Suchitra Sen- one of the greatest actresses on Tollywood and Bollywood

Suchitra Sen- One of the greatest actresses of Bollywood and Tollywood.

Suchitra Sen can be considered as one of the most glamourous actresses ever to appear in Indian Celluloid. Rama Sen, born on 6th April, 1931, better known as Suchitra Sen, can be considered as the greatest actresses who had remained sublime in her immortal performances. She started her career in the Bengali film Saat Number Qoidi, meaning Prisoner No. 7 in early 50s. She stormed into the Bengali silverscreen by forming successful combination with Uttam Kumar in the film Sare Chuattor, 1953. Her combination with Sandhya Mukherjee and Geeta Dutt, had provided a golden age glorified with melodious romantic songs.

In the mean time, her poetic eyes persuaded Bimal Roy to cast her opposite Tragedy King Dilip Kumar, in the film Devdas in 1955. She brought out both the affection and submissiveness possessed by Bengali housewives in the 30s and 40s in the role of Parbati and done justice to Sarat Chandra Chatterjee’s epic novel Devdas, which is even remade today, with Aiswariya Rai acting in the role of Suchitra Sen. She got offer to act in hindi films like Champakali opposite Bharat Bhushan, Musafir opposite Dilip Kumar and Bombai Ka Babu opposite Dev Anand.



While performing in a number of successful hindi films, she dominated the Bengali silver screen by providing golden jubilees one after the other, in Pathe Holo Deri, Chawa Pawa, Indrani, etc. In Harano Sur (Missing tune), in 1957, she acted in the role of a doctor who treated the patient Uttam Kumar, who lost his memory and could not even recognise her as her wife. She worked in the house of Uttam Kumar as governess of his brother’s daughter and struggled to bring back his memory by singing the missing tune. Suchitra Sen blended her romantic appeal, with the softness and humbleness possessed by women at that period of time and won all the sympathy of the audience with her everlasting performance.

In Deep Jele Jai, 1959, Suchitra Sen played the role of a nurse who acted as the girlfriend of people suffering from psychological shock due to unsuccessful affair. Day after day, she had to do the acting and a time came when she became a patient herself. Her outburst at the end of the film saying “I never acted, I never knew how to act” created unrest in the cinema halls. Wahida Rehman, took up the challenge in the hindi film Khamoshi, 1969, but she too, being a classic actress, could not bring out the feeling of the frustrated nurse, the way Suchitra Sen had done. In Saptapadi, 1961, her performance, in the role of Rina Brown, an anglo-Indian who gets involved in an affair with Bengali Brahmin played by Uttam Kumar, and sacrificed her love on the request of his father (played by Chabi Biswas). Unfortunately, Uttam Kumar, embraced Christianity and devoted his life as a doctor who treated patients suffering the after mirth of Second World War. Ajoy Kar’s cine-classic was glorified by powerful dialogue delivery and unmatched performance of Suchitra Sen.

Her performance in Saat Pake Badha, 1963, where she played the role of an affluent Bengali who married a middle class academician, commanded respect, sympathy and tears in the eyes of compassionate film-lovers. The over interference of her mother in the household affairs of her family, irritated her husband, and her effort to show adjustment and sacrifice went in vain as the bond ended with her husband leaving the city. She received the best actress award in the Moscow Film Festival in that year, for showing the depth of understanding the complex character depicted by the novelist. Jaya Bacchan was inspired by her performance when she acted in hindi version of the same film titled Kora Kagaz, 1974.



Her performance in a double role in the film Uttar Falguni, 1963, and Mamta (the hindi version of the same film), 1966, can be considered as the best performance ever given in a subject related to a bond of mother and a daughter. She being a victim of ill-treatment from her husband and under compulsion became a tawaif who sacrificed her life to make her daughter a barrister who pleaded in Calcutta High Court in a murder case, where her mother had killed the cruel husband who wanted to destroy the life of the daughter. She got involved in the role of both the tawaif and the barrister with such elegance that the director Asit Sen, got mixed up with the feeling that two separate actresses were playing the two roles.



Gulzar, in his interview before the media said that he could not get a more dignified appearance in any other actress who could play the role in the film Aandhi, the way Suchitra Sen had acted in 1975. She was a politician who got cornered by opposition due to the policies she had taken, impersonating the period when Indian Prime Minister Indira Gandhi, faced the consequences of declaring emergency in mid-70s. She not only brought out the feelings of a loner but also matched Sanjeev Kumar in personality who was considerate and compassionate towards his wife. Suchitra Sen stopped acting in 1978, and was not seen performing in celluloid or television channels. May be eternal silence had increased the respect and honour for her numerous admirers in the country, although her granddaughters Raima Sen and Riya Sen are involved in a number of bollywood films these days. Suchitra Sen’s films should be preserved and restored in an archive to inspire new actresses to blend softness, personality, compassion in the characters the way Suchitra Sen had done in Bollywood and Tollywood films.

Kalyanji Anandji's association with Rafi

Kalyanji Anandji’s association with Mohammad Rafi.

In the Golden age of Indian film music, many composers have enriched the firmament of music with their innovative compositions, yet they did not get the recognition they deserved. Kalyanji Virji Shah (born in 1928) and Anandji Virji Shah, (born in 1933) better known as Kalyanji and Anandji, started their journey with the film Samrat Chandragupta, in 1958.



In early 60s, Kalyanji Anandji provided successful tunes in Raj Kapoor’s Chalia, in 1960, where songs like “chalia mera naam”, “dum dum diga diga” becoming successful. Due to strong dominance of Shankar Jaikishan in that era, most of the music lovers could not dissociate compositions of other composers, and thought it was S J’s composition. In Raj Kapoor’ film Dulha Dulhan, 1964, Mukesh’s song “humne tumko pyar diya hai jitna” was composed with tragic andaz.

Kalyanji Anandji associated with Mohammad Rafi, the man dominating the world of playback singing in that age in Shammi Kapoor’s film Bluff Master, 1963, where most of the songs were sung by Rafi followed by Joy Mukherjee’s Ji Chahta Hai, in 1964. The most successful composition of the musical duo came in 1965 with Shashi Kapoor’s film Jab Jab Phool Khilen, where Rafi’s songs ‘pardesiyon se na ankhiyan milana”, “mai yahan ek ajnabi hun”, “na na karke pyar” becoming super duper hits. In the film Himalay Ki God Me, 1965, Kalyanji Anandji’s composition and Mukesh and Lata’s songs became successful. In 1967, Kalyanji Anandji won filmfare award for their superlative composition in Manoj Kumar’s Upkaar. Manna Dey’s song “kasme wade” was as successful as Mahendra Kapoor’s song “o mere desh ke dharti” and Rafi’s duet song with Asha Bhosle “Gulabi raat gulabi”.



Rafi’s combination with Kalyanji Anandji continued in Shashi Kapoor’s Haseena Maan Jayegi, in 1968, with songs like “Bekhudi me sanam”, “Chale the saath milke” and the songs in the film Raaz, 1967, where Rafi’s song “Akele Hain Chale Ayo” becoming very popular. Mukesh’s song “Chandan sa badan” from the film Saraswatichandra, 1968, was also successful. Kalyanji Anandji composed legendary bhajan for Rafi titled “sukh ke sab sathi, dukh me na koi” in Dilip Kumar’s film Gopi, 1970.


In the 1970s, Kalyanji Anandji provided successful songs to Kishore Kumar including “Zindagi ka safar” in the film Safar. Rafi’s song in Raj Kumar’s Maryada, 1971, titled “tu jo aja” had an everlasting effect in the film. Kalyanji Anandji’s composition included hilly tunes composed in Rajender Kumar’s film Geet, in 1970, where Rafi’s songs “aaja tujhko pukare mere geet” becoming everlasting hit.

Kalyanji Anandji were the only musical duo along with Laxmikant Pyarellal, who could blend their own skills with the general taste of popular cinema which changed with passage of time. That was the reason why Kalyanji Anandji succeeded in composing successful songs for Firoz Khan’s films Apradh, 1972, Dharmatma, 1975, Jaanbaaz, 1986, which were spread out in two decades. He even composed successful songs in action pact films like Muqaddar ka Sikander, 1977, where he asked Kishore Kumar to sing the song “rote hue ate hai sab” for Amitabh Bacchan in the happy mood, and Mohammad Rafi to sing the same song in sombre mood for Vinod Khanna in the same film.

It is difficult to compile the contribution of Kalyanji Anandji in a short article because they had created everlasting hits in the 50s, 60s, 70s, 80s and even 90s. But they had grand association with Rafi, and wherever they got opportunity the combination had provided immortal songs which can be preserved for immense musical value.


Related Reading

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• Awards received by Mohammad Rafi in his illustrious career.
• Mohammad Rafi- the greatest voice of the last century.
• Rahul Dev Burman’s immense respect for Mohammad Rafi.
• Laxmikant Pyarellal’s immortal relationship with Mohamand Rafi.
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Uttam Kumar's influence on Bollywood films.

Uttam Kumar’s influence on Bollywood films.

Uttam Kumar, the all time legend of Bengali silver screen who is honoured with the title of “mahanayak” meaning megastar, was one of the most colourful personalities who not only dominated Bengali cinema but had tremendous influence on classical films created in the bollywood. Born in 1926, Arun Kumar Chatterji, better known as Uttam Kumar, made his debue in the Bengali film Dristidan in 1948. Within few years who got the recognition of the carefree hero who could portray the middle class Bengali image according to the characters portrayed by emiment novelists. Satyajit ray, the greatest director, ever to grace Indian Celluloid, said Uttam Kumar, was the only matinee idol, whom a wife wants to have as a husband, a mother wants to have as a son, a sister wants to have as a brother and a daughter wants to have as a father.



Not only did some his films have celebrated golden jubilee, films like Harano Sur, 1957, Saptapadi, 1961, Suno Baranari, 1960, Shankhabela, 1966, Nayak, 1966, Antony Firingi, 1967, Chowrangee, 1968, etc. were the most creative films that were categorised as black and white classics during the golden age of Bengali cinema. He formed the most legendary romantic pair ever to appear on Celluloid with noted actress Suchitra Sen with whom Uttam Kumar acted in 30 films.

Very significantly Uttam Kumar’s films were taken up as base for creating classic films in bollywood at different points of time. The Bengali film Saheb Bibi Golum made in 1955, where Uttam Kumar played the role of Bhutnath was remade in hindi as Saheb Bibi Aur Ghulam in 1962, where Guru Dutt played the role of Bhutnath. He was an observer who watched the aristocracy maintained in Kolkata from mid 18th century to early 19th century. The film depicted the British Raj from the capital, Kolkata, the society existing at that time, Hinduism under the tenets of Swami Vivekanda, the Brahmo Samaj and domination of women during that age.

Uttam Kumar’s legendary film Sabar Opore, released in 1955, involved a crime thriller, where his father Proshanto Chatterji, played by Chabi Biswas was wrongly prosecuted for murder of a lady, and Uttam Kumar had to reopen the case after 12 years and proved before the Court of the law, that the actual murderer was the public prosecutor played by Nitish Mukherjee. Chabi Biswas bewildered the audience after spelling out before the judge that his youth was destroyed by the wrong sentence and asked them to return his 12 years back the period of time he languished in the solitary jail. The same film was remade in hindi under the title of Kala Pani in 1958, where Dev Anand played the role of Uttam Kumar.



Uttam Kumar’s super hit film Agni Parikha, released in 1955, opposite Suchitra Sen, was remade in hindi under the title Choti Si Mulakat in 1967, where Uttam Kumar acted in the hindi version opposite Vaijayantimala. It was related to a couple who were married to each other when they were infants, then the marriage being disowned by a section of the society and the husband and wife falls in love once again when they become matured. Shankar Jaikishan’s composition of music and Rafi’s songs were successful, including songs like “Choti si mulakat me pyar ban gayi.”

Uttam Kumar’s successful film Jivan Mrityu, 1967, where he was wrongly charged in a cheating case by his fellow bank collegues and he took revenge against all of them, was remade in hindi under the title Jeevan Mrityu, where Dharmender played his character. He was travelling in a train and a person fell down from the running train and died. The media wrongly stated that Uttam Kumar had died. He took the make up of a sikh and destroyed the business of all his colleagues. Uttam Kumar's classic film "Lal Pathor" in 1963 based on the historical backgruond of a nawab who marries twice and kills his wives is made in hindi with the title "Lal Patthar", where Raj Kumar played the role of Uttam Kumar. It was shot at Fatehpur Sikri and both the films depicted the royal style of living exhibited by the Feudal lords at that period of time.

Uttam Kumar’s comedy film Bhranti Bilas, 1963, where he had a double role and played the role of the twin brothers under the translated version of Shakespearean play titled The Comedy of Errors, was remade in hindi by Gulzar under the title Angur. There was double role of both the Zamindar played by Uttam Kumar and the servant played by Bhanu Banerjee. In the hindi version Uttam Kumar’s role was played by Sanjeev Kumar and Bhanu’s role was played by Deven Verma. It showed the immense comedy skills possed by Uttam Kumar, who maintained both the personality and sense of humour in the role displayed in the film.

Uttam Kumar’s comedy film Choddobeshi, in 1971, where he depicted a botanist who disguised himself as a driver to irritate his wife’s sister and her husband, was remade in hindi under the title Chupke Chupke, in 1975, by Hrishikesh Mukherjee, where Dharmender played the role of the Botanist. Uttam Kumar’s film Ami Se O Sakha, 1975, where he played the role of a friend of a doctor and loves the same woman whom the doctor loves, is remade in hindi under the title Bemisal, where Amitabh Bacchan played the role of Uttam Kumar. He sacrificed the lady for his friend.

Uttam Kumar’s film Amanush, in 1974, where he depicted the story of fishing community who was wrongly rebuked by the local police officer, was remade in hindi under the same title Amanush by noted Director Shakti Shamanta in 1975. The other film where Uttam kumar acted both in the Bengali version and the hindi version include Anand Ashram. In both these films, Sharmila tagore acted opposite Uttam Kumar. Here the wife of the doctor dies, while giving birth to the child. Uttam Kumar displayed the pathos of the husband after the demise of his wife with same level of excellence which Dilip Kumar used to depict in tragic roles.

The list of films of Uttam Kumar, which influenced bollywood can go on. Very significantly Uttam Kumar had given lips for songs sung by different singers, including Hemant Kumar, Shaymal Mitra, Manna Dey, Mohammad Rafi, Kishore Kumar, etc. Even Bhupinder Singh had sung songs for Uttam Kumar titled “zindagi me jab tumhare gham nahi the” and “zindagi, zindagi, o mere ghar ana zindagi” in the film Dooriyan, 1980. It is a pity that as Uttam Kumar had acted in around 205 films within a span of 35 years, he did not get the time to act in major bollywood films. An archive of Uttam Kumar’s works should be created which can depict the rich subject matter presented in his films which had provided inspiration to directors like Hrishikesh Mukherjee, Shakti Shamanta, Gulzar, to reciprocate the stories in bollywood films.

Manna Dey- A versatile Genius

Manna Dey: The genius of Hindi playback and Bengali modern songs.

Manna Dey is probably one of the most talented singers who had glorified the golden age of Bollywood cinema. Born on May 1st, 1919, Probodh Chandra Dey, better known as Manna Dey, studied in Scottish Church College, in Kolkata, where Swami Vivekananda and other great men studied at a point of time. Although his father was a Chartered Accountant, his uncle K.C. Dey’s influence had turned his attention towards music and he completed his classical talim from Ustad Aman Ali Khan. His uncle, K.C. Dey also acted in famous theatre in Kolkata during the period when Natyacharya Sisir Bhaduri’s classic plays Chanakya, Alamgir, Shahjahan, mesmerised the Bengali audience.

Manna Dey went to Bombay with his uncle KC Dey and also worked as assistant of SD Burman. His song “upar gagan bishal” in the film Mashal, stationed him permanently among other singers during the golden age. He stormed into the bollywood arena with successful songs in Raj Kapoor’s Shri 420, namely “mur mur ke na dekh mur mur ke”, “pyar hua ikrar hua hai” and “dil ka hal sune dilwala” and caught the attention of Shankar Jaikishan, the famous musical duo. His classical background was fully exploited in the film Basant Bahar, 1957, where Shankar Jaikishan’s composition “sur na saje kya gayun mai” and his contest with Bhim Sen Joshi was well acclaimed by music lovers.



Manna Dey got the opportunity of singing almost all the songs of Raj Kapoor’s Chori Chori, 1956, where songs like “yeh raat bheegi bheegi”, “aja sanam madhur chadni me hum” brought the first filmfare award for Shankar Jaikishan. Within a short time Manna Dey got the recognition of singing challenging songs in the film industry including qawallis, Hindustani classical, bhajan’s, etc. Madanmohan’s composition “kaun aya mere man ke dware” in the film Dekh Kabira Roya, shows his immense classical control.

Roshan, exploited the range of Manna Dey in Raj Kapoor’s film Dil hi to hai, where his song “laga chunari me daag chupayun kaise” brought his supreme command over sargam, taal, tempo, etc. His qawalli in Barsaat ki Raat, in 1960, composed by Roshan, and sung along with Mohammad Rafi, showed the capability of transforming the grammer of these songs into effortless, flawless pursuits which were simplified for the common audiences.

In the mean time, Manna Dey brought out his supreme performance in Bengali films during the golden age, and his songs “ogo tomar shesh bicharer asay” in the film Dak Harkora, 1958, composed by Sudhin Dasgupta, and “uthali pathali amar buk” in the film Ganga, 1960, composed by Salil Chowdhury flabbergasted the listeners, people wondered how could Manna Dey, coming from complete urbanised background provide perfect intonation for folk songs including bayul and bhatiyali.

Manna Dey’s songs “pucho na kaise maine rain bitayi” in the film Meri surat Teri Ankhen, composed by SD Burman, “ay mere pyare watan” in the film Kabuliwala, composed by Salil Chowdhury, “kasme wade pyar wafa sab” in the film Upkar composed by Kalyanji Anandji, are all masterpieces, some having patriotic feeling, others having pure classical raga embedded in them. Salil Chowdhury even exploited the chorus oriented command of Manna Dey in the song “zindagi kaisi hai paheli hai” in the film Anand, 1970. Other than Mohammad Rafi, no other playback singer could show the versatility and elegance of singing classical, thumris, qawallis, rock and roll, etc., as displayed by Manna Dey.



From mid-sixties, Manna Dey, played the second innings of his musical career by lending his voice for the superstar of Bengali films Uttamkumar in Shonkhobela, 1966. His songs “ami agantuk ami barta dilam” and “dekechi ke age” composed by Sudhin Dasgupta, became super duper hits, and Manna Dey became the most legendary singer of bengali modern songs of all times. His songs in Uttamkumar’s films Antony Firingi, 1967, “ami je jalsaghare,” “ami jamini tumi sashi he”, Nishi Poddo, 1970, “ora je ja bole boluk”, Stri, 1971, “hajar takar jhar batita”, “ose jatai kalo hok”, Sanyasi Raja, 1975, “shashikanto tumi dekhchi”, “bhalobashar agun jalao”, transformed Bengali film music into an invaluable khazana (tressure) which contained Manna Dey’s rock and roll effect, to tappas, to kajris, to other Hindustani raga oriented performances. Manna Dey also had the supreme calibre of imitating a drunkard and the way he sung “ei duniyay bhai sabi hoy sab satti” for legendary actor Chabi Biswas, in Raj Kapoor’s Bengali film Ekdin Ratre, 1955, which was remade in hindi under the title Jagte Raho, 1956, one wonders that he had synchronised his singing capabilities with acting qualities. At the same time his Bengali adhunik (modern) songs most of which were composed by himself like “kotodure aaj niye jabe bolo”, 1953, “hay hay go raat jay go” “ami aaj akasher moto akela” show the romantic appeal of his voice where pathos and classical touch complimented each other.

Manna Dey received filmfare award for best singer in 1972 for the film Mera Naam Joker, national award for singing in Nishi Padda, 1970, a number of Bengal Film Journalist Association Awards (BFJA), Padmashri and Padmabhushan. Besides his versatile talent was exhibited while he did sing songs in regional languages like marathi, malayali, gujrathi, etc. Lata Mangeshkar in her speech in DD1 had said, Manna Dey’s marathi intonation is even better than Marathi Brahmins. No award is sufficient for acknowledging the superlative skills of Manna Dey. An archive should be created where all the songs of Manna Dey in different languages should be preserved and restored, and whenever people here “o mere zohr zabi” or “ek chatun nar” or “yari hai iman mera”, the nostalgia of qawallis, Hindustani ragas and grammatical presentation of ustadi gharana will reflect in their minds.

Influence of Bengali Classic Literature on Bollywood Films

Influence of Bengali Classic Literature in Bollywood films.

Bengal in the eighteenth and nineteenth century had produced intellectuals of different dimensions in different fields including academics, politics, music, literature, social science, etc. Social reformers like Raja Ram Mohan Roy, Vidhyasagar brought social awakening through the prohibition of evil practices like Sati and bringing modern legislations with the help of the British Government in the colonial era like Widow Remarriage Act. In the field of religion Swami Vivekananda redefined Hinduism in his Chicago Conference in USA and provided the deliberations of Sri Ramakrisha in condemning materialist philosophy. Netaji Subhas Chandra Bose was one of the most dynamic personalities of the freedom struggle movement of India.



Literature is a field where the immortal works of the Bengali Legendary thinkers have influenced the silver screen the most which even has significance after around 50 years of creation of the classic works. Bankim Chandra Chatterji was given the title of Sahitya Samrat (the Monarch of literature) who nurtured Bengali language from its Sanskrit-oriented origin in almost the same manner in which mythologically Lord Mahadeva brought river Ganges from his knotted hair (jata) and created classic novels like Kapalkundala, Anandamath, Devichowdhurani, etc. His song Vandemataram had instilled patriotism and respect for the motherland and was the guiding mantra in India’s freedom movement which became the national song of the country after India got independence. His novel “Anandamath” was picturised as Bollywood film in 1950 with Pradeep Kumar, Bharat Bhushan, Prithviraj Kapoor playing significant roles.

