tunes to Raj Kapoor in Teesri Kasam in songs like “chalet musafir” sung by Manna Dey, to name a few.

If Naushad displayed the muslim culture of Lucknow, Aligarh with his classical tunes in films like Leader, Kohinoor, Mughal-i-azam, Shankar Jaikishan displayed the European tunes in Raj Kapoor’s films Sangam, Around the World, etc., where the westernized orchestrations complimented the colourful scenary of the foreign countries. In fact, SJ’s tunes “chale jana zara theheron” showed the brilliance of Lake Erie and Niagra Falls stretching from Canada to USA, and mesmerizing the audience. Even in Sangam, the creation of SJ picturised in the snow-clad Switzerland titled “ishq the ishq, I love you” showed SJ’s capability of adapting to European tunes. The musical fountain in Around the World, showed the brilliance of SJ in the film Around the World.

The lyrics written by Shakeel Badayani in Dilip Kumar’s films where music was composed by Naushad were as innovative as the lyrics written by Hasrat Jaipuri and Shankar Jaikishan in Raj Kapoor’ films composed by Shankar Jaikishan. The lyrics contained urdu shairy, bhopuri language, ultramodern lyrics, rural language, etc. and appealed to the masses.

Naushad had composed music in more than 15 films of Dilip Kumar and the same is the case of Shankar Jaikishan in Raj Kapoor’s films. The music of each of those films can be analysed and revisited.

It is impossible to say whether Dilip Kumar’s combination with Naushad was greater than Raj Kapoor’s combination with Shankar Jaikishan, but it is true that the two giants had left assets for generations to cherish which had ended up being masterpieces. New actors, composers, singers, directors learn from the success of the Showman and Tragedy King and the works should be revisited.

Bosonto Choudhury superseded Uttam Kumar in Shankhabela.

Bosonto Choudhury superseded Uttam Kumar in Shankhabela.

Bosonto Choudhury superseded Uttam Kumar in Agragami’s epic film Shankhobela. The film was released in the year 1966 and ended up being a blockbuster.

There was lot of history behind the film. Sudhin Dasgupta, the composer of music in the film for the first time used Manna Dey to sing for Bengali superstar Uttam Kumar. All the songs in the film sung by Manna Dey and Lata Mangeshkar became super hit. Some of them included “ke pratham kache esechi”, picturised in the romantic scenario of Maithon amidst river Damodar, “ami agantuk ami barta dilaam”, “aaj mon cheyeche ami hariye jabo”, to name a few.

As far as Bosonto Choudhury was concerned, he was one of the competitors of Uttam Kumar other than Bikash Roy and Astiboron, who had started their careers with Uttam Kumar. Bosonto Choudhury acted in lesser number of films, as he only signed those films which suited his culture, aristocracy and education. Therefore from his first film Mahaprashthaner Pothe, his performance in noted films used to depict aristocracy legacy of Bengal that was left behind by Chabi Biswas.

In Shonkhobela, he played the role of the doctor, who treated Uttam Kumar’s son, after Uttam Kumar left his Madhabi. Madhabi could not compromise with Uttam Kumar’s fast life, full of parties and hard drinks, which was necessary for the success of his marketing career. She left the house of Uttam Kumar and worked in a school to upbring her child.

Bosonto Choudhury showed compassion to Madhabi, and understood her social standing while treating the child. The story of her life was told to him by his assistant played by Mrinal. The child had to be treated and operation had to be carried out which the signing of bond by the guardian. Bosonto Choudhury compelled the father of the child Uttam Kumar to come and sign the bond.

He scolded Uttam Kumar for remaining carefree about his son who was terribly sick. Bosonto Choudhury’s astounding personality in the film brought back the marital peace of Uttam Kumar and Madhabi Muherjee who stayed separately after the differences were made.

The viewers appreciated Uttam Kumar’s brilliant performance in the role of a romantic husband which he depicted with highest amount of maturity. Uttam Kumar’s romantic style of performance had always created a benchmark in the world of romantic acting and that was the reason why Oscar Winning director Satyajit Ray had considered Uttam Kumar as the greatest matinee idol, fulfilling the aspirations of numerous middle-class Indians. But some way down the line, Bosonto Chouhdury superseded Uttam Kumar with his aristocrat performance and at the end of the film received higher accolades from the critics and educated section of the society. Both Uttam Kumar and Bosonto Choudhury had immense contribution in Bengali classic films, and their space had remained empty after 50 years of the completion of the films. For those reasons Shonkhobela should be preserved and restored.