Bimal Mitra’s epic literature Saheb Bibi Gulam, directed by Karthik Chatterji became a historically eminent work depicting the Zamindari existing in Kolkata during Colonial rule. Chabi Biswas was the second brother, showed the aristocracy, grantieur with which the feudal lords ruled the state. Uttamkumar was the observer of the events as Bhutnath.[1] Guru Dutt played the same role in the hindi film Saheb Bibi Aur Ghulam, 1962, where Meena Kumari played the chotibahu in her own style.

Rabindranath Tagore, the winner of Nobel Prize in literature for Gitanjali, in 1913 had galvanised the firmament of creativity with short stories, poetry, prose, plays, songs and had influenced both Bengali and Hindi films with his revolutionary thinking. His story Kabuliwala was directed by Tapan Sinha in 1957, with Chabi Biswas, the greatest actor of Bengali Silver Screen giving immortal performance of an Afghan father who left his country, came to Kolkata to sell his produce of mewa, pesta and loving a small Bengali girl “mini” who brought him memories of his own daughter back in the country.[2] Tapan Sinha’s films Khudito Pashan, Atithi, 1965, Satyajit Ray’s cineclassic, Teen Kanya, 1961, Gharebaire, 1984, are based on the immortal prices of work of Tagore.

Bimal Roy, the winner of a number of Filmfare awards for best direction in bollywood films made Kabuliwala with Balraj Sahani in 1961. Although the film could not create the same impact as the Bengali film Kabuliwala, yet the classic literature was well appreciated by the Indian masses. Previously Salil Chowdhury’s Do Beegha Zameen, in 1953 had kept its mark as a Bollywood film having strong storybase and powerful direction.

Sarat Chandra Chatterji, titled Katha Sahitwik, influenced Bollywood films the most as his language was understandable to the people of the grass root level and his observation on social, economic issues of rural Bengal had tremendous impact on the readers and filmlovers. His story Devdas picturised by Bimal Roy stormed the silver screen in 1955, providing Dilip Kumar the title of Tragedy king and the image which did not fade with changing times. The remake of Devdas by Sanjay Leela Bansali shows the fact the story is immortal and has not lost its significance even today, more than 70 years after its creation. Similarly Sarat Chandra Chatterji’s Parineeta was picturised by Bimal Roy in 1953 with Meena Kumari in the lead role. The same film had been remade by Pradeep Sarkar in recent times and had been well appreciated by the Indian masses showing the strength of the story and the depth of thought of the author.



Bimal Roy picturised Biraj Bahu in 1954, another story of Sarat Chandra Chatterji, showing the experiences of rural Bengal. Sarat Chandra Chatterji’s classic story Niskriti, based on the problems of joint family system was picturised in Bengali film and in the hindi film Apne Paraye, 1980, the pain of poverty was well depicted through strong performance of Shabana Azmi and Amol Palekar with Utpal Dutta’s compassionate andaz as elder brother. Sarat Chandra Chatterji could think ahead of his time, because joint families are getting eroded these days due to lack of adjustment and giving birth to nuclear families. Besides the biographies of Sarat Chandra Chatterji were picturised in Bengali cinema in Rajlakhi Srikanto,1958, Kamallata, 1969, where Uttamkumar represented Sarat Chandra himself and Abhaya Srikanto, 1965 where Basonto Chowdhury represented Sarat Chandra. In all these stories, the social stigmas, religious barriers, poverty existing in the rural countryside and condition of women was depicted with such a pictographic dimension that people find themselves and associate themselves in one character or the other.

Noted author Jorasondho had provided immortal stories based on his experiences as Jailor in a Bengal prison. Tapan Sinha mesmerised the Bengali audience with his powerful adaptation of the novel Louhakapat in 1958. Chabi Biswas’s performance was well acclaimed throughout Bengal and Nirmal Kumar playing the role of the observer was well appreciated. Bimal Roy made his epic film Bandini on the story of Jorasandho in 1963. The tragic background of individual prisoners made people think whether our justice system punishes the crime or the offender. Other landmark stories include hinger kachuri, written by Bibhutibhushan Mukherjee, which was picturised as Nishipadda, 1970, where Uttamkumar gave a lifetime performance and also translated into hindi version in Shakti Shamant’s Amar prem, 1972. The list can go on. As Bengalis are characterised with their depth of thinking, analysing and feeling human emotions, Bengali literature still is an invaluable asset, even today. Still realistic films can be made from the classic literature of different ages by thoughtful directors. Efforts should be made to translate the Bengali classic literature into different regional languages, so that more section of the society can cherish them for generations.


[1] My father Chitta Ranjan Chatterji, Ex-chief Public Prosecutor, Bankshall Court, had interviewed Dilip Roy, eminent actor of Bengali films who was his witness, in a case instituted in Bankshall Court, who said there was no second actor in India who could depict the role of Zamindar in the way Chabi Biswas had done in Saheb bibi Golam, Jalsaghar, Dui Purush, Antarikha, etc. He also said when Raj Kapoor tested Chabi Biswas in the role of a drunkard in the film Ekdin Ratre, 1955, his performance in the song “Ei duniyay bhai sabi hoy” sung by Manna Dey, he came down the trolley and saluted Chabi Biswas saying he had not seen an actor in Indian screen like Chabi Biswas. In the hindi version Jagte Raho, 1956, the same character was played by Motilal, but he could not match the level of excellence of Chabi Biswas.

[2] Kabuliwala received President’s Gold Medal for best film in 1957. Renowned Director Satyajit Ray in his TV interview on DD Bangla had said Chabi Biswas was the greatest actor ever to grace the silver screen and giving him direction was his greatest challenge in the award winning films Jalsaghar, 1958, Devi, 1960, Kanchenjungha, 1962. Chabi Biswas’s performance in the film Manik, 1956, the adaptation of Oliver Twist written by Charles Dickens, in a role of a handicapped grandfather could have brought him Oscar had the film being placed for the nomination.

Dilip Kumar

Dilip Kumar – the greatest tragedian of golden age of bollywood films.

Yusuf Khan, better known as Dilip Kumar is one of the greatest legends who had glorified the golden age of bollywood films with his everlasting appeal as a tragedian. Being one of the most popular actors for the last last six decades both in India and Pakistan, much had been said about the grand icon of hindi cinema. What has not been said is that there are few personalities in the film world whose performances are so effortless and natural that it is a wonder how can real life characters be provided living identity with such ease, the way Dilip Kumar had done.

Born in December 11, 1922, in Peshawar, he had seen the transformation phase of hindi cinema during the pre-independence and post-independence period. His films in the 40s starting from Jowar Bhatta in 1944 and including Jugnu, Azaad, etc. showed that he possessed inherent acting skills which got immense exposure in the 1949 blockbuster of Mehboob Khan titled Andaz, where the other notable personality named Raj Kapoor faced Dilip Kumar. Dilip Kumar’s path of sacrifice in triangular affair-based films became a hall mark for other notable actors in the later years and at the end of the film he won all the sympathy of the audience who considered him as deserving Nargis equally like Raj Kapoor.



His films in the early 50s titled Aan (the first coloured film in India) opposite Nadira, Deedar, Babul, etc., had diverse subjects. But he formed a very successful pair with Madhubala, one of the most glamourous actresses in the golden age of hindi cinema, and the tragic-oriented roles in Tarana, 1950, Sangdil, 1951, Amar, 1954, provided him the title of tragedy king where the audience had identified themselves within the romantic characters of Dilip Kumar and Madhubala.

In the mean time, Dilip Kumar created a hat trick by winning filmfare awards one of the other in 1956, 57, 58, for the films Azaad, Devdas and Naya Daur. Devdas probably provided Dilip Kumar the everlasting identity of the tragic hero whose romance never blossoms into successful destinations and the failure haunts him throughout his life. Sarat Chandra Chatterji’s epic literature depicted him as the Bengali Brahmin who falls in love with Parbati a neighbouring girl, who could not cross the social barriers and were married to a wealthy family in the same village. Devdas accompanied Chunnilas played by Motilal and went to a Kotha where alcohol and the company of Chandramukhi acted as the sedative which could enable Devdas to forget his unsuccessful romance. The unfettered consumption of alcohol led to his death and he died in front of the house of Parbati. The feeling of a frustrated person, who is almost at the verge of death, who cannot breath due to failure of health is very difficult to portray which Dilip Kumar had done in an extraordinary manner. Talat Mehmood’s song titled “Mitwa” which was played when Dilip Kumar’s body was lying on the ground created pensive and sombre mood for all sections of the society. The film has been remade a number of times, but still Dilip Kumar’s appeal is everlasting even after 50 years of the release of the film.


His tragic oriented roles also include Daag, Footpath, Uran Khatola, Yahudi, had created an immortal appeal in the minds of numerous filmlovers across country where Talat’s song “Koi Nahi mera is duniya me”, Rafi’s song “woh dur ke musafir humko bhi saath lele re”, Mukesh’s song “yeh mera diwanapan hai” brought tears in the eyes of the audience. The tragic stories followed in Hrishikesh Mukherjee’s Musafir, 1957, and Bimal Roy’s Madhumati, 1958. Dilip Kumar almost penetrated the soul of the characters he used to display and the doctor advised him to stop acting in these types of films as his health was getting affected due to them.

Dilip Kumar switched over to comedy based films and music oriented films and his performance in Kohinoor opposite Meena Kumari, 1960, and Mughal –i-azam opposite Madhubala, received critics acclamation. His lips in Rafi’s songs “Madhuban me radhika nache re”, “do sitaron ka zameen par hai Milan aaj ki raat” showed the other dimension that he had extraordinary command over classical music.

He started his production in 1961, with the film Gunga Jumna, opposite Vaijayantimala and there too he mesmerised the audience in a role of a dacoit and acting with Bhojpuri accent. The following years provided Dilip Kumar’s epic performances in coloured films with strong musical background like Leader, 1964, and films opposite Wahida Rehman including Ram Aur Shyam, 1966, Dil Diya Dard Liya, 1966, and Aadmi, 1967. the combination of Rafi, Naushad and Dilip Kumar was bolstered in all these films with songs like “teri husn ka kya tareef karoon”, “aaj ki raat mere dilki salami lele”,“ koi sagar dil ko behlata nahi”, “ aaj purani raho se koi mujhe awaaz na de”. The double role of Dilip Kumar in Ram Aur Shyam, showed all the elements of a successful matinee idol including innocence in the role of Ram, fighting skills in the role of Shyam, choreographic skills and romantic skills. The success stories of jubileekumar Rajender Kumar in that decade and other young actors did not create any impact on Dilip Kumar’s domination in hindi films as he became a legendary star.

Dilip Kumar was admired by Bengali Directors during an age when Bengali Film industry in Tollygunge also reached its zenith in the 50s and 60s. His performance as a jailor in the film Paari and a trade union leader in Tapan Sinha’s “Sagina Mahato” opposite Saira Banu, which was remade in hindi, requires special mention because he spoke in broken Bengali the way the tribal and hilly people speak in the hilly regions of West Bengal.

In the 80s when Amitabh Bachhan dominated Bollywood with his angry young man image, Dilip Kumar’s exhibition of personality in films like Shakti, 1982, Mashal, 1984, Karma, 1986, etc, with his soft style of dialogue delivery showed the audience of the new generation that his style is unparallel in different ages. His running with a private car in the film Mashal, when Wahida Rehman died with the dialogue “koi hai” is a performance which neither can be learnt, nor can be imitated. He received 8 filmfare awards as best actor, Dada Saheb Falke Award for his life time contribution to hindi films and “Nishan-i-imtiaz”, the greatest civilian award of Pakistan after Morarji Desai, India’s Ex-Prime Minister. He did not learn acting from Pune Institute or Delhi School of Drama from where modern giants of bollywood like Om Puri, Nasiruddin Shah have come. One of the great aspect of Dilip Kumar lies in his understanding of the characters which he depicted which led to natural performances. An archive should be created where the immortal works of Dilip Kumar can be restored for future generations to cherish for generations and generations.

Tapan Sinha

Tapan Sinha – the Creative Genius of Bengali Classical Cinema.

Tapan Sinha can be considered as the most dynamic creator of Bengali films after Satyajit Ray, who had glorified the Bengali golden age of Classical cinema with his outstanding vision. Being a legendary figure of the 50s, 60s and 70s, much have been written about the maestro whose significant films can be considered as masterpieces. What has not been written is that the standard of excellence he had created in those films cannot be replicated in hindi or any other regional films.

Firstly Tapan Sinha was fond of Classical literature and as such in his films the characters from the popular novels and short stories became lively in blood and flesh in celluloid. He made Kabuliwala based on Tagore’s epic short story, in 1957, which was astonishing for the viewers. Chabi Biswas, the greatest actor ever, to grace Bengali screen, mesmerised the audience with his dynamic performance of an Afghan character Rahmat. Chabi Biswas met few Afghans who sell mewa, peshta in the streets in Kolkata, personally to personify their characteristics in the role. Tinku Thakur, who played the role of the little girl Mini, was the best child artist ever to appear in Bengali films and the entire credit goes to Tapan Sinha for choosing her. Radha Mohan Bhattacharya was a grand scholar and his literary skills were synchronised with the role of Mini’s father who was a novelist in Tagore’s story. Manju Dey, the mother of Mini, was probably the most powerful character artist in the 50s, and she never looked like acting, every gesture of her seemed natural. Tapan Sinha’s script was outstanding by every standard. The film got national and international awards.



Tapan Sinha continued with his picturisation of classical literature in the following years. His brilliant film Louha Kapat was based on Jorasondho’s epic novel, which dealt with his experiences of different prisoners which he witnessed as a Jailor. The central character was played brilliantly by Nirmal Kumar whose poetic eyes showed the expression of observer. Chabi Biswas was again majestic in his notable role. Kali Banerjee’s performance as was one of the prisoners who was convicted for murder charge requires special mention. There were so many characters, out of which, Tapan Sinha picked up few and did not change the flow of literature in the novel. The other film Khoniker Atithi speaking about a handicapped boy who was cured by Nirmal Kumar, a doctor, who was compassionate about the mother of the child who was widow (played by Ruma Guha Thakurada), in the entire film, merged the pathos of the story with the elegance of camerawork.

In 1961, Tapan Sinha, came up with Bengali version of Hollywood film Prisoner of Zenda, titled Jhinder Bandi, it was related to a story of two twin brothers, with one of them, Shankar Narayan Singh, the king of Jhind, being kidnapped by his other brother and later freed by the twin brother. Uttamkumar, the dynamic personality of Bengali films, played a double role in the film, exhibiting the royal andaz of the historical character in the film, including sword fighting with anti-hero Soumitra Chatterji. The shooting of the film in the mountains and the lake palace required extraordinary skill. Radhamohan Bhattacharya showed the dignified personality of a Diwan who was the protector of the state and Tapan’s Sinha’s faith in his casting was bolstered by his brilliant display of royal character. Tapan Sinha’s wife Arundhuti Debi, was aristocrat in real life with her Rabindrik education of Shantiniketan and it helped her to display the role of the queen in the film who previously gave a life time performance in Tapan Sinha’s Khudito Pashan based on Tagore’s classic literature.

In 1963, Tapan Sinha, created Nirjan Saikate, a film showing the tragic story of 5 widows who came on a pilgrimage to the holy place at Puri. Anil Chatterjee, one of the other dynamic actors of Bengali cinema, played the role of the observer who went to Puri, and by acknowledging the rich sculptures of Sun Temple in Konark, convinced Sharmila Tagore, that the work of art of the unknown artists depict the fact, life is precious and human beings are expected to utilise their life for some immortal work by rising above their personal sorrow, sniffles, etc. The film received President’s gold medal, and significantly all the widows, five of them, Chaya Devi, Renuka Devi, Bharati Devi, Sharmila Tagore and Ruma Guha Thakurta received national award in that year, which has happened only once in the history of Indian cinema.

In 1964, Uttamkumar produced Jatugriha, based on the story of Subodh Ghose which was directed by Tapan Sinha. The film displayed the complexity of a rich couple living in Kolkata who did not have children with Arundhuti Debi playing the role of the wife who could not bear a child in her life. Significantly both Uttamkumar and Arundhuti Debi loved children a lot and the incapability led to domestic unhappiness which ultimately led to separation. The ending of the film was significant as both Uttamkumar and Arundhuti Debi rode on two trains which crossed each other in opposite directions. In their separation also both the husband and wife had mutual respect for each other. It can be classified as one of the most thoughtful cinema made by Tapan Sinha. In the following year Tapan Sinha made Atithi, based on Tagore’s story talking about the life of a bohemian character who travelled from one village to another whose mind never settled in one place.

Tapan Sinha also made Hate Bajare, where Ashok Kumar (Dadamoni) played the role of a village doctor who witnessed the tragic conditions of villagers who were subject to backwardness and oppression by the middlemen. Dilip Kumar gave a life time performance in Tapan Sinha’s Sagina Mahato, where a trade union leader was utilised for own benefit by the political forces of the region and exploited to the fullest extent. Anil Chatterji, the political activist countered Dilip Kumar in the tassel of muscle power in the film.

Tapan Sinha was a source of inspiration for film directors in Bombay to make realistic films. His film Kabuliwala was remade in hindi by Bimal Roy, with Balraj Sahani playing the role of Kabuliwala. His film Golpo holey Satti, 1966, was made in hindi by Rishikesh Mukherjee tilled Bawarchi in 1972. Tapan Sinha made a hindi version of Sagina in 1974, with Dilip Kumar playing the same role. Tapan Sinha’s Arohi, was picturised in hindi with the title Arjun Pandit, where Sanjeev Kumar played the central character which was played by Kali Banerjee in the Bengali film.

Tapan Sinha even depicted the naxalite movement in the films Ekhoni, Aponjon, in the 1970s and local unrest in the late 80s in films like Atonko, Antardhan, etc. The distinctive feature of Tapan Sinha’s films include, strong script, powerful story telling and superlative use of theme music. He chose locations which were romantic, picturesque and were colourful even during the black and white era which justified the depiction of the story. It is difficult to describe the immortal work of Tapan Sinha in a small article as he made around 35 films in a span of 40 years and each of the works can be scanned for cinematic, poetic and musical value. An archive should be created to preserve the works of Tapan Sinha for the film makers of present generation to learn to use classic literature to reach the message of the literary giants to the people at large.

Ajoy Kar

Ajoy Kar – The genius of camera, lighting and path-breaker in Bengali Cine-classics.

Ajoy Kar emerged in the Bengali film arena at a period when celluloid was at the stage of transformation from talkies era to studio based feature films. Studios were not developed to that extent and there was hardly any evidence of outdoor shootings taking place in the mid-40s. Ajoy Kar initially relied on popular stories like Bhraman Kanya, Bamuner Meye, etc., in the 40s with Shahar Theke Durey, with Jahar Ganguly making a mark in the minds film lovers of Bengal. His adapatation of Sarat Chandra Chatterjee’s tragic story Mejdidi, in 1950, showed the skills of powerful script and elegant story-telling with Kanon Devi showing her depth of acting and understanding the leading character termed mejdidi with her compassionate andaz.



But the critics in Bengal were shaken up with Ajoy Kar’s dynamic crime thriller Jighansa, in 1951. The story was based on Arthur Conan Doyle’s Suspense thriller, The Hound of Baskervilles where Sherlock Holmes and Watson were involved in solving a murder mystery. The role of the detective was played by Sishir Battobyal with Manju Dey playing a ghostly character with her eloquent skills and natural splendour. Bikash Roy, was given a different dimension as one of the relatives of the princely estate, who was deprived of real property of the royal family and took revenge by killing each of the new predecessors of the royal family. He stayed in the neighbourhood in the disguise of a Botanist and was ultimately killed by the detective in the story before he could commit another murder. Ajoy Kar’s casting of the leading characters was as outstanding as the supporting casts, example being Metro Cinema’s gatekeeper (tall, lanky and fearsome) who was employed to kill the prince ( Biren Chatterjee) in the film. The hindi version of the film Bees Saal Bad, made in 1961 could not create the same fearsome impact as that of Jighansa.

After creating Darpachurna, Grihaprabesh with Uttamkumar and Suchitra Sen, Ajoy Kar took up the challenge of picturising Shyamali in 1956. Shyamali was the story of a deaf and dumb girl who was married to Uttamkumar, and was not accepted by his mother Malina Devi. At the end of the film Uttamkumar becomes successful to convince her mother that as he was lawfully married to the deaf and dumb girl and the marriage was solemnised according toHindu religious rites and ceremonies, she has to accept her as his wife and fill up her disability with love and compassion. As Shyamali was played in Star Theatre in Kolkata for five years with Sabitri Chatterjee, providing an outstanding performance in the role of Shyamali in stage, it was a big risk in picturising the story in a film. Ajoy Kar’s story-telling and a different casting (Kaberi Bose played the role of Shyamali in the film), had been successful to receive critic’s acclamation. Sarat Chandra Chatterji’s Bardidi was also picturised by Ajoy Kar with Uttam Kumar and Sandharani adjusting themselves to the rural characters and showing the softness of mind of villagers of Bengal in that era.

Ajoy Kar’ grand blockbuster came in 1957 with Harano Sur. If any director had made the best use of Uttam Kumar and Suchitra Sen, the legendary pair who had ruled the golden age of Bengali Cinema, then it was Ajoy Kar himself. Uttam Kumar launched himself as producer with story depicting the lost memory of an industrialist in Kolkata who suffered a railway accident, who was treated by a Doctor in Palaspur, and was married to the Doctor, but another accident brought back his old memory leaving aside the events that happened in between. Suchitra Sen had to work in the house of Uttamkumar as a governess of his nephew and through the missing note sung a number of times brought back his memory. Firstly, such an innovative type of idea was not presented in Bengali films before Ajoy Kar. Secondly just like Franz Beckenbauer was called the Kaiser, emperor in German football, Ajoy Kar could be termed as Kaiser of camera, as his naming of the film starts with words floating on the ripples and waves of water. Besides his presentation of Suchitra Sen, was classic in the film, because nobody in Uttamkumar’s family knew about Suchitra Sen’s (his character was Rama in the film) relation with Uttamkumar and as such rebuked her at different times, and she inspite of being a doctor was submissive at every moment of the film, digesting the insulting words hurled at her with calmness and composure. Besides, her glamour was utilised by Ajoy Kar to his fullest capability in the film.

After being successful with Khelaghar in 1959, Ajoy Kar, made his next masterpiece Suno Boro Nari, in 1960. The film depicting Subodh Ghosh’s literature was based on the tragic tale of a Professor of Bengali University (played by Uttam Kumar) who loved a rich student who defied him and led him to leave the place where he started his new life as a homeopathy doctor who used to reach women from one part of the country to the other in trains for security and other reasons. The daughter of Charu Ray (majestic barrister played by Chabi Biswas) fell in love with this person while he reached her to Patna from Giridih. At the end of the film this girl rejects the relation with a rich materialist person and embraced the middleclass professor against the wishes of her parents. Most of the film was depicted through train journey and at the end of the film when Chabi Biswas asked Uttamkumar to leave Giridih, he was in the train when Supriya Debi, the daughter of Chabi Biswas meets him in the train after leaving her house, property, pomp, grandier, etc. The literary value of Subodh Ghosh was matched by Ajoy Kar’s strong script and Uttam Kumar’s superlative performance.

Ajoy Kar was in the march for excelling himself and made the greatest blockbuster in Bengali film history with Saptapadi, in 1961. It was Uttam Kumar production again. The story written by Tarashankar Bandhopadhay depicted a medical student played by Uttam Kumar falling in love with an Anglo girl Rina Brown (played by Suchitra Sen). Uttam Kumar’s father Chabi Biswas, being an orthodox Hindu Brahmin could not accept a Hindu marrying a Christian and begged his son before Rina Brown. Rina Brown sacrificed her love and Uttam Kumar after converting himself into a Christian dedicated his life as a doctor who helped the victims of second world war which took place at that time. At the end of the film, Chabi Biswas realised that human attachment cannot be obstructed with the barriers of religion and glorified the sacrifice of Rina Brown. Uttam Kumar treated Rina Brown after she was severely injured by bomb blast. Romance was given a different dimension by Ajoy Kar in Saptabadi which can be categorised as one of the most refined cine-classic created during the golden age. The Shakespearean play Othello picturised in the film acted out by Uttam Kumar and Suchitra Sen and the playback provided by Utpal Dutta and Jennifer Kapoor was another grand creation in the same film. Uttam Kumar’s make up with beard in the role of the Christian doctor who had renounced desires, is probably the best make up ever given to Uttam Kumar in his life. Suchitra Sen’s performance and Chabi Biswas’s acting was as majestic as the dynamic camera work in the film.

After making Atol Jaler Aohan, Ajoy Kar created Sat Pake Bandha, in 1963, showing the adjustments of Suchitra Sen as a daughter of a rich family, whose marital life was ruined by the undue interference of her mother in the affairs of his middle class husband who was an academician. The personality of the husband (played by Soumitra Chatterjee) was shaken up with the insulting demeanour of his mother-in-law played by Chaya Debi and Suchitra Sen’s struggle for persuading her mother and convincing her husband failed as her husband never tried to show any adjustment. Suchitra Sen received best actress award in Moscow film festival and created an everlasting impact in the minds of film lovers across the country. The hindi version of the same film Kora Kagaz could not create the same impact where Jaya Bacchan played Suchitra Sen’s role.

The other notable films of Ajoy Kar include Kach Kata Hire, Dutta, Kayahiner Kahini, Parineeta, etc. Ajoy Kar trained a number of film –makers in the Film Institute of Pune in early 70s. As the neo-realistic film movement initiated by Satyajit Ray, Ritwik Ghatak diverted the focus of critics towards parallel cinema during the golden age, Ajoy Kar did not receive the recognition he deserved. He is the most unsung, unlamented, unrecognised director ever to grace Bengali cinema inspite of providing a new expression to plutonic affairs and nurturing the talents of Uttam Kumar and Suchitra Sen who had brought colour in the black and white classics which have become immortal with passage of time. Ajoy Kar’s works should be preserved in an archive where new generation of film makers can learn how to develop a story base with powerful screenplay, excellent camera work, accurate casting and stylish effects.

Arundhuti Debi

Arundhuti Debi – the most aristocrat actress of Golden age of Bengali Cinema.

Arundhuti Devi (Mukherjee) born in 1925, is one of the most aristocrat actress to grace the silver screen during the golden age of Bengali cinema. She was educated in Biswabharati, (Rabindranath Tagore’s renouned University at Shantiniketan) and made a dramatic debue in director Karthick Chatterjee’s travel-based film Mohaproshaner pathe which was written by Proboth Sanyal. Bosonto Chowdhury, the hero of the film also made a sensational debue and both of them provided life in the role of the travellers who were bohemians as depicted in the film.

Within a short time Arundhuti Devi switched herself to a serio-comic film Chele Kar, 1954, directed by Chitta Basu. The story involved a small child of a needy family venture into the streets of Kolkata and caught hold of a wealthy bachelor person Bikash Roy, whom he calls father. The entire film hovers around that theme and at the end of the film both Bikash Roy and Arundhuti Debi falls in love with the child. The acting of Chabi Biswas, the greatest actor of Bengali silver screen, in the role of the grandfather of the small child named Tomato, was amazing as he portrayed both the personality of a father of patriarchal society and blended the sense of humour with the anger in the role.



Within a short period of time Arundhuti Debi created an image of thoughtful, understanding women in that age who could understand the complexities of life. After providing a serene performance in Asit Sen’s Chalachal, in 1956, opposite Nirmal Kumar, another thoughtful actor of that age, Arundhuti Debi got acclamation from the film lovers of Bengal with her powerful performance in her husband (Prabhat Mukherjee)’s film Bicharak, in 1957.[1] In the same film Uttam Kumar played the role of the Judge (bicharak) who had previously married the elder sister of Arundhuti Debi, played by Dipti Ray, who was suspicious about the relationship of her husband with her sister. In fact Uttam Kumar had attachment towards Arundhuti Debi. In the mean time fire broke out in the house on one day while Dipti Roy was sleeping. She laid her hand toward Uttam Kumar for help the way a drowning person catches straw. Uttam Kumar could help her, but the thought of attraction towards the sister was playing in his mind and he took his hand away. That provided him the opportunity of marrying Arundhuti Debi. While hearing a murder case which had a similar story line, Chabi Biswas, the public prosecutor, raised the same issue. Uttam Kumar recollected his past and the guilty conscience told him that he could have helped his wife if he wanted. Chabi Biswas’s standard of performance superseded the skills of professional pleaders in the court of law and Arundhuti Debi again kept her mark while consoling her husband about his previous deeds. Arundhuti Debi again showed her depth of thinking in the film Pushpadhanu opposite Uttam Kumar, where being duped by her first husband and bearing the burden of a small child whom she could not give his father’s identity, she renunciated her wealth after disclosing before Uttam Kumar her unfair past. Arundhuti Debi made a sensational performance in Tapan Sinha’s Khudito Pasan, where there was no dialogue for her. He used to come in dreams of the author and displayed the feelings of an unsatisfied soul who wanted to portray the events in her previous birth.

In 1959, Arundhuti Debi got an opportunity to perform in a film totally based on aristocracy titled Sasibabur Sangsar. Chabi Biswas acting in the pivotal role, displayed the agony of a karta of a hindu undivided family, who loses supremacy after retirement. He gave an immortal soliloquy about the definition of family, where he said in the outside world, the bread earner is known by his designation, but the same person when he returns home is a father, a father –in –law, a husband and the protector of the family under whose light and shade the happiness and sniffles of life revolve. In that classic film, Aundhuti Debi, the daughter-in-law faced a personality clash and convinced Chabi Biswas that the world had changed, and the displacement of members of the family for better jobs and new ventures is catered towards seed of development without disrespecting the values maintained by Chabi Biswas in his illustrious career.


Arundhuti Debi won the Bengal Film and Journalist Association Award (BFJA) for her classic performance in the film Bhagini Nivedita. She displayed the spiritual awakening of Bhagini Nivedita, who inspite of being an European realised the spiritual sermons of Swami Vivekananda and devoted her life towards social awakening and education of women in Bengal.

At the same time she acted with Uttam Kumar is successful films like Manmayi Girls School where she had to act as the wife of Uttam Kumar to get accommodation as the landlord required such a condition for allowing tenants in his lodge. In Tapan Sinha’s films Jhinder Bandi and Jotu Griha, she provided unparallel performance where the sorrow, the pains, the romantic appeal, everything was displayed with aristocracy. Also in the film Harmonium, in 1975, she displayed the elegance of a royal family inspite of being a widow who bought the harmonium for her little daughter to carry on the noble culture maintained by her ancestors.

In the late 60s, Arundhuti Debi launched her career as a director, and there too, her classic films Chuti and Megh O Roudra, based on classic literature of Tagore, got critic’s acclamation. Even her other films like Nyay Dando, where she brought up the daughter of a prisoner who was wrongly sentenced to prison by Radhamohan Bhattacharya who played the role of District Judge showed her capability to feel the character that had to be portrayed in the respective situation.



Although Arundhuti Debi, did not have the popularity of Suchitra Sen, the most successful actress of Golden age of Classical cinema, nor did she form any everlasting pair in that age, yet her performance had classical touch and carry the same impact in the same the way in which Pandit Ravi Shankar’s sitar or Bismilla Khan’s Shehnai mould the souls of listeners. Arundhuti Debi’s films should be restored for future generations to learn the art of skilful, thoughtful, powerful acting.

[1] Incidentally Chalachal was remade in hindi by Asit Sen with the title Safar in 1970, where Sharmila Tagore played the role of Arundhuti Debi.

Jaidev, Khayyam and Rafi

Khayyam and Jaidev’s relationship with Mohammad Rafi.

When we visualise the golden era of music in Indian cinema we primarily think about the giant music directors like Shankar Jaikishan, Naushad, etc., or lyricists like Shakeel Badayani, Shailendra, Majrooh Sultanpuri or singers like Rafi, Lata who made major contribution to the music of that age. Among the legendary giants there were other composers who composed music for less number of films but created their identity and everlasting appeal even with the less number of compositions. Jaidev and Khayyam are two composers who received numerous awards for their classic performance and still remain few of the offbeat composers without whom the firmament of music would be colourless.

Jaidev who came to Bombay initially from Ludhiyana to become an actor learnt music from K. Jaokar and Janardan Jaokar and Ustad Ali Akbar Khan and after ashort span of stay in his home town Ludhiyana, returned to Bombay with his immense command of folk and classical music. As he initially worked with Navketan Banner, he got a scope of working with SD Burman also. His debue with Chetan Anand’s film Joru Ka Bhai, 1955, gave him opportunity to compose independant music but he got recognition with the film Humdono in 1961.


Humdono was also the starting point of Jaidev’s relationship with the man with the golden voice, Mohammad Rafi. The unique style of Jaidev included his tunes which appeared not to end with the antara or the sanchari and uniting them with the mukhra unlike other composers. Rafi’s voice had the effect of sedative which doctor’s prescribe for patients who cant sleep in the song “Abhi na jao chor kar, ki dil abhi bhara nahi” in Hum Dono. The way Rafi pronounced adhuri yaas, hardly any playback singer can think even today. The emotions of the character were kept intact and the musical value of the song was enhanced by Rafi in a tremendous way in Humdono. The ghazal in the film “kabhi khud pe kabhi halat pe rona aya” can be categorised as one of the ten best ghazals Rafi did sing in his life. At the same time the other song “main zindagi ka saath nibhata chala gaya” which showed the carefree attitude of Dev Anand, who got admitted in military in the film, had the effect of santoor and the prelude and interlude followed the main song of Rafi that music lovers even memorised them as a song itself. Lata Mangeshkar’s performance in the song “Allah tero naam” in raag gara was probably one of her best performances ever. Jaidev’s return path of the sanchari was again evident in the classical bhajan which is still sung sometimes as prayer song at other times in temples and places of worship. The other film he composed music for include Mujhe Jeene Do, 1963, where Lata’s song “Nadi nare na jao sham” became hit. As it was female oriented film with Wahida Rehman providing the lead performance there were hardly sequences for male songs.

In the other film Kinare Kinare, in 1963, Jaidev asked Rafi to sing duet song with Usha Mangeshkar titled “maya anchal jale kaya ka abhiman”. His other notable songs for Rafi include “aaj ki raat hai bus jalwa dikhane ke liye” and “roop ki dhoop to dhalke rahegi” from the film Jiyo Aur Jeene Do, in 1969. Both were successful with Jaidev’s folk effect in the respective songs.


In the 1970s, Jaidev shifted towards Ghazal singer Bhupinder Singh for most of his songs, with “Do Diwane Shahar Me” and “Ek Akela is shahar me” from the film Gharonda, 1977, directed by Gulzar with Amol Palekar in the lead role.[1] Runa Laila’s song “tumke hona ho mukhko to itna yakeen hai” looked like it was never going to end with the brilliant lyrics of gulzar. The violin was played so brilliantly in the song “Ek akela is shahar me” depicting urbanised folk songs, that it identified the pathos of Jaidev who was a loner in life. The other successful film of Jaidev included Dooriyan, 1979, acted by Uttamkumar and Sharmila Tagore. There Bhupinder Sing’s song “Zindagi zindagi o mere ghar ana ana zindagi” and “zindagi me jab tumhare gham nahi the” showed Jaidev’s unconventional movement in the rise and fall of the antara and sanchari. Jaidev along with Madanmohan had composed music for Rishi Kapoor’s film Laila Majnu, 1977, where Rafi’s songs “barbad muhobbat ki dua saath liye ja”, “is reshmi pazeeb ki jhankar ke sadpe”, “likhkar tera naam zameen par” were superhits and marked Rafi’s tremendous combination with Rishi Kapoor.

Jaidev received national award for the brilliant composition of music in the films Reshma Aur Shera, Gaman and Ankahi, most of which included Rajasthani folk music. Jaidev never got the recognition which he deserved. It is a pity that Jaidev got a scope of composing music for female oriented films where he made the best use of Lata Mangeshkar, because Rafi could have made enormous contribution to Jaidev’s remote style of music composition. Even then the combination of Rafi and Jaidev carry enormous musical value for music lovers across the country.

Khayyam better known as Mohammad Zahur Khaiyyam is the other music composer, who had such an immortal appeal in his compositions, yet had not received the recognition he deserved. He was born in Jullundher, Punjab in 1927, and learnt music from Pandit Amarnath and Hunslal Bhagatram. Khayyam initially used Tala Mehmood in the song “Sham-e-gham ki kasam” in Dilip Kumar’s Footpath, 1954, where he made his debue and Mukesh in the songs “Woh subah kabhi to ayegi” and “phir na kije meri gustaq nigaho ka gila” in Raj kapoor’s Phir Subah Hogi, 1958. Although Rafi had one song “jo bor kare yar ko us yaar se touba” in Phir Subah Hogi, 1958 where it was a duet with Mukesh singing for Raj Kapoor and Rafi singing for Rehman.

But Khayyam acknowledged the golden voice of Rafi in the film Shola Aur Shabnam, 1961, where most of the lyrics were written by Kaifi Azmi and Rafi’s songs “dhunti rehti yeh ankhe mujhme”, “jeet hi lenge bazzi hum tum”, “pehle to aankh milna”, “phool ko dhoonde pyaasa bhawra” had a soft, passionate flavour of the soil of mountains. The songs were picturised on Dharmender. In the film Shagun, 1964, the song “parbaton ke paron par sham ka basera hai” sung by Rafi carried the intoxicating appeal of Khayyam. The next film Mohabbat is ko kahte hai, 1965, picturised on Shashi Kapoor had a fantastic duet song of Rafi and Suman Kalyanpur titled “thehriye hosh me alun to chale jaiyega” which was a form of a poetry where each of the poets answered one another. In Akhri Khat, in 1966, Rafi’s song “aur thori der theher” had the same folk effect of Khayyam. Lata Mangeshkar was brilliant with her performance of “baharo mera jeevan bhi sawaaro” and “mere chanda mere nanhe” in the same film.

In the 1970s, Khaiyyam composed music in lesser films but again came up with creative music and received the filmfare award for composing music for the film Kabhi Kabhi, 1975, where the title song written by Sahir Ludhianvi and sung by Mukesh and Lata were well acclaimed by music lovers of India. His composition in Umrao Jaan, 1981, brought him the second filmfare award and amazed the musical pandits with classical mujra, which became extinct from bollywood music at that time. His songs in the film Bazaar, 1982, picturised on Nasiruddin Shah, titled “karoge yaad to” had ghazal andaz and Bhupinder Singh was sublime with his performance.

As Khayyam, like Jaidev, composed music in mostly offbeat films their presence was felt whenever the directors came up with thoughtful stories, powerful direction and rich lyrics. Although they have provided less number of songs for Rafi but the creations of the combination should be restored for the epic value of the folk and classical effects in the songs.


[1] Bhupinder Singh in his TV interview in DD1 Channel said he was an absolute admirer of Rafi. He said he got a scope of acting in Chetan Anand’s Haqeeqat, 1964 where the songs were composed by MadanMohan. There was a song “hoke majboor usne bulaya hoga” which had to be sung by Bhupinder, Tala Mehmood, Manna Dey and Rafi. He wanted to share the microphone with Rafi. As Rafi was shorter in height than Bhupinder a tool was provided during the recording to match both Rafi and Bhupinder.The song was very successful and was a landmark in Bhupinder Singh’s life.


Related Reading

• Immortal Ghazals sung by Mohammad Rafi.
• Awards received by Mohammad Rafi in his illustrious career.
• Mohammad Rafi- the greatest voice of the last century.
• Rahul Dev Burman’s immense respect for Mohammad Rafi.
• Laxmikant Pyarellal’s immortal relationship with Mohamand Rafi.
• OP Nayyar’s immortal relationship with Mohammad Rafi.
• Salil Chowdhury’s relationship with Mohammad Rafi.
• Ravi’s memorable combination with Rafi.
• Roshan's everlasting bond with Mohammad Rafi.
• SD Burman and Mohammad Rafi.
• Rafi’s pleasant memories with Madanmohan.
• Khayyam and Jaidev’s relationship with Mohammad Rafi.
• Kalyanji Anandji’s association with Mohammad Rafi.
• Naushad’s association with Rafi.

Madanmohan and Rafi

Rafi’s pleasant memories with Madanmohan.

If any composer had utilised the ghazal andaz of Mohammad Rafi to the best of his potentiality it is Madanmohan whose name appears in the minds of the lovers of music across the nation. Madanmohan’s father Rai Bahadur chunnilal send his son to Dehradun to join the army. Instead he left the army and joined All India Radio in Lucknow. He came in contact with Ustad Faizz Khan, Ustad Ali Akbar Khan and carried on their legacy in the compositions he made for 30 years which can be classified as masterpieces.

As Madanmohan was not associated with the Big Banners like RK or Navketan, he was not categorised with any star of bollywood during 50s, 60s, 70s. Further he never wanted to balance the popular test of music and excellent class of classical compositions he created. But the compositions were so rich in lyrics and tunes that the musical pandits had no way but to admire them.



The golden age of bollywood music was categorised with the excellence of Mohammad Rafi and as such if any composer neglected Rafi and tried to reach the summit of popularity they have invited their own downfall. Madanmohan did not make such a mistake. He started his career with the film Ankhen in 1950. He also composed music for Raj Kapoor’s film Ashiana in 1952. His notable songs for Rafi in the film Railway Platform, 1956, include “basti basti parbat parbat”. In Gateway of India, 1957, Madanmohan used Mohammad Rafi for the song “do ghari woh jo pass aa baithe” picturised on Bharatbhushan. It was very successful and strengthened the everlasting bond of Rafi with Madanmohan. Rafi’s intoxicating appeal in the song “kabhi na khabhi kahin na kahin koi na koi toi ayega” in the film Sharabi, 1964, composed by Madanmohan can be classified one of the best songs in sombre mood.

The most majestic ghazals of Rafi composed by Madanmohan include “kisiki yaad me apnako hai bhulaye huye” and “baad muddat ke yeh ghari ayi” from the film Jahan ara, 1964, picturised on Bharat Bhushan. Talat Mehmood’s song in the same film “phir wohi sham wohi gham wohi tanhai hai” was also based on ghazal andaz. The classic lyrics were written by Rajinder Kishan. The film titled Ghazal, in 1964, was based on ghazals and Rafi was outstanding by every standard in the song “rang aur noor ki baraat kise pesh karun.” In the same year Rafi’s patriotic flavour was bolstered in the song “kar chale hum fida jan-o-tan sathiyon” in the film Haqeeqat, where Rafi’s ghazal titled “hoke majboor usne bulaya hoga” shared with Bhupinder Singh, Manna Dey and Talat Mehmood was sensational.[1] The majestic lyrics were written by Kaifi Azmi. In the film Neela Akash, 1965, picturised on Dharmender, Rafi’s song “akhri geet muhobbat ka sunayun to chalun” showed the tragic note of Madanmohan. In the film Need Hamari Khwab Tumkhari, all the songs were sung by Rafi including “husn ne jab isq se takraya tha”.

Returning back to ghazals, Rafi’s song “aap ke pehlu me akar” in the film Mera Saya, 1966, was as outstanding as Lata’s title song “tu jahan jahan chalega mera saya saath hoga”. The lyrics were written by Raja Mehendi Ali Kahan. Raj Khosla’s crime thriller ended up becoming a musical blockbuster just like Woh Kaun Thi, in 1964, where Madanmohan’s composition “naina barse,” “lagja gale”, etc. for Lata Mangeshkar was probably the most immortal creation in the history of film music, with Sadhna giving life time performances in ghostly characters in both these films.

The landmark ghazal “tumhari zulf ke saye me sham karlunga” in the film Naunihal, in 1967, is probably one of the five best ghazals Rafi did sing in his life. Experts in music realise that ages will pass, but no second singer can provide blood and flesh in the superlative ghazal of Madanmohan the way Rafi had done in this song. Kaifi Azmi has written sensational lyrics for the abovementioned song. People started thinking that Rafi and Madanmohan were made for each other. The belief was put to action in the next film Dulhan Ek raat ki, in 1967, picturised on Dharmender in the song “ek haseen sham ko dil mera kho gaya. In the film Chirag, 1969, “teri aakhon ke siwa duniya me rakkha kya hai” Madanmohan combined ghazal with light orchestration to try to inspire the common listeners in understanding these type of songs.