Review of Sayangsiddha

Review of Sayangsiddha.

In the mid-70s directors in Bengal experimented with masala films. Sayangsidha was an example of such type of films.

In that film Ranjit Mullick was the elder son of Satya Banerjee. He was the owner of huge amount of property but was given narcotics and remained abnormal. His younger brother was tutored by Utpal Dutt to whip his elder brother and exercise his right over the property of Satya Banerjee. Satya Banerjee’s first wife died. His second wife Chaya Devi neglected the elder son Ranjit Mullick.

Ranjit Mullick was married to the daughter of Kali Banerjee, that was Mithu Mukherjee. Mithu Mukherjee was very notorious in the village as she proved herself to be a dare devil character. Once she married Ranjit Mullick, she realized that there was nothing require wrong in him. He was beaten and terrorized, so became abnormal.

Mithu Mukherjee taught her to read and write after marriage. One day when his younger brother tried to whip him, she snatched the whip and whipped the younger brother instead. Satya Banerjee did not give his ancestral property to the younger son. So there was violence at the end of the film backed by Utpal Dutta. His men tried to kill Ranjit Mullick to allow the younger brother to be the absolute owner of the property after the death of Satya Banerjee.

They did not succeed in their attempt. The music composed by Nochiketa Ghosh was very impressive with hit songs of Manna Dey like “kichi michi kichi michi”, songs of Asha Bhosle like “mone hoy aaj aami”, etc. The performances of character artists in the film like Bhanu Banerjee were very impressive.

Bengali films shifted from the literature based classics to masala films in the late 70s. Sayangsiddha was remade in hindi with Jeetender playing the role of Ranjit Mullick and Hema Malini playing the role of Mithu Mukherjee.

Manna Dey and Sudhin Dasgupta.

Manna Dey and Sudhin Dasgupta.

Manna Dey had a very sweet relationship with Sudhin Dasgupta. He was used by almost all the leading composers of Bengal namely Anil Bagchi, Nochiketa Ghosh, Salil Choudhury and others. But probably his westernized andaz was used to the limit by Sudhin Dasgupta.

Sudhin Dasgupta used Manna Dey in Uttam Kumar’s film Goli Theke Rajpoth with the song “lag lag lag lag bhelkir khela”. Manna Dey’s songs “ami agantuk” and “ke prothom kache esechi” composed by Sudhin Dasgupta in Uttam Kumar’s film Shankhabela created sensation in Bengali celluloid in 1966. Manna Dey’s songs “ami kon pothe je choli” and “bachao ke acho” in Uttam Kumar’s film Choddobeshi became super hit as well.

In the 70s, Manna Dey’s songs “esechi ami esechi”, “lekha porata shikhe phele” and “paye paye joriye rakho” in Uttam Kumar’s film Har Mana Har created sensation as well. Uttam Kumar gave the lips of his lifetime in the film Har Mana Har. While major success of Sudhin Dasgupta came in Uttam Kumar’s films, he made major contribution in Soumitra Chatterji’s films as well. The songs “ei shohor theke aro anek dure”, “hoyto tomari jonyo”, “jibone ki pabona” in the film Teen Bhubaner Pare, composed by Sudhin Dasgupta and sung by Manna Dey showed the westernized orchestration of the giant composer.

Sudhin Dasupta’s songs in Soumitra’s films Prothom Kodom Phul and Bosonto Bilaap were equally successful. Manna Dey’s all round musical skills were used to perfection in these films. Even the song “ogo tomar sesh bichare asay” sung by Manna Dey in bayul andaz in Kali Banerjee’s legendary film Dak Horkora, and composed by Sudhin Dasgupta made the viewers speechless.

Manna Dey sang many numbers of solo numbers as basic discs under the compositions of Sudhin Dasgupta. One of the notable songs included “ami taar thikana rakhini”. The songs of Sudhin Dasgupta and Manna Dey combination should be preserved and restored.