In the film Heer Ranjha, 1971, picturised on Rajkumar, Rafi’s song “yeh duniya yeh mehfil” was well acclaimed by music lovers. Rafi was outstanding by every standard in the song “tum jo mil gaye ho” in the film Hanste Zakhm, 1973, where Madanmohan synchronised lightning with his own orchestration. Madanmohan also gave a tremendous break to Bhupinder Singh in the song “dil dhoonta hai, phir wohi, fursat ke raat din” written by Gulzar in Sanjeev Kumar’s Mausam in 1975. Rafi had the song “chari re chari kaise gale me pari.”

Madanmohan’s last performance with Jaidev brought out Rafi’s Himalayan range in the film Laila Majnu in 1977. Rafi’s songs “tere dar pe aya hoon,” “barbad muhobat ka duya saath liye ja”, picturised on Rishi Kapoor showed his master spirit of adapting to tunes of middle east which was the geographical location where the story was based. Madanmohan died in 1975, without even seeing the success of Laila Majnu, it appeared like out of seven sur in every octave one sur had gone, because, the majestic combination of Madanmohan with Rafi cannot be forgotten through ages. Rafi’s archive should restore Madanmohan’s combination to let the next generation know about the high esteem with which Madanmohan addressed Mohammad Rafi during the golden age of film music.

[1] Bhupinder Singh was a great admirer of Rafi. In his interview in DD India, he said, he got a chance of acting and singing in the film Haqeekat and he was supposed to share the microphone with another singer for the song “hoke majboor usne bulaya hoga.” He chose Mohammad Rafi to share the microphone with and as he was taller than Rafi, Rafi was given a tool to balance the voices. Manna Dey and Talat Mehmood shared the other microphone.


Related Reading

• Immortal Ghazals sung by Mohammad Rafi.
• Awards received by Mohammad Rafi in his illustrious career.
• Mohammad Rafi- the greatest voice of the last century.
• Rahul Dev Burman’s immense respect for Mohammad Rafi.
• Laxmikant Pyarellal’s immortal relationship with Mohamand Rafi.
• OP Nayyar’s immortal relationship with Mohammad Rafi.
• Salil Chowdhury’s relationship with Mohammad Rafi.
• Ravi’s memorable combination with Rafi.
• Roshan's everlasting bond with Mohammad Rafi.
• SD Burman and Mohammad Rafi.
• Rafi’s pleasant memories with Madanmohan.
• Khayyam and Jaidev’s relationship with Mohammad Rafi.
• Kalyanji Anandji’s association with Mohammad Rafi.
• Naushad’s association with Rafi.

Sudhin Dasgupta

Sudhin Dasgupta – A creative genius of Golden age of Bengali Modern songs.

In the 50s, 60s and 70s, during the Golden age of Bengali Modern songs, it was very difficult to create a distinct identity in terms of compositions as it was a transition period between use of classical music with westernised effects and incorporation of folk and other rural tunes in the urbanised music base. On one hand the classical legacy created by Legends like Viswadev Chatterji, Ghyanendra Prosad Goswami, Tarapodo Chakraborty were carried forward by Manobendra Mukherjee, Manna Dey, Dhanonjoy Bhattacharya, Satinath Mukherjee, Akhil Bandhu Ghosh and others. Although the noted singers did use pure classical only in certain songs but the classical touch was evident in all their performances. On the other hand the folk singers like SD Burman, Nirmalendu Choudhury inspired Shyamal Mitra and others to maintain the colour, flora, fauna of Bengal’s romantic landscape.[1]



In the golden age, music composers and lyricists in Bengal had reached the zenith of creative compositions. Noted lyricists included Gouriprasanna Mojumdar, Shaymal Gupta, Pronob Roy, Sailen Roy and others. Music composers included Robin Chatterji, Pabitra Chatterji, Anol Chatterji, Anupam Ghatak, Anil Bagchi, Gyanprokash Ghosh, Salil Chowdhury, Nochiketa Ghosh and others. In the same age Sudhin Dasgupta, came up with his westernised compositions and contributed to Bengali modern songs, both with his lyrics and memorable music composition.
He had showed his skills in playing the Piano and with the expertise in a number of musical instruments, his compositions had an identity of his own in an age when every music composer galvanised the horizon of Bengali Modern song with their unique style.[2]

Notable compositions of Sudhin Dasgupta include “Moyurkonthi rater nile” for Manobendra Mukherjee, “Ei Jhirjhirjhir batashe” for Dhanonjoy Bhattacharya, “Akash eto meghla” for Satinath Mukherjee, “keno tumi phire ele” for Shyamal Mitra, etc. The big challenge of Sudhin Dasgupta was to face Robin Chatterji, who was dominating the Bengali film music, and modern song with his versatile creations. Robin Chatterji had introduced Portugese folk song in the film Deeper naam tiya rong, “o amar sat rajari dhon” and “phiriti bosakor kure gi dise” sung by Shyamal Mitra and Bhaisnav angik bhajan “O mon kokhon shuru kokhon je shesh ke jane”in Uttamkumar’s film Kamallata, 1969. Besides he composed prayer song to kirtan to classical song in Lalubhulu, 1958, for Manobendra Mukherjee.

Sudhin Dasgupta changed the horizon of Bengali film song by asking Manna Dey to sing for Uttamkumar whose major songs were previously sung by Hemanta Mukherjee whose voice suited him the most. Sudhin Dasgupta went to Bombay where Manna Dey and Lata Mangeshkar were busy in the recording of songs of film Pakizaa with Gulam Mohammad and Naushad. When Sudhin Dasgupta recorded the song for Uttamkumar’s film Shonkhobela, 1966, titled “Dekechi ke age ke diyeche sara” as a duet song for Manna Dey and Lata Mangeshkar, Naushad said the words could not be understood as it was composed in Bengali, for the tune was excellent.[3]



The film Shonkhobela was a superhit film and Sudhin Dasgupta’s composition for Manna Dey “Ami agantuk” and for Lata Mangeshkar “Aj mon cheche ami hariye jabo” was well acclaimed by music lovers across the nation. Sudhin Dasgupta shaped the career of Legendary singer Manna Dey who was busy in Bombay singing different types of songs under the patronage of Shankar Jaikishan, Roshan, Salil Chowdhury and others. After Shonkobela, Manna Dey formed an immortal combination in playback singing with Uttamkumar, providing sensational performance in films like Antony firingi, 1967, Nishipadda,1970, Stri, 1971, Sanyasi Raja, 1975, and winning national awards and Bengal Film Journalist Association (BFJA) awards one after the other.

Notable Bengali films where Sudhin Dasgupta composed music include Dakharkora, 1958, Shonkhobela, 1966, Choddhobeshi, 1971, Har Mana Har, 1972, Teen Bhubaner Pare, etc. He has used bayul ( a type of folk song in rural Bengal) in “ogo tomar shesh bicharer asay” for Manna Dey, South Indian tune in “bachao ke acho” in Chaddabeshi, rural touch in “rangila ranga dehe bhab jegeche” for Manobendra Mukherjee, Westernised chorus effect in “aro dure cholo jai” for Asha Bhosle. His lyrics were also very colourful like his compositions. He even taught music to established singer like Bonoshri Sengupta.

An archive should be created where Sudhin Dasgupta’s compositions are restored and preserved for future generations to get inspiration from creative music in the Golden age of Bengali modern songs.

[1] My father Chitta Ranjan Chatterji, Ex – Chief Public Prosecutor, Bankshall Court, Kolkata was the Cultural Secretary of Scottish Church College, Kolkata, the same college where Legendary singer Manna Dey, Eminent Film Director Nabyendu Chatterji ( Director of Award winning films like Chopper, Mansur miyar ghora, etc.), Parthoprotim Chowdhury ( Director of Award Winning film Chayasurjo)studied. In 1956, my father conducted the cultural program in Scottish Church College, inviting Manobendra Mukherjee, Shymal Mitra, Satinath Mukherjee to sing in front of huge crowd in North Kolkata. Satinath Mukherjee with his song “Bonopatho majhe” got huge applaud which was even outplayed by Manobendra Mukherjee with his song “Emni kore porbe mone baki jibon dhore”. The same crowd was spellbound with the orchestration of Sudhin Dasgupta in the song “Elo Borosha je sohosa money tai”.

[2] Sudhin Dasgupta played his compositions in Piano in Public function held in DumDum, Kolkata, in 1955, where Classical Singer Sandhya Mukherjee performed her songs of Uttamkumar’s film Sabar Upare. The program was held at a place close to Sudhin Dasgupta’s own house in Kalicharan Ghosh Road, Sinthee, Kolkata.

[3] Manna Dey gave memorable interviews in DD India, where he said Naushad’s remark about Sudhin Dasputa composition was that “awaaz ki ahmiat samajh me nahi aya, lekin sur bahut hi umdah hai”.

Manobendra Mukherjee - The Genius of Bengali Modern songs

Manobendra Mukherjee – the versatile legend of Bengali modern song

The 50s, 60s and 70s constitute the period of time when Bengali modern songs reached its peak of excellence and is called the Golden age of Bengali Adhunik Gaan. Bengal had a very unique collection of Basic discs which inspired composers and lyricists to create innumerable treasure of creative music during the age which were independent creations. Bengali modern songs were in fact more popular than film songs composed in the Bengali cinema which also reached it level of excellence in the 50s and 60s.

Manobendra Mukherjee, the most stylish Classical singer immerged in the golden age, when Bengali modern songs were also glorified by outstanding performance of Dhanonjoy Bhattacharya, Manna Dey, Satinath Mukherjee, Akhil Bandhu Ghosh to name a few. Being inspired by uncle Sidheshwar Mukherjee and Ratneswar Mukherjee, Manobendra shocked the listeners with his first basic disc in 1953, titled “Naichondon Lekha Sriradhar chokhe nai nai shemorai.”[1] It was based on kirtanango andaz, and Manobendra was trained towards Kirtans, Bhajans and Bhaktigeeti from the very early childhood.



Bengali modern song was on the verge of modernisation at that age, when Manobendra came up with his romantic creation “Emni kore porbe mone baki jiban dhore.” The music was composed by Manobendra himself and the lyrics were written by Shyamal Gupta. At the same time Manobendra made a debue in the film arena being the music director for Uttamkumar’s film Chapadangar Bou, 1954, where the songs were written by Tara Shankar Banerjee. Manobendra brought in the flavour of Mahadev’s Gajon, that are sung in villages in Bengal with the song “shibo he shibo he”.

Within short period of time, Manobendra attracted the attention of the leading lyricists and music composers of Bengal , namely Salil Chowdhury, Sudhin Dasgupta, Robin Chatterji, Anol Chatterji, Nochiketa Ghosh, Probir Mojumdar, Gyan Prakash Ghosh, Abhijeet Banerjee, and others. His successful songs include “Ami Parini bijhite parini” composed by Salil Chowdhury, “Mayur Konthi Ratero nile” by Sudhin Dasgupta, “Jodi Amake Dekho Tumi Udashi,” by Abhijit Banerjee, “Ei neel neel jal sagore” by Probir Majumdar, “ birohini chirobirohini” by Himangshu Dutta, “O amar chandro mallika” by Nochiketa Ghosh, “Tomar Pother Prante Moner monideep jele rekhechi”, by Satinath Mukherjee.[2]

In the late 50s, some of Manobendra’s own composition “ami eto je tomay bhalo besechi”, 1958, “Sei bhalo ei bosonto noy”, 1960, “Bhalo lagena tumi na ele” became everlasting hits. Even in Mohishashur Mordini, played in All India Radio, on Mohalaya, every year, Manobendra’s song “tobo achinto” created a Godly atmosphere accompanied by Birendra Bhodro’s Strotyopath.

In 1958, Robin Chatterji composed music for the film Lalu Bhulu, the story of a blind and a handicapped boy. The film stormed the Bengali silver screen, and Manobendra brought tears in the eyes of the audience with the songs “ Jar Hiya akasher nil nilimay”, “Dukho amar Shesh kore dao probhu,” “Surjo tomar Protom toron kholo”, “dukher pothe naali jodi”, “Ei pranjharona jaglo”. The immortal songs were written by Sailen Ray.

Manobendra had expertise in Toppa, thumri, Hindustani classical, bhajans, shyam sangeet, najrul geeti and other types of songs. It helped him to adorn Bengali modern songs with all these flavour. Besides the lyrics in his songs used to have a dynamic dimention, example “seto naam dhore konodin dakeni amay”, “barosha klanto o duti nayan niye”. He did sing pure classical numbers like “Kotoje soyechi betha, abhimanini”, composed by classical singer Chinmoy Lahiri, “Rimjhim baje monjiro kaar” composed by himself, “Bare Bare ke jeno dake”, composed by Sailen Mukherjee.

In the film Nilachole Mahaprobhu, 1958, composer Raichand Boral invited Manobendra to sing kirtans of Lord Chaitanya, the songs “jagannath jagat bandhu” and other songs have made the listeners spellbound. Monbendra also did sing Folk song titled Bhaitayali in Uttamkumar’s film Nabojanmo, 1958, where the noted song include “ore mon majhi”. Manobendra composed music in a number of Bengali films including Mayamrigo, 1960, Badhu, 1962, Jato Mat Tato Path, Joy Jayanti, 1970, Godhuli Belay, 1965, Sudur niharika, 1978, etc.[3]

In the 1970s, also Manobendra had sung notable songs like “Ei Ganga ei Padda’, 1970, “Halka megher palki”, “Hajar jonom dhore”, “ei moushumi mon shudhu rong bodlai”, etc.[4] In the 1980s Manobendra concentrated on Nazrul geeti and Bag bajarer gaan and there also he emerged as one of the greatest singer of all times. Due to Manobendra classical composers showed the courage of composing pure classical numbers in Bengali films like “Rajoni pohale sojoni kothay” by Anil Bagchi in the film Shashibabur Sangsar, 1960, “adhare” by Gyan Prokash Ghosh in the film Basant Bahar, 1958.

It is even difficult to ascertain whether Manobendra was a greater singer or greater music composer as there is hardly Bengali singer who did not sing a song composed by Manobendra, example being “mon bolche aaj sondhay” by Alpona Banerjee, “Gane gane ami je khuji tomay” by Supriti Ghosh, “sonali megher din” by Sandhya Mukherjee, “oi son son geroraj” by Hemanta Mukherjee, “Kemone janabo bolo e pranero bedona” by Shefali Chakraborty, etc.

It is a pity that Manobendra Mukherjee did not go to Bombay like many other Bengali singers and exhibited his versatile class of creativity in the All India arena where musical talents of other giants were exhibited. Manobendra’s immortal creations should be preserved in an archive for new generations to learn lessons relating to Hindustani classical music, innovations in terms of rhythm, taal, loy and grammer of kajri, tappa, nazrulgeeti, kirtans, bhajans, folk music and westernised creations.

[1] My father Ex chief Public Prosecutor, Bankshall Court, (Chief Metropolitan Magistrate’s Court, Kolkata) had interviewed Manobendra Mukherjee, a versatile classical singer having immortal records on bhajans, kirtans, nazrulgeeti, modern bengali songs, film songs and asked him to sing his first Bengali Modern Song “Naichondon Lekha, sriradhar chokhe, nai nai shemorai” before the crowd in a function held in Paikpara, Kolkata where Manobendra said it was his beginning of his musical journey and a song which was a blank verse without musical instruments. If that song could be heard minutely it can be realized that modern music is almost bankrupt. Aroti Mukherjee, the famous Bengali singer, also my father’s witness in a case instituted in Bankshall Court, in the anurodher asor, in all in Radio, said that her teenage was shaken up by Manobendra with the song “Naichondon Lekha” in 1953. In the same interview Manobendra Mukherjee told my father, the real starting point of compositions is classical background.

[2] Abhijeet Benerjee, the composer of the Manobendra’s song “Mukto jharar neiko kanya neiko motir har” was interviewed by my father Chitta Ranjan Chatterji, Ex-chief Public Prosecutor, Bankshall Court, North, where Abhijeet Banerjee said, Manobendra was probably the greatest romantic singer in Bengali modern songs that Bengal ever produced considering even Shyamal Mitra’s brilliance in folk music and Manna Dey’s classical touch. Hemanta Mukherjee was busy with film music as he was associated with Uttamkumar. Manobendra had very stylish pronunciation and his classical touch in the songs and improvisation with the tabla, tal, loy was of superlative class.

[3] Manobendra received Indira Gandhi award for composing best music in the film Joyjayanti, 1970, the Bengali version of Hollywood film Sound of Music.

[4] Manna Dey, the Musical giant of Indian music, said he found Manobendra’s composition in the film Sudur niharika, difficult to sing with its classical orientation. Manna Dey is probably one of India’s greatest classical singer who glorified Bollywood and tollywood music during the golden age.

SD Burman and Rafi.

SD Burman and Mohammad Rafi

Sachin Dev Burman was born in Tripura, where the fields, soil, trees and nature as a whole had shaped the music. There cannot be any music which is sweeter than the compositions that God has created in nature for human beings to cherish generation after generations. What is required is the poetic and musical mind to realise the melodies evident in the breeze, in the rainfall, in the fragrance of flowers blossoming at the arrival of spring. Tripura is situated at the border of East Bengal, and as a landmass has similarity with East Bengal and West Bengal which in Bengali we term as “nodi matric” meaning being fed by a number of rivers.The minds of the people in this part of the world is as soft as the alluvial soil of the Ganges, the Brahmaputra, the Padma and other rivers.

SD Burman came to Kolkata and learned Classical Music from the Giant of Ustadi Gharana named Viswadev Chatterji.Viswadev’s famous song “Nabaruno Rage” used to be played as the first song in All India Radio in the morning, everyday and acted as messanger of dawn.The genius had taught SD Burman, ragas of different origin and created a legacy of Hindustani classical which shaped SD Burman into a grand creator as known by the later generations.



SD Burman had his own basic discs in Bengali, some having flavour of folk songs, others having the orthodox ragas embedded in them.His notable songs include “Paddar dheu re”, “Jhilmil jhilmil jhiler jole dheu kheliya jaire”,”mono dilona badhu”,etc. When he went to Bombay, he took Manna Dey with him, another legendary singer of the Bengali modern era. Manna Dey dominated the BEngali film arena with his tremedous performance in Uttamkumar’s films “shankhobela”, “Antony firingi”,etc in the 60s and 70s.

SD Burman got involved with the Navketan Banner and composed most of his songs for that banner. But he developed an everlasting bond with Mohammad Rafi, the man with the golden voice who had an answer for the different emotions of human being, including happiness, tragedy, comedy,etc.

SD Burman had composed the songs “yeh mahalon ,yeh takhton, yeh tajho ki duniya” in the film Pyasa, 1957 and “Bichre sabhi, bari bari” in the film Kagaz ke phool, 1959, for Gurudutt, with whatever pathos he had in him. Rafi brought tears in the eyes of music lovers with his compassionate andaz.


Manna Dey sometimes had a grievance, that inspite of the classical control being possessed by him SD Burman had preferred Rafi in some of the classical compositions. In the film Meri Surat Teri Ankhen, Manna Dey gave a superlative performance with the song “Pucho na kaise maine rain bitayi.” Rafi had superceded SD Burman himself with the performance of “Tere bin sune” composed in raag Pilu which was the hindi version of SD’s own song”Ami chinu Eka basoroJagaye”.

In the film Tere Ghar ke saamne, 1963, SD Burman’s composition “tu kahan yeh bata”,”tere gharke saamne” “dil ka bhanwar karen pukar”and the rest of the songs combined sweetness of Rafi’s voice with the folk effect in the orchestration. In the film “Teen deviyan” Rafi’s song “aise to na dekho” and “Kahin bekhayal hoker” had Ghazal andaz.Besides Rafi’s preformance in Guide,1965, with the songs “Tere mere sapne”, “din Dhal Jaye”"Kaise kya ho gaya bewafa hogaya tere pyar me” brought out the softer side of SD Burman.

There are other songs like “Hum bekhudi me tumko pukare chale gaye” in the film kalapani,1960, where Rafi matched SD Burman himself (his bengali song was “Ghum bhulechi”) and “yeh di diwana hai” and “mehbooba teri tasveer” in te film “Isqe par zor nahin” where Rafi’s excellence is balanced with SD Burman’s orchestration.In Rajenderkumar’s film Talash, SD Burman brought out his best for Rafi in the song “Palkon ke peeche se.”

The list of songs showing Rafi’s combination with SD Burman can go on. But one thing is common, whenever SD Burman was passionate about the hindi version of his own songs, Rafi appeared in his mind automatically. Rafi’s Archive should contain SD Burman’s creation also to show the background of folk song and hindustani classical, used in the songs composed in 50s, 60s, 70s.


Related Reading

• Immortal Ghazals sung by Mohammad Rafi.
• Awards received by Mohammad Rafi in his illustrious career.
• Mohammad Rafi- the greatest voice of the last century.
• Rahul Dev Burman’s immense respect for Mohammad Rafi.
• Laxmikant Pyarellal’s immortal relationship with Mohamand Rafi.
• OP Nayyar’s immortal relationship with Mohammad Rafi.
• Salil Chowdhury’s relationship with Mohammad Rafi.
• Ravi’s memorable combination with Rafi.
• Roshan's everlasting bond with Mohammad Rafi.
• SD Burman and Mohammad Rafi.
• Rafi’s pleasant memories with Madanmohan.
• Khayyam and Jaidev’s relationship with Mohammad Rafi.
• Kalyanji Anandji’s association with Mohammad Rafi.
• Naushad’s association with Rafi.

Roshan and Rafi

Roshan's everlasting bond with Mohammad Rafi

Roshan galvanised the Indian horizon of film music with his excellent experiments on melody. He had created mujras, qawallis, ghazals, classical compositions which match the exact requirement of the theme of the films wherever he had worked.The earlier films like Bawre Nain was created at a time when recording was not modernised to that extent. Even then his songs in the 50s like "bade armano se rakha hai balam" were hits.

In the 60s Roshan utilized the Golden voice of Indian cinema, Mohammad Rafi in the most melodious manner that was possible. In the film Barsaat ki Raat,1960, the song "zindagi bhar nahin bhulenge woh barsaat ki raat" mesmerised the music lovers with the melody of the sarengi that was used so well. Rafi's voice floated like cirus clouds in the air and Bharatbhusan's performance in the film was well acclaimed by the Indian audience.The same film had a qawalli "yeh isq isq hai, isq isq" which was staretd by Manna Dey and completed by Rafi. The grammer of Qawalli was fully existant in the song.Besides Roshan created songs with a very serene dimension in the film Aarti, 1963, picturised on pradeepkumar.Most of the songs were on Raag Pahari. Rafi created an intoxicating appeal with the songs "Ab kya misal doon mai tumhare shabab ki" and "aapne yaad dilaya tha to mujhe yaad aya". Meenakumari's performace was matched with the background score in the song "baharon ki manzil rahi."



In the film Tajmahal,1963, the andaz of Pradeepkumar almost replicated the style of living of emperor Shahjahan that existed during the mughal period.The songs of Rafi namely "Jo wada kiya ho nibhana parega" and "payon chulene do phulon ko inayat hogi" had matched the badshahi andaz of the historical period.The lyrics were written by shari Ludhiyanvi.Besides other everlasting creations of Roshan include "laga chunri me daag chupayun kase" sung by Manna Dey in the film "Dil hi to hai" picturised on Raj Kapoor, and "Kya baat hai tujhme teri tasver me nahin" sung by Mohammad Rafi.In the film Chitralekha,1965, picturised on Pradeep Kumar, Roshan motivated Rafi to sing a legendary bhajan titled "man re to kahena dhir dhare, woh nir mohi moh na jane jinka moh kare". It was a blank verse with very little musical instruments being used. Rafi's performance was amazing.



In the film Bheegi Raat, 1965, Rafi made people spell bound with the songs "jane woh kaun hai kya naam hai in ankhoka," and "dil jo na keh saka, wohi raze dil".Pradeep kumar's scrreen presence was outstanding as Roshan's orchestration and the sensational performance of Rafi.Noted poet and music director Salil Chowdhury in his interview with Asha bhosle had said he admired Roshan the most because of his use of melody through the instruments used in the songs including sarengi, tabla, sexaphone, guitar and noted instruments. Asha Bhosle said that Rafi, Lata and others have worshipped Roshan like sage. The song in the film Bahubegum, titled "niklethe kahan jane ke liye pahunchethe kahan maloom nahi", almost told the story of Meenakumari who left home for not marrying pradeep kumar and ended up in a kotha.It was a mujra and the orchestration was outstanding by every means. The same film had one of the most immortal performance of Lata titled"Duniya kare sawal to hum kya jawab de." Rafi was outstanding with his final performance "hum intezer karenge tera qawamat tak, khuda karen ki qawamat ho aur tu aye." Viewers became speechless in the cinemahall with this song.



Besides Roshan's performance in the Film Mamta, 1967 is worth mentioning. Mamta was the hindi version of the Bengali film "Uttar Phalguni", which depicted the story of a tawaif who was victim of circumstances and shed blood to make her daughter a Barrister who ultimately pleads in the High Court of Calcutta in an alleged murder case of her mother.The performance of Suchitra Sen, the most versatile Actress of Bengali Cinema cannot be described in words.But the big challenge was matching the quality music composed by Robin chatterji in bengali film where the majority of the songs were sung by classical singer Sandhya Mukherjee.Roshan created the asme class of music in the film.the popular songs included "Rahe na rahen hum" sung by Lata and "in baharon me akela na phiro, rah me kaighata rok nale" sung by Rafi. But the type of Hindustani classical songs that used to be sung in the Class of singers called baijees in the late 18th century was displayed by Roshan.Roshan died in 1969 with his last film "anokhi raat." It is big loss for the Film industry because if aany composer had utilized the Royal style of Rafi's singing it was Roshan himself. Rafi's archive should contain the works of Roshan so that future generations can learn the grammer of Hindustani classical used under different moods.Article By Souvik Chatterji


Related Reading

• Immortal Ghazals sung by Mohammad Rafi.
• Awards received by Mohammad Rafi in his illustrious career.
• Mohammad Rafi- the greatest voice of the last century.
• Rahul Dev Burman’s immense respect for Mohammad Rafi.
• Laxmikant Pyarellal’s immortal relationship with Mohamand Rafi.
• OP Nayyar’s immortal relationship with Mohammad Rafi.
• Salil Chowdhury’s relationship with Mohammad Rafi.
• Ravi’s memorable combination with Rafi.
• Roshan's everlasting bond with Mohammad Rafi.
• SD Burman and Mohammad Rafi.
• Rafi’s pleasant memories with Madanmohan.
• Khayyam and Jaidev’s relationship with Mohammad Rafi.
• Kalyanji Anandji’s association with Mohammad Rafi.
• Naushad’s association with Rafi.

Ravi and Rafi

Ravi’s memorable combination with Rafi.

Ravi, better known as Ravi Shankar Sharma, emerged in the film arena in the 1950s when success of most of the movies were dependant on strong story base and everlasting music composed for those films. Even more significantly the composers like Shankar Jaikishan, Roshan, Naushad, Madanmohan and lyricists like Shakeel Badayani, Shailendra, Majrooh Sultanpuri, Hasrat Jaipuri, never compromised with the producers in respect of compositions. Further Directors like Bimal Roy, Raj Kapoor, Guru Dutt, Hrishikesh Mukherjee, had tried to built in realistic approach in respect of picturisation of song sequences.


It was difficult for any new composer to create his identity in that scenario. Ravi began his journey by composing music in the film Wachan in 1955, but got acclamation of music lovers with his landmark composition in the film Chaudavi ka Chand in 1960. Mohammad Rafi, the man with the golden voice, had galvanized the destiny of many composers, lyricists and instrumentalists. The Title song “Chaudavi ka Chand ho, ya aftab ho, job bhi ho tum khuda ki kasam, lajawab ho,” picturised on Guru Dutt became the greatest hit in a year when Roshan had composed “Zindagi bhar Nahi Bhulenge woh barsaat ki raat” in the film Barsaat ki Raat, 1960, and Naushad had composed “Do sitaron ka zami par hai Milan aaj ki raat”, Kohinoor, 1960. Only the song in the film had a coloured picturisation. It was a challenge of Mohammad Rafi excelling himself in one song or the other.

In the next year, Ravi had been successful to create his identity with the film Gharana, 1961.[1] Most of the songs were picturised on Rajender Kumar, prominent among them being “yeh jhuki jhuki naina”. The best song was “Husnwale tera jawab nahi”. Ravi concentrated on the sweetness of melody, and the softness of his use of instruments had created an intoxicating appeal for the listeners. Rafi was probably at the peak of his career, and the sweetness of his voice added colour in the black and white classic.

The combination of Ravi and Rafi continued in the films that followed after that period of time. In films like China Town, 1962, Ravi produced the rock and roll andaz of Shammi Kapoor in the song Baar Baar Dekho. Even better songs were composed in Guru Dutt’s film Bharosa, 1963, with songs like “aaj ki mulakat bus itni,” where all the songs were sung by Mohammad Rafi. Ravi also composed songs for Mukesh in the film Nazrana, 1961, directed by Hrishikesh Mukherjee, as it was picturised on Raj Kapoor, as his voice suited him the most.



The following films in that period include Ravi’s compositions with tunes relating hills of India, where some of the songs of Rafi like “yeh wadiyan yeh nazare” becoming big hits. There were successful compositions for Mahendra Kapoor also in the films Gumrah, 1963, Waqt, 1965, Humraaz, 1967. But some of Ravi’s best Ghazals were composed in the film Kaajal, 1965 where Rafi’s song “Chulene do nazuk hoto ko” and “yeh zulf agar khulke bikhar jaye to accha ho” picturised on Raj Kumar was outstanding by every musical standard. The use of Sarengi in those songs were simply brilliant. Other than Roshan, no other composer had used Sarengi the way it was used in the film Kaajal.

Ravi composed very impressive songs in the film Shehnai, 1964, picturised on Biswajeet where most of the songs were sung by Rafi. Songs like “na jhatko zulfse pani” were big hits. Also the songs in Biswajeet’s film Do Kaliyan, 1968, like “yeh sama yeh rut yeh nazare”, “tumhari nazar kyon khafa ho gayi”, were successful. Within all types of creations of Ravi, the songs with tragic notes identify his class. The best examples include “Bhari Duniya me akhir dil ko samjhana kahan jaye” written by Shakeel Badayani and picturised on Manoj Kumar in the film Do Badan, 1966, and “Aaja Tujhko pukare mera pyar” written by Sahir Ludhianvi and picturised on Raj Kumar in the film Neel Kamal, 1968. Rafi was brilliant in all these songs where the pathos of the characters were displayed through his voice. Rafi's song in 1968 titled “Babul ki duwayen leti ja” in the film Neel Kamal, received critic's acclamation which was composed by Ravi.

Due to strong dominance of Shankar Jaikishan in the 50s, 60s and early 70s, Ravi did not get the recognition which he deserved as some of his tunes even had similarity with them, specially in films of Raj Kapoor, Rajender Kumar, Raj Kumar and Shammi Kapoor who were identified with SJ tunes. In the 70s Ravi composed music for lesser number of films but again came into limelight with his classic composition of music in the film Nikah, 1982. Ravi’s creations should adorn the archive of Mohammad Rafi to remember their relationship and the soft compositions and hilly tunes composed by the legendary composer.

[1] Ravi won his first filmfare award for composing music in the film Gharana, 1961.


Related Reading

• Immortal Ghazals sung by Mohammad Rafi.
• Awards received by Mohammad Rafi in his illustrious career.
• Mohammad Rafi- the greatest voice of the last century.
• Rahul Dev Burman’s immense respect for Mohammad Rafi.
• Laxmikant Pyarellal’s immortal relationship with Mohamand Rafi.
• OP Nayyar’s immortal relationship with Mohammad Rafi.
• Salil Chowdhury’s relationship with Mohammad Rafi.
• Ravi’s memorable combination with Rafi.
• Roshan's everlasting bond with Mohammad Rafi.
• SD Burman and Mohammad Rafi.
• Rafi’s pleasant memories with Madanmohan.
• Khayyam and Jaidev’s relationship with Mohammad Rafi.
• Kalyanji Anandji’s association with Mohammad Rafi.
• Naushad’s association with Rafi.

Ravi and Rafi

Ravi’s memorable combination with Rafi.

Ravi, better known as Ravi Shankar Sharma, emerged in the film arena in the 1950s when success of most of the movies were dependant on strong story base and everlasting music composed for those films. Even more significantly the composers like Shankar Jaikishan, Roshan, Naushad, Madanmohan and lyricists like Shakeel Badayani, Shailendra, Majrooh Sultanpuri, Hasrat Jaipuri, never compromised with the producers in respect of compositions. Further Directors like Bimal Roy, Raj Kapoor, Guru Dutt, Hrishikesh Mukherjee, had tried to built in realistic approach in respect of picturisation of song sequences.

It was difficult for any new composer to create his identity in that scenario. Ravi began his journey by composing music in the film Wachan in 1955, but got acclamation of music lovers with his landmark composition in the film Chaudavi ka Chand in 1960. Mohammad Rafi, the man with the golden voice, had galvanized the destiny of many composers, lyricists and instrumentalists. The Title song “Chaudavi ka Chand ho, ya aftab ho, job bhi ho tum khuda ki kasam, lajawab ho,” picturised on Guru Dutt became the greatest hit in a year when Roshan had composed “Zindagi bhar Nahi Bhulenge woh barsaat ki raat” in the film Barsaat ki Raat, 1960, and Naushad had composed “Do sitaron ka zami par hai Milan aaj ki raat”, Kohinoor, 1960. Only the song in the film had a coloured picturisation. It was a challenge of Mohammad Rafi excelling himself in one song or the other.

In the next year, Ravi had been successful to create his identity with the film Gharana, 1961.[1] Most of the songs were picturised on Rajender Kumar, prominent among them being “yeh jhuki jhuki naina”. The best song was “Husnwale tera jawab nahi”. Ravi concentrated on the sweetness of melody, and the softness of his use of instruments had created an intoxicating appeal for the listeners. Rafi was probably at the peak of his career, and the sweetness of his voice added colour in the black and white classic.

The combination of Ravi and Rafi continued in the films that followed after that period of time. In films like China Town, 1962, Ravi produced the rock and roll andaz of Shammi Kapoor in the song Baar Baar Dekho. Even better songs were composed in Guru Dutt’s film Bharosa, 1963, with songs like “aaj ki mulakat bus itni,” where all the songs were sung by Mohammad Rafi. Ravi also composed songs for Mukesh in the film Nazrana, 1961, directed by Hrishikesh Mukherjee, as it was picturised on Raj Kapoor, as his voice suited him the most.

The following films in that period include Ravi’s compositions with tunes relating hills of India, where some of the songs of Rafi like “yeh wadiyan yeh nazare” becoming big hits. There were successful compositions for Mahendra Kapoor also in the films Gumrah, 1963, Waqt, 1965, Humraaz, 1967. But some of Ravi’s best Ghazals were composed in the film Kaajal, 1965 where Rafi’s song “Chulene do nazuk hoto ko” and “yeh zulf agar khulke bikhar jaye to accha ho” picturised on Raj Kumar was outstanding by every musical standard. The use of Sarengi in those songs were simply brilliant. Other than Roshan, no other composer had used Sarengi the way it was used in the film Kaajal.

Ravi composed very impressive songs in the film Shehnai, 1964, picturised on Biswajeet where most of the songs were sung by Rafi. Songs like “na jhatko zulfse pani” were big hits. Also the songs in Biswajeet’s film Do Kaliyan, 1968, like “yeh sama yeh rut yeh nazare”, “tumhari nazar kyon khafa ho gayi”, were successful. Within all types of creations of Ravi, the songs with tragic notes identify his class. The best examples include “Bhari Duniya me akhir dil ko samjhana kahan jaye” written by Shakeel Badayani and picturised on Manoj Kumar in the film Do Badan, 1966, and “Aaja Tujhko pukare mera pyar” written by Sahir Ludhianvi and picturised on Raj Kumar in the film Neel Kamal, 1968. Rafi was brilliant in all these songs where the pathos of the characters were displayed through his voice. Rafi's song in 1968 titled “Babul ki duwayen leti ja” in the film Neel Kamal, received critic's acclamation which was composed by Ravi.

Due to strong dominance of Shankar Jaikishan in the 50s, 60s and early 70s, Ravi did not get the recognition which he deserved as some of his tunes even had similarity with them, specially in films of Raj Kapoor, Rajender Kumar, Raj Kumar and Shammi Kapoor who were identified with SJ tunes. In the 70s Ravi composed music for lesser number of films but again came into limelight with his classic composition of music in the film Nikah, 1982. Ravi’s creations should adorn the archive of Mohammad Rafi to remember their relationship and the soft compositions and hilly tunes composed by the legendary composer.

[1] Ravi won his first filmfare award for composing music in the film Gharana, 1961.


Related Reading

• Immortal Ghazals sung by Mohammad Rafi.
• Awards received by Mohammad Rafi in his illustrious career.
• Mohammad Rafi- the greatest voice of the last century.
• Rahul Dev Burman’s immense respect for Mohammad Rafi.
• Laxmikant Pyarellal’s immortal relationship with Mohamand Rafi.
• OP Nayyar’s immortal relationship with Mohammad Rafi.
• Salil Chowdhury’s relationship with Mohammad Rafi.
• Ravi’s memorable combination with Rafi.
• Roshan's everlasting bond with Mohammad Rafi.
• SD Burman and Mohammad Rafi.
• Rafi’s pleasant memories with Madanmohan.
• Khayyam and Jaidev’s relationship with Mohammad Rafi.
• Kalyanji Anandji’s association with Mohammad Rafi.
• Naushad’s association with Rafi.

Salil Chowdhury and Rafi

Salil Chowdhury’s relationship with Mohammad Rafi.

Salil Chowdhury, noted poet, musician, lyricist, thinker is one of the most renowned intellectuals who had glorified the Silver Screen (both Bollywood and Bengali Cinema) with his stories, poetry, lyrics, dynamic musical compositions in the 50s, 60s and 70s. He was a member of the IPTA, an organisation which has been an instrument of public awareness during the pre-independence and post-independence period. Salil Chowdhury’s story was picturised under the title Do Bigha Zameen, in 1953, depicting the struggle of a farmer of a village in coming to urbanised city of Kolkata and earning his livelihood as a rickshaw-puller, which had brought national and international awards for the story, direction of Bimal Roy and other categories.

The poetic and literary skills of Salil Chowdhury had synchronised with his east-west blend of music in most of his creations. Best example can be “Ujjal Ek Jhak Paira” sung by Classical Bengali singer, Sandhya Mukherjee. It was written by Bengali poet, describing the flight of pigeons and Salil Chowdhury composed the upward and downward movement of the song in the same lines as the pigeons fly in air. The literary society in Bengal were flabbergasted with the composition of Salil Chowdhury with the translation of famous poetry titled “Runner” (postman) written by Sukanta Bhattacharya, the way the movement in music changed with the moods of the postman delivering mails on road. Other landmark musical creations of Salil Chowdhury include “Palkir Gaan” written by famous Bengali poet Satyendranath Dutta and sung by Hemanta Mukherjee.


While bringing in revolution with words and music in Bengali modern songs Salil Chowdhury went to Bombay with his treasure of knowledge. Very interestingly the song “apni kahani” in Do Bigha Zameen, 1953, sung by Manna Dey had been based on Russian processions. While using Mukesh in a number of songs in Raj Kapoor’s Jagte Raho, 1956 and DilipKumar’s Madhumati, 1958, Salil Chowdhury acknowledged the versatile talent of Mohammad Rafi, the man with the golden voice. Salil Chowdhury created a Choir Group in Bombay, where Rafi, Lata were all members.

Probably Madhumati, showed the range of music composition of Salil Chowdhury, where he got an opportunity to blend the flavour of music in the hilly regions.[1] The songs for Rafi included “Jangal Me mor Nacha kisi ne na dekha” for Johnny Walker. But Salil Chowdhury reserved the best song in the tragic andaz for Rafi titled “tute hue khwabon ne”. The pathos in the role of Dilip Kumar was depicted by the serene performance of Rafi.

Salil Chowdhury also used Rafi in the film Maya. The song “Tasvir teri dilme” which was a duet song with Lata Mangeshkar was very big hit. The other song of Mohammad Rafi included “Koi sone ka dilwala” which was also successful. Rafi was used in the film Musafir, 1957, where his songs along with Dilipkumar’s own song “lagi naahi chute rama, chahe jiya jae” showed the tragedy of Dilipkumar who had provided his immortal performance as a poor wretched violin player, who could not marry Usha Kiran, but played the violin for a handicapped child, not knowing his son, and dying at the end of the film. It was the beginning of journey in film direction of Director Hrishikesh Mukherjee.


Salil Chowdhury also used Rafi in the song “insaan ki zindagi hai” from the film Jhoola, 1962. There was also a chorus song of Rafi and Lata, “aag pani me lagi”. There was a song “dil tarpe tarpe” for Rafi in the film Poonam ki raat, 1965, and “tumhe dilse chaha” in the film Chand Aur Suraj, 1965. Besides Rafi was given an Afghani song “ho ya qurban” in the film Kabuliwala, 1961, in which Manna Dey’s song “ai mere pyare watan” was also a big hit.

In the 1970s, Salil Chowdhury reduced composition of film music in hindi films, as he was busy with Bengali films and Bengali modern songs.[2] Even then Manna Dey’s song “Zindagi kasi hai paheli” in the film Anand, 1970 shows his class in composing chorus songs. Even Mukesh’s song “Kahi Door Jab din dhal Jaye” was well acclaimed by musical pandits in India.[3]

At the same time Salil Chowdhury had encouraged new talents in Bombay and allowed noted Bengali singers to flourish in the all India arena, examples include Shyamal Mitra in the song “Ek aye ek jaye” in the film Musafir, 1957. He also composed songs for Dijen Mukherjee, Subir Sen and other singers for Bollywood films. In Bengali films like Ganga, 1960, Kinugoalar Goli, 1964, Lal Pathor, 1964, Marjina Abdulla, 1976, Salil Chowdhury’s music amazed the listeners with folk songs and westernised tunes. Besides his basic compositions for Monobendra Mukherjee, “Ami parini bujhite parini”, Dhanonjoy Bhattacharya, “Jhanana Jhanana Baje”, Krishna Ganguly’s “Dakhina Batashe Mono keno Kande”, Sandhya Mukherjee’s “Srabon Ajhor jhore”, shows his control over Hindustani classical compositions.

It is difficult to highlight the contribution of Salil Chowdhury in a short article, because he had created immense number of immortal poetry, prose, songs, music in Bengali, Hindi, Malayalam films in a span of 50 years. But his admiration for Rafi is evident in the rich compositions. So Rafi’s archive should be adorned with Salil Chowdhury’s compositions to mark their fair relationship.

[1] Salil Chowdhury received Filmfare award for best music in the film Madhumati in 1958.

[2] Salil Chowdhury’s Assistants like Probir Majumdar, Anol Chatterjee, Abhijit Banerjee, became legendary Music Directors in Bengali Modern Music in later years.

[3] My father, Chitta Ranjan Chatterji, Ex-chief Public Prosecutor, Bankshall Court, Kolkata, had interviewed Abhijit Banerjee, renowned Music Director who had composed Bengali modern songs like “muktojharar neiko konya neiko motir haar”, “jodi amake dekho tumi udashi” for Manobendra Mukherjee, who said Salil Choudhury’s most of the creations are based on scientific, logical justifications of lyrics and tunes, which only a small section of the listeners understand, giving example of song “dhitang dhitang bole” which was based on Caribbean Calypso.


Related Reading

• Immortal Ghazals sung by Mohammad Rafi.
• Awards received by Mohammad Rafi in his illustrious career.
• Mohammad Rafi- the greatest voice of the last century.
• Rahul Dev Burman’s immense respect for Mohammad Rafi.
• Laxmikant Pyarellal’s immortal relationship with Mohamand Rafi.
• OP Nayyar’s immortal relationship with Mohammad Rafi.
• Salil Chowdhury’s relationship with Mohammad Rafi.
• Ravi’s memorable combination with Rafi.
• Roshan's everlasting bond with Mohammad Rafi.
• SD Burman and Mohammad Rafi.
• Rafi’s pleasant memories with Madanmohan.
• Khayyam and Jaidev’s relationship with Mohammad Rafi.
• Kalyanji Anandji’s association with Mohammad Rafi.
• Naushad’s association with Rafi.

Salil Chowdhury and Rafi

Salil Chowdhury’s relationship with Mohammad Rafi.

By: Souvik Chatterji
Master of Law from Warwick University, Coventry,UK
Master of Law from Case Western Reserve University, Cleveland, Ohio, USA.

Salil Chowdhury, noted poet, musician, lyricist, thinker is one of the most renowned intellectuals who had glorified the Silver Screen (both Bollywood and Bengali Cinema) with his stories, poetry, lyrics, dynamic musical compositions in the 50s, 60s and 70s. He was a member of the IPTA, an organisation which has been an instrument of public awareness during the pre-independence and post-independence period. Salil Chowdhury’s story was picturised under the title Do Bigha Zameen, in 1953, depicting the struggle of a farmer of a village in coming to urbanised city of Kolkata and earning his livelihood as a rickshaw-puller, which had brought national and international awards for the story, direction of Bimal Roy and other categories.

The poetic and literary skills of Salil Chowdhury had synchronised with his east-west blend of music in most of his creations. Best example can be “Ujjal Ek Jhak Paira” sung by Classical Bengali singer, Sandhya Mukherjee. It was written by Bengali poet, describing the flight of pigeons and Salil Chowdhury composed the upward and downward movement of the song in the same lines as the pigeons fly in air. The literary society in Bengal were flabbergasted with the composition of Salil Chowdhury with the translation of famous poetry titled “Runner” (postman) written by Sukanta Bhattacharya, the way the movement in music changed with the moods of the postman delivering mails on road. Other landmark musical creations of Salil Chowdhury include “Palkir Gaan” written by famous Bengali poet Satyendranath Dutta and sung by Hemanta Mukherjee.

While bringing in revolution with words and music in Bengali modern songs Salil Chowdhury went to Bombay with his treasure of knowledge. Very interestingly the song “apni kahani” in Do Bigha Zameen, 1953, sung by Manna Dey had been based on Russian processions. While using Mukesh in a number of songs in Raj Kapoor’s Jagte Raho, 1956 and DilipKumar’s Madhumati, 1958, Salil Chowdhury acknowledged the versatile talent of Mohammad Rafi, the man with the golden voice. Salil Chowdhury created a Choir Group in Bombay, where Rafi, Lata were all members.

Probably Madhumati, showed the range of music composition of Salil Chowdhury, where he got an opportunity to blend the flavour of music in the hilly regions.[1] The songs for Rafi included “Jangal Me mor Nacha kisi ne na dekha” for Johnny Walker. But Salil Chowdhury reserved the best song in the tragic andaz for Rafi titled “tute hue khwabon ne”. The pathos in the role of Dilip Kumar was depicted by the serene performance of Rafi.

Salil Chowdhury also used Rafi in the film Maya. The song “Tasvir teri dilme” which was a duet song with Lata Mangeshkar was very big hit. The other song of Mohammad Rafi included “Koi sone ka dilwala” which was also successful. Rafi was used in the film Musafir, 1957, where his songs along with Dilipkumar’s own song “lagi naahi chute rama, chahe jiya jae” showed the tragedy of Dilipkumar who had provided his immortal performance as a poor wretched violin player, who could not marry Usha Kiran, but played the violin for a handicapped child, not knowing his son, and dying at the end of the film. It was the beginning of journey in film direction of Director Hrishikesh Mukherjee.

Salil Chowdhury also used Rafi in the song “insaan ki zindagi hai” from the film Jhoola, 1962. There was also a chorus song of Rafi and Lata, “aag pani me lagi”. There was a song “dil tarpe tarpe” for Rafi in the film Poonam ki raat, 1965, and “tumhe dilse chaha” in the film Chand Aur Suraj, 1965. Besides Rafi was given an Afghani song “ho ya qurban” in the film Kabuliwala, 1961, in which Manna Dey’s song “ai mere pyare watan” was also a big hit.

In the 1970s, Salil Chowdhury reduced composition of film music in hindi films, as he was busy with Bengali films and Bengali modern songs.[2] Even then Manna Dey’s song “Zindagi kasi hai paheli” in the film Anand, 1970 shows his class in composing chorus songs. Even Mukesh’s song “Kahi Door Jab din dhal Jaye” was well acclaimed by musical pandits in India.[3]

At the same time Salil Chowdhury had encouraged new talents in Bombay and allowed noted Bengali singers to flourish in the all India arena, examples include Shyamal Mitra in the song “Ek aye ek jaye” in the film Musafir, 1957. He also composed songs for Dijen Mukherjee, Subir Sen and other singers for Bollywood films. In Bengali films like Ganga, 1960, Kinugoalar Goli, 1964, Lal Pathor, 1964, Marjina Abdulla, 1976, Salil Chowdhury’s music amazed the listeners with folk songs and westernised tunes. Besides his basic compositions for Monobendra Mukherjee, “Ami parini bujhite parini”, Dhanonjoy Bhattacharya, “Jhanana Jhanana Baje”, Krishna Ganguly’s “Dakhina Batashe Mono keno Kande”, Sandhya Mukherjee’s “Srabon Ajhor jhore”, shows his control over Hindustani classical compositions.

It is difficult to highlight the contribution of Salil Chowdhury in a short article, because he had created immense number of immortal poetry, prose, songs, music in Bengali, Hindi, Malayalam films in a span of 50 years. But his admiration for Rafi is evident in the rich compositions. So Rafi’s archive should be adorned with Salil Chowdhury’s compositions to mark their fair relationship.

[1] Salil Chowdhury received Filmfare award for best music in the film Madhumati in 1958.
[2] Salil Chowdhury’s Assistants like Probir Majumdar, Anol Chatterjee, Abhijit Banerjee, became legendary Music Directors in Bengali Modern Music in later years.
[3] My father, Chitta Ranjan Chatterji, Ex-chief Public Prosecutor, Bankshall Court, Kolkata, had interviewed Abhijit Banerjee, renowned Music Director who had composed Bengali modern songs like “muktojharar neiko konya neiko motir haar”, “jodi amake dekho tumi udashi” for Manobendra Mukherjee, who said Salil Choudhury’s most of the creations are based on scientific, logical justifications of lyrics and tunes, which only a small section of the listeners understand, giving example of song “dhitang dhitang bole” which was based on Caribbean Calypso.


Related Reading

• Immortal Ghazals sung by Mohammad Rafi.
• Awards received by Mohammad Rafi in his illustrious career.
• Mohammad Rafi- the greatest voice of the last century.
• Rahul Dev Burman’s immense respect for Mohammad Rafi.
• Laxmikant Pyarellal’s immortal relationship with Mohamand Rafi.
• OP Nayyar’s immortal relationship with Mohammad Rafi.
• Salil Chowdhury’s relationship with Mohammad Rafi.
• Ravi’s memorable combination with Rafi.
• Roshan's everlasting bond with Mohammad Rafi.
• SD Burman and Mohammad Rafi.
• Rafi’s pleasant memories with Madanmohan.
• Khayyam and Jaidev’s relationship with Mohammad Rafi.
• Kalyanji Anandji’s association with Mohammad Rafi.
• Naushad’s association with Rafi.

OP Nayyar and Rafi

OP Nayyar’s immortal relationship with Mohammad Rafi.

Omkar Prasad Nayyar (better known as O.P.Nayyar) is known to be one of the trend-breakers of the traditional music in the Golden Age of Indian film music, in the 50s and 60s. During that period although the Film arena were glorified by Giants of different specialisations, namely Naushad with his Brilliant Ragas, Roshan with the use of Sarengi and providing immortal mujras and qawallis, Madanmohan with his everlasting Ghazals, the general trend of Hindustani classicals and folk songs were used by most of the music directors. Excepting Shankar-Jaikishan who worked on diversified subject matters like Hawaiian flavour in ‘Ajeeb Dastaan hai yeh’ in Dil Apna Aur Preet Parayi ,1960 to European Chorus Background in ‘Meherbaa likhoon’ in Sangam, 1964, and Salil Chowdhury blending Russian March in Do Bigna Zameen, 1953, to Indian Chorus in ‘zindagi kaisi hai paheli’ in Anand, 1971, there were not many Music composers who experimented with a blend of Eastern and Western Music.[1]



O.P.Nayyar came with an unique trend of merging Punjabi bhangra with Spanish tunes. The other unique feature of OP Nayyar is his association with Mohammad Rafi, the greatest singer India can ever produce in the world of playback singing. Rafi was a genius by his own standards and the way a person gets mesmerised in a historical monument in respect of admiring any part, the diwan-i-khas in Agra Fort, or diwan-i–aam in the same Fort, the same way experts on music have a very tough time judging the best performance of Rafi, whether his ghazals are the best, or his songs with an intoxicated atmosphere, or whether his pure classical numbers. Rafi had sung probably the maximum number of songs for OP Nayyar who knew the westernised andaz would not have suited anyone else in the same way as Mohammad Rafi.

Born in Lahore in 1926, OP Nayyar was fascinated by music. He was not trained in music, but left home to pursue a career as a composer. He got his first break when he composed the background score for the film Kaneez, 1949. He started his journey with Guru Dutt in the film Baaz and the first successful break he received in Guru Dutt’s film AarPaar, 1954. Also he stormed the film world with his outstanding performance in the film CID, 1956, Mr and Mrs 55, 1955.

One striking feature in the songs of the film CID, 1956, is that the female voice used by OP Nayyar varied according to the requirement of the film. The main playback singers included Shamshad Begum, Geeta Dutt and Asha Bhosle, the noted songs being “ kahin pe nigahen, kahin pe nishana,” “ puch mera kya nao re”. Yet the male playback was provided by Mohammad Rafi for all the characters of the film. It included Johnny Walker in the song ‘Ai dil mushkil jeena yahaan, zara hatke zara bhachke yeh hai bombai meir jaan’,[2] further Dev Anand in the song ‘Ankhon hi ankhon me ishara ho gaya’. It is even amazing that there was a street song being sung by a road peddler in the film titled ‘Leke pehela pehela pyaar’ which could have been sung by any playback singer, OP Nayyar even engaged Rafi to sing it. There were other hits in Mr and Mrs 55, 1955, like ‘Muhobbat karlo, aji karlo’, ‘jane kahan mera jigar gaya ji’ and ‘Dilpe hua aisa jadoo”.

If the 50s were characterized by the fast numbers of OP Nayyar, the 60s provided him the honour of being rated as one of the most elegant music directors with the same esteem at which Roshan, Naushad, Shankar-Jaikishan, Madanmohan used to be rated. The two films Ek Musafir Ek Hasina, 1962, and Phir Wohi dil Laya Hoon, 1963, stands out as the films where OP Nayyar had experimented the most. There was a duet of Rafi and Asha titled “aap yuhin agar humse milte rahe, dekhie ek din pyar ho jayega”. The dance sequence on actress Sadhna impersonated the way a peacock welcomes the monsoon. The effects produced by OP Nayyar was so outstanding that the background, the picturisation and the voice of Rafi and Asha synchronised together. The other two songs of Rafi “Mujhe dekhkar aapka muskurana” and “Mai pyar ka rahin hoon” had absolute western tunes with odd chords. Rafi had left the audience speechless with his performance in a slightly classical andaz in the songs “Phir tere shahar me” and “Humko tumhare isq ne kya kya bana diya, jab kuch na ban sake to tamasha bana diya.” The lyrics of OP Nayyar’s songs were mostly written by Majrooh Sultanpuri and S.H.Bihari who had brought out their most romantic passion while composing the lyrics which could very well be categorised as Shayeris.[3]

In the film Phir Wohi dil Laya Hoon,1963, picturised on Joy Mukherjee, OP Nayyar had made a very stylish endeavour towards the traditional blend of the western and eastern music. Rafi’s song “Nazni bara Rangeen hai wada tera” starts off with the traditional folk sequence with Punjabi where as the antara has “humdum mere naam na janu” which has the effect of Guitar. In the other song “Aji kibla, mohe tarma, kabhi shola, kabhi nagma” has the same blend of Punjabi Folk with Guitar effect. In the song “zulf ke chaome chehere ka ujala lekar” OP Nayyar had made Rafi and Asha answer each other in almost a contest of Shayeri, the way urdu writers used to face each other through their poetic verses. Besides OP Nayyar’s beat oriented composition having effect of the tanga (Cart-pulled by horses) titled “Banda parwar, thamlo jigar, banke pyar phir aya hoon” in the film was equally melodious as “Maang ke saath tumkara” in the film Naya Daur,[4] picturised on Dilipkumar, “Yuh to humne laakh hasin dekhe hain” in the film Tumsa Nahin Dekha, 1957, “Kisi na kisi se kabhi na kabhi kahin na kahin dil lagana parega”, in the film Kashmir Ki Kali, 1964.



Besides Rafi’s western romantic mood is utilized by OP Nayyar in a very stylish way in the songs “Diwana hua badal, sawan ki ghata chayi” and “Yeh Chand Sa Roshan Chehera” in the film Kashmir Ki Kali, 1964 picturised on Shammi Kapoor and “Humne to dilko aap ke kadmome rakh diya, is dil ka kya karenge yeh ab aap sochiye” in the film Mere Sanam, 1965 and “Phir Miloge Kabhi is baat ka wada karlo, humse ek aur mulakat ka wada karlo” in the film Yeh Raat Phir Na Ayegi, picturised on Biswajeet. In all these songs the sarengi and santoor had played a very pivotal role accompanied by the intoxicating appeal of Rafi’s voice.

Besides OP Nayyar had a reputation for stubborn individuality all along his career. Many remember him as being aloof and imperious, but always generous with struggling new-comers and those marginalized in the industry. The press and electronic media frequently referred to him as a rebel composer, as did many columnists labelling him a maverick. During the fifties the state-controlled All India Radio found OP Nayyar too trendy and had put in place a ban on most of his very famous tunes from being broadcast.This ban was in force for quite some time. Reports suggest that he was unfazed by this rigid government order and went on to create more of such tunes most of which were national hits. The far away Sri Lanka Broadcasting Corporation of the then Radio Ceylon was the only source from which his new hits could be listened in.[5]

Although lack of compromise resulted in OP Nayyar fading away from the film arena in 1970s, whenever anybody has to choose some of the most stylish andaz of Rafi, they have to reflect back on OP Nayyar for the unique compositions which have not been obsolete with the fading time.The Archive of Mohammad Rafi should equally restore the compositions of OP Nayyar as well.

[1] A Detailed discussion on the composition of Shankar Jaikishan is made in the Article Shankar Jaikishan –the most versatile Musical Gaint of the last Century.

[2] My father Ex-Chief Public Prosecutor, Bankshall Court North, (Chief Metropolitan Magistrate’s Court, Kolkata), interviewed Milon Gupta, the famous mouth-organ player who played the mouth organ in the song said Rafi’s impersonation of Johnny Walker had created such an impact on the masses that the song became a greater hit than the song that was composed for the hero of the film, that is Dev Anand.

[3] Majrooh Sultanpuri received the highest honour of excellence in Indian Cinema, the DadaSaheb Phalke award for his outstanding contribution to the Film Industry.

[4] OP Nayyar received Filmfare Award for his Music Composition in Naya Daur, 1957.

[5] http://en.wikipedia.org/wiki/O._P._Nayyar


Related Reading

• Immortal Ghazals sung by Mohammad Rafi.
• Awards received by Mohammad Rafi in his illustrious career.
• Mohammad Rafi- the greatest voice of the last century.
• Rahul Dev Burman’s immense respect for Mohammad Rafi.
• Laxmikant Pyarellal’s immortal relationship with Mohamand Rafi.
• OP Nayyar’s immortal relationship with Mohammad Rafi.
• Salil Chowdhury’s relationship with Mohammad Rafi.
• Ravi’s memorable combination with Rafi.
• Roshan's everlasting bond with Mohammad Rafi.
• SD Burman and Mohammad Rafi.
• Rafi’s pleasant memories with Madanmohan.
• Khayyam and Jaidev’s relationship with Mohammad Rafi.
• Kalyanji Anandji’s association with Mohammad Rafi.
• Naushad’s association with Rafi.

Laxmikant Pyarellal and Rafi

Laxmikant Pyarellal’s immortal relationship with Mohamand Rafi.

Laxmikant Pyarellal emerged into the Indian film arena at a period when the main stream cinema was flooded with extremely talented music directors, lyricists and filmmakers in the 60s.Already the film industry has created its own unique standard due to the sheer brilliance of Musical Giants like Shankar Jaikishan, Naushad, Madanmohan, Roshan, Khayyam, SalilChowdhury and many others and the versatile performance of Mohammad Rafi for over 15 years. Laxmikant Pyarellar the legendary musical duo included Laxmikant Shantaram Kudalkar(1937-1998) and Pyarellal Ramprasad Sharma (born in 1940).


Laxmikant was quite impressed with Mandolin and learnt to play it by his own. He used to play mandolin in street functions. Pyarellal was the son of renouned trumpeter Pandit Ramprasad Sharma and his specialisation was violin. Laxmikant and Pyarelal met at Sureel Kala Kendra, a music academy for children, run by the Mangeshkar family. After Lata Mangeshkar came to know about their financially poor backgrounds, Lata recommended their names to different music directors in the film industry. Both of them started their career with the film Parasmani(1963).Two songs of Mohammad Rafi "Woh Jab Yaad Aye, bahut yaad aye" and "Roushantumhi se duniya" brought fame for the musical duo. Laxmikant was fond of the orchestration of ShankarJaikishan to such an extent that some of their earlier tunes were similar to a huge number of Shankar's compositions.In the next film Dosti,1964, Laxmikant Pyarellal got inspired by a very extraordinary standard of musical performance by Bengali Music Director Robin Chatterji who composed music for the Bengali film Lalu Bhulu,1958.The story depicted a blind boy and a his friend who did not have one leg. In the bengali film all thesongs were sung by Manobendra Mukherjee who was a genius in hindustani classicals and has rich collection of Bengali modern songs, Kirtan, Nazrulgeeti and Bhaktigeeti. The notable songs include "Dukkhoamar shesh kore dao probhu", "Jar hiya akasher neelnilimaye", "Ei pranjhorona jaglo". The striking part of the film was that no conventional hero or herione were depicted in the story, as the tragic story of the two handicapped friends was the central attraction. Laxmikant Pyarellal had a huge challenge to match themusic of the bengali film and create the same standard of excellence. Both Laxmikant Pyarellal and Majrooh Sultanpuri sat together to compose the songs. The result was history. Rafi's song "Chahunga mai tujhesaanz sawere", "Mera to joh bhi kadam hai","rahi manwadukh ki chinta kyun satati hai", "janewalonzara" brought tears in the pandemonium hall. Rafi was so impressed with the compositions of Laxmikant Pyarellal that he had taken just one rupee for singing the song because it was the custom of a singer to take something in return for a professional song. The film became a huge success. Laxmikant Pyarellal won the filmfare award in 1964 for composing best music in a year when Shankar Jaikishan has composed songs for Sangam, 1964, Naushad had composed songs for Leader, 1964, Madanmohan had composed songs for Woh Kaun thi, 1964,Roshan had composed songs for Aarti. From that time onwards Laxmikant Pyarellal never looked back and their everlasting bond with Rafi just grew with time. Their similarity with Shankar-Jaikishan is evident in the composition of the songs "woh haizara khafa khafa" in the film Shagird, 1967 picturised on Joy Mukherjee and "Nazar na lag jaye" in the film Night In London, picturised on Biswajeet, 1967.These compositions had led to Shankar Jaikishan transforming their own style as people started getting mixed up with their composititions. But one factor was unique. The amount of affection Shankar Jaikshan had for Mohammad Rafi, the same passion was carried on by Laxmikant Pyarellal till Rafi's death in 1980 as his last song in the film AasPaas , 1980,was composed by Laxmikant Pyarellal.


Dharmender and Jeetender had different story lines in the films of late 1960s and early 70s, but one thing was common. both had some of the extraordinary songs of Mohammad Rafi composed by Laxmikant Pyarellal. Examples can be "Hui sham unka khayal agaya" from the film Mere Humdum Mere Dost, 1968, "Baar BaarDin yun aye" from the film Farz, 1967. Besides LP pair had provided tunes sungs by Mohammad Rafi in the films of Jeetender namely Jigri Dost, Banphool, Humjoli and the hits of Dharmender namely Aya Sawan Jhumke, Jeevan Mrityu, etc. Lastly after the death of Jaikishan in 1971, Raj Kapoor engaged Laxmikant Pyarellal for his films starting with Bobby in 1973.The song "hum tum ek kamreme bandh hai" had the same effect with the accordion as Shankar Jaikishan used to have in RK films. That led to LP pair ruling the film industry in the 1970s whenmost of the legendary music directors died and his only rivals included RD Burman and Kalyanji Anandji. In a very action pact scenario when the films of Amitabh Bacchan, Vinod Khanna had more concentration towards violence, LP pair created soft songs for RishiKapoor. Rafi's songs "Dafli wale", "Ramjiki niklisawari" in the film Sargam, 1978 and"Parda hai Parda", "Shirdiwali Saibaba" in Amar Akbar Anthony, 1977 and "Darde dil" in the film Karz, 1979, had brought filmfare awards for Laxmikant Pyarellal one after the other. He had tremendous combination with Rishi Kapoor and Mohammad Rafi and balanced romantic songs with the popular taste of film music. As they survived for the longest period of time, substantial number of Rafi's songs are composed by them. So the creations of Laxmikant Pyarellal involving Rafi should be preserved in the Archives where Rafi's other songs are restored.


Related Reading

• Immortal Ghazals sung by Mohammad Rafi.
• Awards received by Mohammad Rafi in his illustrious career.
• Mohammad Rafi- the greatest voice of the last century.
• Rahul Dev Burman’s immense respect for Mohammad Rafi.
• Laxmikant Pyarellal’s immortal relationship with Mohamand Rafi.
• OP Nayyar’s immortal relationship with Mohammad Rafi.
• Salil Chowdhury’s relationship with Mohammad Rafi.
• Ravi’s memorable combination with Rafi.
• Roshan's everlasting bond with Mohammad Rafi.
• SD Burman and Mohammad Rafi.
• Rafi’s pleasant memories with Madanmohan.
• Khayyam and Jaidev’s relationship with Mohammad Rafi.
• Kalyanji Anandji’s association with Mohammad Rafi.
• Naushad’s association with Rafi.

Laxmikant Pyarellal and Rafi

Laxmikant Pyarellal’s immortal relationship with Mohamand Rafi.

By: Souvik Chatterji.
Master of Law, Case Western Reserve University, Cleveland, Ohio, USA.
Master of Law, Warwick University,Coventry, UK.
Laxmikant Pyarellal emerged into the Indian film arena at a period when the main stream cinema was flooded with extremely talented music directors, lyricists and filmmakers in the 60s.Already the film industry has created its own unique standard due to the sheer brilliance of Musical Giants like Shankar Jaikishan, Naushad, Madanmohan, Roshan, Khayyam, SalilChowdhury and many others and the versatile performance of Mohammad Rafi for over 15 years. Laxmikant Pyarellar the legendary musical duo included Laxmikant Shantaram Kudalkar(1937-1998) and Pyarellal Ramprasad Sharma (born in 1940).Laxmikant was quite impressed with Mandolin and learnt to play it by his own. He used to play mandolin in street functions. Pyarellal was the son of renouned trumpeter Pandit Ramprasad Sharma and his specialisation was violin. Laxmikant and Pyarelal met at Sureel Kala Kendra, a music academy for children, run by the Mangeshkar family. After Lata Mangeshkar came to know about their financially poor backgrounds, Lata recommended their names to different music directors in the film industry. Both of them started their career with the film Parasmani(1963).Two songs of Mohammad Rafi "Woh Jab Yaad Aye, bahut yaad aye" and "Roushantumhi se duniya" brought fame for the musical duo. Laxmikant was fond of the orchestration of ShankarJaikishan to such an extent that some of their earlier tunes were similar to a huge number of Shankar's compositions.In the next film Dosti,1964, Laxmikant Pyarellal got inspired by a very extraordinary standard of musical performance by Bengali Music Director Robin Chatterji who composed music for the Bengali film Lalu Bhulu,1958.The story depicted a blind boy and a his friend who did not have one leg. In the bengali film all thesongs were sung by Manobendra Mukherjee who was a genius in hindustani classicals and has rich collection of Bengali modern songs, Kirtan, Nazrulgeeti and Bhaktigeeti. The notable songs include "Dukkhoamar shesh kore dao probhu", "Jar hiya akasher neelnilimaye", "Ei pranjhorona jaglo". The striking part of the film was that no conventional hero or herione were depicted in the story, as the tragic story of the two handicapped friends was the central attraction. Laxmikant Pyarellal had a huge challenge to match themusic of the bengali film and create the same standard of excellence. Both Laxmikant Pyarellal and Majrooh Sultanpuri sat together to compose the songs. The result was history. Rafi's song "Chahunga mai tujhesaanz sawere", "Mera to joh bhi kadam hai","rahi manwadukh ki chinta kyun satati hai", "janewalonzara" brought tears in the pandemonium hall. Rafi was so impressed with the compositions of Laxmikant Pyarellal that he had taken just one rupee for singing the song because it was the custom of a singer to take something in return for a professional song. The film became a huge success. Laxmikant Pyarellal won the filmfare award in 1964 for composing best music in a year when Shankar Jaikishan has composed songs for Sangam, 1964, Naushad had composed songs for Leader, 1964, Madanmohan had composed songs for Woh Kaun thi, 1964,Roshan had composed songs for Aarti. From that time onwards Laxmikant Pyarellal never looked back and their everlasting bond with Rafi just grew with time. Their similarity with Shankar-Jaikishan is evident in the composition of the songs "woh haizara khafa khafa" in the film Shagird, 1967 picturised on Joy Mukherjee and "Nazar na lag jaye" in the film Night In London, picturised on Biswajeet, 1967.These compositions had led to Shankar Jaikishan transforming their own style as people started getting mixed up with their composititions. But one factor was unique. The amount of affection Shankar Jaikshan had for Mohammad Rafi, the same passion was carried on by Laxmikant Pyarellal till Rafi's death in 1980 as his last song in the film AasPaas , 1980,was composed by Laxmikant Pyarellal. Dharmender and Jeetender had different story lines in the films of late 1960s and early 70s, but one thing was common. both had some of the extraordinary songs of Mohammad Rafi composed by Laxmikant Pyarellal. Examples can be "Hui sham unka khayal agaya" from the film Mere Humdum Mere Dost, 1968, "Baar BaarDin yun aye" from the film Farz, 1967. Besides LP pair had provided tunes sungs by Mohammad Rafi in the films of Jeetender namely Jigri Dost, Banphool, Humjoli and the hits of Dharmender namely Aya Sawan Jhumke, Jeevan Mrityu, etc. Lastly after the death of Jaikishan in 1971, Raj Kapoor engaged Laxmikant Pyarellal for his films starting with Bobby in 1973.The song "hum tum ek kamreme bandh hai" had the same effect with the accordion as Shankar Jaikishan used to have in RK films. That led to LP pair ruling the film industry in the 1970s whenmost of the legendary music directors died and his only rivals included RD Burman and Kalyanji Anandji. In a very action pact scenario when the films of Amitabh Bacchan, Vinod Khanna had more concentration towards violence, LP pair created soft songs for RishiKapoor. Rafi's songs "Dafli wale", "Ramjiki niklisawari" in the film Sargam, 1978 and"Parda hai Parda", "Shirdiwali Saibaba" in Amar Akbar Anthony, 1977 and "Darde dil" in the film Karz, 1979, had brought filmfare awards for Laxmikant Pyarellal one after the other. He had tremendous combination with Rishi Kapoor and Mohammad Rafi and balanced romantic songs with the popular taste of film music. As they survived for the longest period of time, substantial number of Rafi's songs are composed by them. So the creations of Laxmikant Pyarellal involving Rafi should be preserved in the Archives where Rafi's other songs are restored.


Related Reading

• Immortal Ghazals sung by Mohammad Rafi.
• Awards received by Mohammad Rafi in his illustrious career.
• Mohammad Rafi- the greatest voice of the last century.
• Rahul Dev Burman’s immense respect for Mohammad Rafi.
• Laxmikant Pyarellal’s immortal relationship with Mohamand Rafi.
• OP Nayyar’s immortal relationship with Mohammad Rafi.
• Salil Chowdhury’s relationship with Mohammad Rafi.
• Ravi’s memorable combination with Rafi.
• Roshan's everlasting bond with Mohammad Rafi.
• SD Burman and Mohammad Rafi.
• Rafi’s pleasant memories with Madanmohan.
• Khayyam and Jaidev’s relationship with Mohammad Rafi.
• Kalyanji Anandji’s association with Mohammad Rafi.
• Naushad’s association with Rafi.

Wide dimension of Stories of Satyajit Ray

Wide dimension of Stories of Satyajit Ray.

According to intellectual critics of modern literature, Satyajit Ray had made memorable explorations into the twilight territories of the peculiar and the supernatural. Some of his extraordinary tales can send shivers up the spine, ensure everyone to keep the lights on when anyone goes to bed at night, and occasionally allow someone the luxury of nervous laughter.[1]
In the story titled ‘Bhuto’, a ventriloquist’s dummy slowly but surely turns malign and more human than its master;[2] in ‘The Pterodactyl’s Egg’[3] we meet a man who claims to have devised a way to travel, economy-class, into the fourth dimension; in ‘Anath Babu’s terror’ a ghost-hunter finds himself stalked by his terrifying quarry; and in ‘Shibu and the Monster’, a schoolboy has to figure out whether his mathematics teacher is really a demon or not.[4]



In the Story “Ghurghutiar Ghatana” there was a person residing at Ghurghutia, a moffusil town in West Bengal who had a wide collection of Novels and Books which were expensive and not easily available in the market. He maintained a locker which had a German Lock which could be opened only by combination. These types of locks were used during the time of Second World War where only the owner can know the exact combination of numbers and open the lock. The Central Character of the story made his parrot memorise the combination of the lock through a small poetic verse which in Bengali is termed “ Heyali”. The Parrot used to say “Trinayan O Trinayan Ektu Jiro”, which in Bengali meant , the person with three eyes, please rest for sometime. His son kidnapped the father but could not understand the implication of the heyali. Feluda , the Private Investigator was invited from Kolkata to find out what the parrot meant through those lines. The deal was that if Feluda succeeds in doing so the expensive novels will be given to him as reward. Feluda, recollected the period when India was under the colonial rule and The British Government ruled the country from the Capital Calcutta. At that time the British Generals maintained a number of Hindustani sepoys who used to speak in Hindi. When the British people failed to order them to close the door, they used to say “there is a brown crow” meaning “ darwaza bandh karo”. Feluda picked up that message and solved the puzzle about the verse of the parrot. Feluda said “ Trinayan O Trinayan Ektu jiro” means “three nine zero three nine eight two zero”. That was exactly the number with which the lock could be opened .There are other aspects of the story which was solved by Prodosh Mitra, but the thrill of suspense and inquisitiveness of the readers was kept intact while presentation of the story.



For several decades now, Satyajit Ray’s tales about unusual happenings and bizarre characters rooted in familiar surroundings have both regaled and terrified his readers, young and old alike. They include ‘The Hungry Septopus’,[5] a carnivorous plant with a monstrous appetite, ‘Barin Bhowmick’, a kleptomaniac who is taken back several years by a chance encounter on a train, ‘Patol Babu’, an amateur actor for whom a walk-on part in a movie turns into the ultimate challenge, ‘Bipin Chowdhury’, who seems to be suffering from a most disagreeable form of amnesia, ‘Bonku Babu’, a mofussil schoolteacher who is visited one night by a friendly and somewhat awkward alien,‘Ashamanja Babu’s Dog’, who bursts out laughing one morning‘Anath Babu’, a ghost hunter who finds himself being stalked by his terrifying quarryand many, many more unforgettable characters.[6]

Following the huge success of his telefilms, Satyajit Ray Presents 1 and 2, Feluda-30 and Dr. Munshir Diary based on a bunch of Satyajit Ray’s widely-read short stories, Sandip Ray has made a tele-film Satyajiter Gappo-2 which was telecast on DD-1 and 7 (National channel) as a tribute to the maestro’s 80th birth anniversary. The interesting feature of that experiment lied in its freshness and novelty as it mostly concentrated on bizarre contours of everyday life, human values found in its natural splendour and conflicts and complex situations.[7]

In the Film “ Joy-Baba Felunath”, 1978, Satyajit Ray created a case where an expensive Idol of Ganesha ( The Elephant god of the Hindus) is stolen from the House of Mr. Ghoshal in Benaras.[8]The grandson of Mr. Ghoshal was told to tell everyone that the Idol is with the king of Africa. Actually there was a Durga Murti being made in the same house and Devi Durga’s Bahon which was a Lion , ( The King of Africa) , where the idol was kept hidden with gum. Bikash , an orphan in that house who was brought up in the Ghoshal Family stole it and gave it to Maganlal MeghRaj , ( a rich marwari businessman) having house in Gyanbapi in Benaras. He was supposed to smuggle the idol through a Sadhubaba ( Machlibaba) at the shores of the Ganges in Benaras. Feluda intervened and arrested Maganlal Meghraj and solved the mystery. The performance of Utpal Dutta, a brilliant figure of Bengali stage and Indian films was extra ordinary. The location of Benaras, the bhajans that were picturised in the film and the synchronization of the sequences was brilliant.[9] It is a pity, that Ray did not have the time to make films on most of his literature in the form of short stories, Detective stories, Suspense Thrillers and Stories of Diverse categories. The literature of Ray should be revisited to understand the diversity of the range of topics, science base, technicality, educative subject matters, human values that Ray used to handle in the span of 35 years.





[1] https://www.vedamsbooks.com/no22911.htm

[2] Ventriloquism means the art of making one’s dummy talk when his master is the actual talker. There are certain letters the pronounciation of which does not require lip movement. For example if a Ventriquist says “ Mohunbagan” he will pronounce it ( nononbagan) because the letter n does not require lip movement.

[3] Ptrodactyle is a prehistoric bord appearing duing the time when Human Beings did not appear in the earth. I moving specimen is evident in the Science City at Kolkata.

[4] Satyajit Ray was born on 2 May 1921 in Calcutta. After graduating from Presidency College, Calcutta, he studied art at Rabindranath Tagore's University “Biswabharati” in Santiniketan. He won numerous awards for his films. He was honored with the Oscar for Lifetime Achievement by the Academy of Motion Picture Art and Sciences and bestowed with India's highest civilian award Bharat Ratna.

[5] Septopus is an organism similar to Octopus. Octopus has eight tentacles, Septopus has seven. In the relevant story the author’s dog was eaten up by the Septopus and that had made the owner ( A Scientist fascinated with plants and orchids) kill the Septopus with his rifle because it had become carnivorous.

[6] http://www.indiaclub.com/Shop/SearchResults.asp?ProdStock=8655

[7] http://www.screenindia.com/20010518/rbengali.html

[8] Joybaba Felunath released in 1977 won the Best Feature Film Award, Hongkong Film Festival, 1979.

[9] My Father, the then Chdief Public Prosecutor, Bankshall Court ( Chief Metropolitan Magistrate’s Court, Kolkata) when made a submission in the Sandip Ray case on Manuscripts of Ray, mentioned that Ray’s property is National Property and should be only kept in Archive maintained in Nandan for future generations to develop their knowledge base on the fields Ray had worked on. The ACMM Mridul Ray said Sandip Ray should maintain the rich legacy of his father by creating the same standard of excellence in the creative arts which he is handling now. It is reported in The Statesman, The Telergraph and other notable newspapers in 1994.

Wide dimension of Stories of Satyajit Ray

Wide dimension of Stories of Satyajit Ray.

According to intellectual critics of modern literature, Satyajit Ray had made memorable explorations into the twilight territories of the peculiar and the supernatural. Some of his extraordinary tales can send shivers up the spine, ensure everyone to keep the lights on when anyone goes to bed at night, and occasionally allow someone the luxury of nervous laughter.[1]
In the story titled ‘Bhuto’, a ventriloquist’s dummy slowly but surely turns malign and more human than its master;[2] in ‘The Pterodactyl’s Egg’[3] we meet a man who claims to have devised a way to travel, economy-class, into the fourth dimension; in ‘Anath Babu’s terror’ a ghost-hunter finds himself stalked by his terrifying quarry; and in ‘Shibu and the Monster’, a schoolboy has to figure out whether his mathematics teacher is really a demon or not.[4]

In the Story “Ghurghutiar Ghatana” there was a person residing at Ghurghutia, a moffusil town in West Bengal who had a wide collection of Novels and Books which were expensive and not easily available in the market. He maintained a locker which had a German Lock which could be opened only by combination. These types of locks were used during the time of Second World War where only the owner can know the exact combination of numbers and open the lock. The Central Character of the story made his parrot memorise the combination of the lock through a small poetic verse which in Bengali is termed “ Heyali”. The Parrot used to say “Trinayan O Trinayan Ektu Jiro”, which in Bengali meant , the person with three eyes, please rest for sometime. His son kidnapped the father but could not understand the implication of the heyali. Feluda , the Private Investigator was invited from Kolkata to find out what the parrot meant through those lines. The deal was that if Feluda succeeds in doing so the expensive novels will be given to him as reward. Feluda, recollected the period when India was under the colonial rule and The British Government ruled the country from the Capital Calcutta. At that time the British Generals maintained a number of Hindustani sepoys who used to speak in Hindi. When the British people failed to order them to close the door, they used to say “there is a brown crow” meaning “ darwaza bandh karo”. Feluda picked up that message and solved the puzzle about the verse of the parrot. Feluda said “ Trinayan O Trinayan Ektu jiro” means “three nine zero three nine eight two zero”. That was exactly the number with which the lock could be opened .There are other aspects of the story which was solved by Prodosh Mitra, but the thrill of suspense and inquisitiveness of the readers was kept intact while presentation of the story.
For several decades now, Satyajit Ray’s tales about unusual happenings and bizarre characters rooted in familiar surroundings have both regaled and terrified his readers, young and old alike. They include ‘The Hungry Septopus’,[5] a carnivorous plant with a monstrous appetite, ‘Barin Bhowmick’, a kleptomaniac who is taken back several years by a chance encounter on a train, ‘Patol Babu’, an amateur actor for whom a walk-on part in a movie turns into the ultimate challenge, ‘Bipin Chowdhury’, who seems to be suffering from a most disagreeable form of amnesia, ‘Bonku Babu’, a mofussil schoolteacher who is visited one night by a friendly and somewhat awkward alien,‘Ashamanja Babu’s Dog’, who bursts out laughing one morning‘Anath Babu’, a ghost hunter who finds himself being stalked by his terrifying quarryand many, many more unforgettable characters.[6]

Following the huge success of his telefilms, Satyajit Ray Presents 1 and 2, Feluda-30 and Dr. Munshir Diary based on a bunch of Satyajit Ray’s widely-read short stories, Sandip Ray has made a tele-film Satyajiter Gappo-2 which was telecast on DD-1 and 7 (National channel) as a tribute to the maestro’s 80th birth anniversary. The interesting feature of that experiment lied in its freshness and novelty as it mostly concentrated on bizarre contours of everyday life, human values found in its natural splendour and conflicts and complex situations.[7]

In the Film “ Joy-Baba Felunath”, 1978, Satyajit Ray created a case where an expensive Idol of Ganesha ( The Elephant god of the Hindus) is stolen from the House of Mr. Ghoshal in Benaras.[8]The grandson of Mr. Ghoshal was told to tell everyone that the Idol is with the king of Africa. Actually there was a Durga Murti being made in the same house and Devi Durga’s Bahon which was a Lion , ( The King of Africa) , where the idol was kept hidden with gum. Bikash , an orphan in that house who was brought up in the Ghoshal Family stole it and gave it to Maganlal MeghRaj , ( a rich marwari businessman) having house in Gyanbapi in Benaras. He was supposed to smuggle the idol through a Sadhubaba ( Machlibaba) at the shores of the Ganges in Benaras. Feluda intervened and arrested Maganlal Meghraj and solved the mystery. The performance of Utpal Dutta, a brilliant figure of Bengali stage and Indian films was extra ordinary. The location of Benaras, the bhajans that were picturised in the film and the synchronization of the sequences was brilliant.[9] It is a pity, that Ray did not have the time to make films on most of his literature in the form of short stories, Detective stories, Suspense Thrillers and Stories of Diverse categories. The literature of Ray should be revisited to understand the diversity of the range of topics, science base, technicality, educative subject matters, human values that Ray used to handle in the span of 35 years.





[1] https://www.vedamsbooks.com/no22911.htm

[2] Ventriloquism means the art of making one’s dummy talk when his master is the actual talker. There are certain letters the pronounciation of which does not require lip movement. For example if a Ventriquist says “ Mohunbagan” he will pronounce it ( nononbagan) because the letter n does not require lip movement.

[3] Ptrodactyle is a prehistoric bord appearing duing the time when Human Beings did not appear in the earth. I moving specimen is evident in the Science City at Kolkata.

[4] Satyajit Ray was born on 2 May 1921 in Calcutta. After graduating from Presidency College, Calcutta, he studied art at Rabindranath Tagore's University “Biswabharati” in Santiniketan. He won numerous awards for his films. He was honored with the Oscar for Lifetime Achievement by the Academy of Motion Picture Art and Sciences and bestowed with India's highest civilian award Bharat Ratna.

[5] Septopus is an organism similar to Octopus. Octopus has eight tentacles, Septopus has seven. In the relevant story the author’s dog was eaten up by the Septopus and that had made the owner ( A Scientist fascinated with plants and orchids) kill the Septopus with his rifle because it had become carnivorous.

[6] http://www.indiaclub.com/Shop/SearchResults.asp?ProdStock=8655

[7] http://www.screenindia.com/20010518/rbengali.html

[8] Joybaba Felunath released in 1977 won the Best Feature Film Award, Hongkong Film Festival, 1979.

[9] My Father, the then Chdief Public Prosecutor, Bankshall Court ( Chief Metropolitan Magistrate’s Court, Kolkata) when made a submission in the Sandip Ray case on Manuscripts of Ray, mentioned that Ray’s property is National Property and should be only kept in Archive maintained in Nandan for future generations to develop their knowledge base on the fields Ray had worked on. The ACMM Mridul Ray said Sandip Ray should maintain the rich legacy of his father by creating the same standard of excellence in the creative arts which he is handling now. It is reported in The Statesman, The Telergraph and other notable newspapers in 1994.

Detective Stories of Satyajit Ray

Detective Stories of Satyajit Ray

Satyajit Ray was India's first internationally recognized film-maker and, 15 years after his death, still remains the most well-known Indian director on the world stage. Ray has written that he became captivated by the cinema as a young college student, and he was self-taught, his film education consisting largely of repeated viewings of film classics by De Sica, Fellini, John Ford, Orson Welles, and other eminent directors.[1] With the release in 1955 of his first film Pather Panchali ("Song of the Road"), whose financing presented Ray with immense monetary problems, compelling him even to pawn his wife’s jewellery, he brought the neo-realist movement in film to India. Little could anyone have imagined that this first film would launch Ray on one of the most brilliant careers in the history of cinema, leading eventually not only to dozens of international awards, India’s highest honour, and a lifetime achievement Oscar from Hollywood, but the unusual accolade of being voted by members of the British Film Institute as one of the three greatest directors in world cinema.

Being a versatile genius of his times, much has been said about the skills used by Ray in transforming Celluloid from only a medium of entertainment to an arena of creative arts. Well known Directors of India namely Shyam Benegal, Adoor Gopalakrishnan and others have seen his first film Pather Panchali a number of times and learnt huge lessons relating to story telling in cinema. But much less has been said about Ray’s literary skills. Being a maestro of numerous number of Arts, including scripts, illustrations, music, his literature which predominantly was filmic got unnoticed. My entire childhood was flooded with crime thrillers of Ray being simplified for the children in series of stories of Feluda and Professor Shanku.[2] There were other writers of Bengal namely Premendra Mitra ( who have also made films on suspense thriller titled “Chupi Chupi Ase”, “Hanabari”), Hemendra Kumar Ray, Sunil Ganguly, Saradindu Bandopadhyay( Satyajit Ray’s film “ Chiriakhana” was based on his story where Uttamkumar played the role of Byomkesh Bakshi, a famous detective who solved a number of mysteries)[3] to name a few, who had attracted the attention of young readers and made a notable impact of stories relating to crime and punishment. But what was different in case of Ray’s literature was that he made the incidences cinematic. He always used to give description of the characters through ‘tapesh’ so that the chain of thoughts of the readers did coincide with the thoughts of the characters in his story.



When the same stories which were written, depicted by Ray were later made Films, they ended in excellence by their standards. The best example can be Sonar Kella ( The Golden Fortress).[4] Mukul, a young boy, was being haunted by memories of his previous life. He was taken to Dr. Hajra, a parapsychologist, for treatment. On discovering some drawings by Mukul that represented scenes from the past, Dr. Hajra believed that a Fortress in the drawings may be in Rajasthan. Dr. Hajra decided to take Mukul on a trip to Rajasthan in the hope that it might be a cure. A newspaper report caught the attention of two bandits. They kidnapped Mukul in hope of getting their hands on the treasure. The detective Feluda was engaged, along with his assistant Tapesh, to recover the child. Sonar Kella was a bewitching comedy-thriller for children of all ages. An exciting and fun-filled journey that took audiences from Calcutta to Jaisalmer in Rajasthan including Felu and friends chasing a train on a camelbacks. It included beautiful color photography and use of color for dramatic effect.[5]



The greatest skill of story-telling which was made evident by Ray was the use of coincidence. There is a scene where Feluda while travelling in a train from Kolkata to New Delhi was anticipating that the two Bandits to be in the same train with Dr. Hajra and Mukul if they have stayed in Delhi for one day and he anticipated any harsh step to be taken by the bandits. In the next scene Ray shows that Dr. Hajra is being pushed by Kamu Mukherjee who played the role of Mandar Bose from the cliff of Nahargarh Fort in Jaipur.[6] Ray realized that every reader while reading a story generally paints a picture of the person in their mind who is referred to in the story. So the writer or the novelist is supposed to give the details of the looks of the character to the readers .It became easy for him as he reached a level of excellence in illustration. The character “Jatayu” was intitially drawn in a different way. When Ray saw Santosh Dutta, the actor who played Jatayu in “Sonar Kella” and “Joy Baba Felunath”, he started drawing the character identically like Santosh Dutta. Seeing Satyajit Ray’s script full of illustrations is a treat for the eyes.[7] The film Sonar Kella was made for the children, but ended up in catching the attention of intellectual adult viewers, there were so many scientific aspects like telepathy, hypnotism employed in the film with justifications who reshuffled the knowledge base of viewers of different age.

Those readers who are addicted to read novels, short stories of Agatha Christie, Arthur Conan Doyle were also attracted towards literature composed by Ray. Besides the pictographic description of the places Ray used to describe ( Description of Lucknow in “ Badshahi Uncty”, description of Jaipur, Jodhpur, Bikaner, Jaisalmer in “Sonar Kella”, description of Benaras in “ Joy Baba Felunath”) was simply brilliant. Rays standard of perfection has given a new light on the historical, geographical, social and other aspects of every part of the world on where his stories were based. These days Sandip Ray makes films based on Satyajit Ray’s stories.[8] But the readers basically miss Ray’s literature which flooded the hearts of youth of the country with treasure of knowledge of different fields, subjects,dimentions. Research should be done on the literature of Satyajit Ray with same priority as the way his films are scanned. Detailed analysis of his literature can throw new light on the upcoming fresh talents of India who use their pen as a sword.




[1] http://www.sscnet.ucla.edu/southasia/Culture/Cinema/SRay.html

[2] www.mouthshut.com/product-reviews/Feluda_Stories_-_Satyajit_Ray-925039917.html - 85k Feluda is the Private Investigator created by Satyajit Ray named “Pradosh Mitra” just like Fiction Character “Sherlock Holmes” created by Arthur Conan Doyle.
[3] Chiriakhana was released in 1967 and won the National Film Award for Best Direction. Also Uttamkumar won the best Actor for playing the role of Satyanyeshi meaning founder of the truth.

[4] Sonar Kella was released in 1974 , the film where Ray introduced the character “Jatayu” for the first time which was played by Santosh Dutta on who demise Ray stopped making any more films on stories of .Feluda

[5] http://www.satyajitray.org/films/sonar_kella.htm

[6] Nahargarh means the abode of Tigers. In Jaipur it is one of the most eminent tourist attractions. Satyajit Ray discovered that entire Jaipur can be seen from the summit of Nahargarh Fort. So he shot his sequence where Mandar Bose throws Dr. Hajra from the Cliff to kill him.

[7] My Father, Sri Chitta Ranjan Chatterji, the then Chief Public Prosecutor of Bankshall Court, Kolkata was handling the brief of Sandip Ray ( son of Satyajit Ray) in a case where Uday Acharya, the brother of Nirmalya Acharya, denied to give Rays scripts which were with him, which were supposed to be kept in Nandan Archive under the supervision of Dr. Sur. The trunk containing the scripts of Ray were opened in Lalbazar, Kolkata Police Headquarters, where the scripts were unfolded. It included even the demi-newspaper called “ chandipurer Barta” used in the film Ganashatru by Ray . The case was reported in Anandabazar Patrika, Pratidin, The Statesman,etc in 1994.

[8] Sandip Ray had made films “Baksho Rahasya”, “ Bombaiyer bombete” and other films and TV serials on the stories of Satyajit Ray.

RD Burman and Rafi

Rahul Dev Burman’s immense respect for Mohammad Rafi.

Rahul Dev Burman, the son of eminent singer and composer Sachin Dev Burman, is one of the most popular composers of the last decade whose tunes are used by many modern composers in their own compositions. Being the son of the legendary Music Director, SD Burman, RD had a great challenge to match the sheer brilliance of his father. It happens with the son or daughter of all the famous personalities.

RD Burman started his journey with Chote Nawab in 1962 with the help of the man with the golden voice, Mohammad Rafi. Major songs in the film was sung by Rafi and RD Burman commanded respect in the musical community of that period, who were still mesmerised with the classical compositions of Naushad, folk songs of SD Burman, western effects of Shankar Jaikishan, OP Nayyar, Salil Chowdhury, Ghazals of Roshan, Madanmohan. RD Burman had other skills like playing the mouth organ, tabla and other related instruments and he showed his skill while playing the mouth organ for Laxmikant Pyarellal in the film Dosti, 1964 where Rafi had galvanised the silver screen with his tragic andaz. [1]


The bigger challenge of RD Burman was to create a gharana which was different from SD Burman, which was very difficult. He created western composition in “Ayo Twist Karen” for Manna Dey in Bhoot Bangla. But he received the maximum appreciation from music lovers with his compositions in the film Teesri Manzil, 1966. All the songs were sung by Mohammad Rafi. All the songs were superhits, including “O haseena zulfonwali”, “Aja aja”, “Dewaana tujhsa nahin”, “ janeman janeja, tumne muhhe dekha hoker meherba”, “O mere sona re sona re sona re.” The rock and roll flavour of Shammi Kapoor, which was started by Shankar Jaikishan in films like Junglee, 1961, songs like “Asman se aya farishta” in An Evening in Paris, 1967, “Aj kal tere mere pyar ke charche har jawan par” in Brahmchari, 1967, was matched by RD Burman in Teesri Manzil, 1966, and he gave the message to the Indian audience that he had arrived in the musical arena and was going to be a leading composer in future.

The relationship of RD Burman with Rafi continued in films like Pyar ka Mausam, 1969, where the songs like “Tum bin jayun kahan”, “Ni sultana re pyar ka mausam aya” were major hits. RD Burman developed a beat of his own which marked his identity in the 1970s. The biggest success came in 1970, with the film Karwa, where the songs “ kitna pyara wada” “are ho goriyan kahan tera desh re” were superhits, and Rafi’s voice balanced the choreographic skills of Jeetender for whom the maximum number of songs were sung by Rafi. For a short period RD Burman composed songs for Kishorekumar in films like Amar prem, Kari Patang, but that was due to the fact it matched with the voice of Rajesh Khanna.

Whenever RD Burman reverted back to Rafi, the songs were successful as ever, like “Yaadon ki Baarat,” “Chura liya hai tumne jo dilko”, in the film Yaadon ki Baarat, 1973, “Yeh ladka hai alla kaisa hai diwana”, in Hum kisi se kum nahi, 1977. In fact Rafi’s outstanding combination with Rishi Kapoor compelled RD Burman to provide the successful qawalli “Hai agar dushman zamana gham nahi ghan nahi”, in Hum Kisi se kum Nahi, which Rafi only could sing. The same film provided Rafi with the National award in 1977 with the song “Kya hua tera wada”. Further the musical competition in the film had Rafi and Kishore singing songs, including “chand mera dil”, etc.

The combination of RD Burman with Rafi continued in Rishi Kapoor’s film, “Zamane ko dikhana hai” where “Sochenge pyar kya hua” with Asha Bhosle, was a major hit. Further in the film Burning Train, 1980, the biggest hit was the qawalli sung by Rafi and Asha, titled “pal do pal ka saath hamaara”. The action of Dharmender and Vinod Khanna was balanced by the excellent choreography of Jeetender in the song “Pal do Pal”, and superlative performance of Rafi.

People have a wrong conception of the fact that RD Burman underestimated Rafi, which is not true. He had tremendous respect for the man with the golden voice. The only lacuna was that RD Burman had a lot of inherent classical skill which he did not get any scope of showing due to the demand of popular music except in the films of Gulzar. In Kinara, 1977, “Naam Gum Jayega”, “Meethe Bol Bole” sung by Bhupinder Singh, shows RD Burman’s gharana. Had Rafi survived for a longer period of time and had RD Burman got more opportunities to blend eastern and western music, the combination could have provided everlasting creations for future generations to cherish. Rafi’s archive should also contain the compositions of RD Burman which are admired by the modern generation and should be restored for music lovers of different ages.


[1] My father Ex chief Public Prosecutor, Bankshall Court, (Chief Metropolitan Magistrate’s Court, Kolkata) had interviewed Manobendra Mukherjee, a versatile classical singer having immortal records on bhajans, kirtans, nazrulgeeti, modern bengali songs, film songs and asked him to sing his first Bengali Modern Song “Naichondon Lekha, sriradhar chokhe, nai nai shemorai” before the crowd in a function held in Paikpara, Kolkata where Manobendra said it was his beginning of his musical journey and a song which was a blank verse without musical instruments. If that song could be heard minutely it can be realized that modern music is almost bankrupt. Aroti Mukherjee, the famous Bengali singer, also my father’s witness in a case instituted in Bankshall Court, in the anurodher asor, in all in Radio, said that her teenage was shaken up by Manobendra with the song “Naichondon Lekha” in 1953. In the same interview Manobendra Mukherjee told my father, the real starting point of compositions is classical background. He said the more RD Burman tried to move away from SD Burman in composing western tunes, the more he landed back with SD Burman’s classical gharana in Kinara, 1977, Parichay, 1972, Masoom,1982, where he was appreciated the most by musical pandits where the classical songs were sung by Bhupinder Singh and Lata Mangeshkar..


Related Reading

• Immortal Ghazals sung by Mohammad Rafi.
• Awards received by Mohammad Rafi in his illustrious career.
• Mohammad Rafi- the greatest voice of the last century.
• Rahul Dev Burman’s immense respect for Mohammad Rafi.
• Laxmikant Pyarellal’s immortal relationship with Mohamand Rafi.
• OP Nayyar’s immortal relationship with Mohammad Rafi.
• Salil Chowdhury’s relationship with Mohammad Rafi.
• Ravi’s memorable combination with Rafi.
• Roshan's everlasting bond with Mohammad Rafi.
• SD Burman and Mohammad Rafi.
• Rafi’s pleasant memories with Madanmohan.
• Khayyam and Jaidev’s relationship with Mohammad Rafi.
• Kalyanji Anandji’s association with Mohammad Rafi.
• Naushad’s association with Rafi.

Shankar Jaikishan

Shankar Jaikishan – The most versatile Musical Giant of the Last Century.

Shankar Jaikishan are probably the most versatile musical giants that hailed the music of Bollywood during the Golden Age of Indian Cinema, the 40s, 50s and 60s.The golden era of Indian film music can be associated with the musical giants of different capabilities and specialisations.The Legends include Roshan- the king of melody, Madanmohan- the shahenzah of ghazals, Naushad- the Genius of Hindustani classical ragas with a blend of Lucknow Gharana, Salil Chowdhury –the Master of Westernised chorus with Eastern folk and poetic excellence, O. P. Nayyar – the Master of Westernised Tunes with Eastern flavour, Jaidev – the Legend of Urbanised Folk and Rural tunes, and many other Classical composers who have become immortal with their everlasting tunes.[1]Shankar Jaikishan emerged in that arena with a range of tunes and compositions which could not be categorised under a single head. There were folk songs like “ chalat Musafir” sung by Manna dey in “Teesri Kasam”( 1966) to ghazals like “Chalke Teri Aankhose sharab aur ziada” sung by Mohammad Rafi in “Aarzoo”(1965). There were rock and roll compositions like “aajkal tere mere pyarke charche har jawanpar” in Brahmchari(1967) to pure classical composition like “Sur na saje kya gayun mai” in “Basant Bahar”(1957).


They had composed music in almost 200 films in a tenure of around 22 years.[2] So great was the impact of their creative genius that it had a lasting impact on the music of the Hindi films. Shankar-Jaikishan understood the taste of the masses, were able to cater to them, as well as moulded their tastes. No wonder then that during their tenure as music directors, they were exceedingly popular and 75 per cent of the films for which their scores were everlasting hits - many have celebrated silver jubilees.


They were probably the only musical pair, who have given music to all the leading giants who had glorified the silver screen during the 1940, 1950s, and 1960s.They have given music to Dilip Kumar in Yahudi,1958, Rajender Kumar in Suraj,1966, Bharat Bhushan in Basant Bahar,1957, Balraj Sahani in Seema,1956, Pradeep Kumar in Raat Aur Din,1966, Dev Anand in Asli Nakli,1961,Manoj Kumar in Hariyali Aur Raasta,1962, Shammi Kapoor in Professor,1962, Shashi Kapoor in Kanyadan,1969, Biswajeet in April Fool,1964, Joy Mukherjee in Love in Tokyo,1965, Dharmender in Pyar hi Pyar,1968, Jeetender in Mere Huzur,1967, RajKumar in Lal Patthar,1971.
The team of Shankar Jaikishan consisted of Shankarsingh Raghuwanshi and Jaikishan Dayabhai Panchal. Shankar (October 15, 1922 - 1987) was born in Punjab and trained under the famous Husnlal Bhagatram. He later settled down in Hyderabad, Andhra Pradesh, India. Jaikishan (1929 - 1971) hails from Panchal, Gujarat, India. Before the duo met, Jaikishan worked as a carpenter. Their career started as music directors for Raj Kapoor's 1949 film Barsaat. Songs like "Jiya beqaraar hai" and "Barsaat mein humse mile tum" became a rage. Barsaat was also the starting point of the pair’s long and successful association with the R.K. Banner. Hit music in films like Aah and Awaara followed in the early 1950s. The song "Ghar aaya mera pardesi" went on to become a benchmark for dream-sequence songs. Their music for most R.K. films was considered a huge success, but two films stand out, Shree 420 and Sangam. The songs "Pyaar hua ikraar hua" and "Ramaiyyaa vasta vaiyya" from Shree 420 and "Dost dost na raha" and "Har dil jo pyaar karega" from Sangam were popular favorites.[3]


They were honored with the maximum number (nine) of Filmfare awards in the Indian film industry. In 1968, Shankar Jaikishan released an album, "Raga Jazz Style : Shankar Jaikishan with Rais Khan." Shankar Jaikishan made a great impact on film music from the start. Their tunes range from pure classical Indian themes to more westernised tunes.They had a distinct style, which was adaptable to different stars and films.In the West, they are best known for the song "Jaan Pechan Ho", which originally appeared in the 1965 film Gumnaam. The musical number was replayed in the American film Ghost World and helped to catapult the popularity of Indian film music in America.


However, according to Raj Kapoor, the pair's most notable score came in the film "Mera Naam Joker" in 1970 which has landmark songs like "Jaane kahan gaye woh din", "Jeena yahan marna yahan", and "Ae bhai zara dekh ke chalo". Arguably, the background musical scores of "Sangam" and "Mera Naam Joker" are considered to be among the best ever in the history of Hindi film music. Of the two, Shankar's speciality was dance-based compositions, whereas Jaikishan's forte was the background musical score. Both of them preferred Raaga Bhairavi over other strains of classical music.


Shankar Jaikishan created few classical oriented tunes fit for the Golden voice of Mohammad Rafi. In the film “ Lal patthar”(1971), Shankar Jaikishan had composed for Rafi “ unke khayal aye to ate chaale gaye”in raag gara. There the nostalgic mood of badshah was presented by Rafi. Other quality creations of Shankar Jaikishan included “ Aji ruth kar ab kahan jaiyega” in raag desh in Aarzoo(1966) starring Rajenderkumar, “ Khudabhi asma se jab zamin par dekhta hoga” in the film ‘Dharti,” “mujhko apne gale lagalo ai mere humrahi”( Humrahi, 1962) “surahidar gardan koel sihi awaz”in the film “ Aman”. The lyrics were written by Hasrat Jaipuri.[4]

One of the other shades of the character of the Legendary duo was that they had encouraged a number of singers both male and female, at an era when the other Music Directors preferred only Rafi and Lata. They have composed songs for Subir Sen, “ Dil mera ek aas ka panchi” in the film Aas ka panchi,1960, Suman Kalyanpur , “Dil ek mandir hai,” in the film Dil Ek Mandir,1963, Manna Dey, “Yeh Raat Bheegi Bheegi” in the film Chori Chori,1956, Asha Bhosle, “Mur Murke na dekh Mur Mur ke” in the film Shri 420,1955, Sharda, “Titli Uri” in the film Suraj,1966, Mukesh, “Yeh mera diwanapan hai” in the film Yahudi,1958, Talat Mehmood, “Koi nahi mera is duniya mai” in the film Daag,1955, Kishore Kumar, “Zindagi ek safar hai suhana” in the film Andaz,1971. The songs were complimented with brilliant orchestration which had added lights to the composition of the giant.


The other aspect of their creation include blending the Indian flavour with the foreign tunes wherever the films were picturised. Best examples can be the song “Sayonara sayonara” in the film “Love in Tokyo”, 1965, had Japanese orchestration, the other being “Raat ke humsafar” in the film “An Evening Paris”,1967, had French flavour. Besides their use of few instruments showed the class of their own, Accordion in “Sub kuch sikha Humne na siki hoshiari” in the film Anari,1959, Saxophone in “Ai sanam jis ne tujhe chand sa surat di hai” in the film Diwana, 1967, Synthesized Harmonium played by V. Balsara in “Awara Hoon” in the film Awara, 1951.[5]

One of the reasons why Shankar Jaikishan did not get the acknowledgement of providing immortal tunes in that era is because it could not be identified as which song is composed by Shankar and which song is composed by Jaikishan. Otherwise Naushad was awarded with Dada Saheb Phalke for his brilliant contribution to Indian music, Majrooh Sultanpuri also received the same award in the lyricist category, Shankar- Jaikishan was deprived of that honour. The other reason may be that they had worked with Raj Kapoor for the longest period and most of the credit of the unforgettable tunes were taken away by Raj Kapoor himself. An archive should be created for the rich and classical creations of Shankar Jaikishan where the works can be preserved for future generations to take inspiration from.



[1] http://www.indianetzone.com/2/bollywood_music.htm

[2] Dattaram, their Assistant also made immortal tunes like “Ansu Bhari Hai” in the film “Parvarish”, 1959, starring Raj Kapoor.

[3] My father Chitta Ranjan Chatterji, Ex chief Public Prosecutor, Bankshall Court,( CMM Court), Kolkata had solved a case relating to Music Rackett in HMV in the early 1980s. The Zonal manager of HMV, Mr. SriDaure gave him a present of HMV discs of film “diwana-composed by Shankar Jaikishan” and Disc of “ Pakiza- composed by Ghulam mohammad”. Mr. Sri Daure was involved with numerous immortal recordings of HMV and he mentioned that there was a song in Diwana, titled “ tumhare bhi jai jai, humare bhi jai jai, na tum hare, na hum hare”. The song was picturised with Raj kapoor staying in the railway station and Saira Banu travelling in a train. The song beat that was composed by Shankar-Jaikishan synchronised the actual sound of the movement of the train. It was only possible from Shankar-Jaikishan.It was reported in AnandaBazar Patrika, the Bengali Newspaper under the column of Ashis Ghosh.

[4] Noted Music Director Anu Malik says that Raj Kapoor had dug a well full of everlasting music and Shankar Jaikishan drew water out of it.

[5] http://bootsalesounds.blogspot.com/2006/07/shankar-jaikishan.html

Music in Gulzar's Films

Music in Films of Eminent Director Gulzar.

The 1970s is characterised as a period of change in Indian film music. Although popular music continued to be created by the innovative compositions of Laxmikant Pyarellal, Kalyanji Anandji, R.D. Burman, yet the classical flavour of Hindustani music started losing predominance during that time.[1] There were few reasons for the change.



Firstly the neo-realistic film movement by Satyajit Ray,[2] Ritwik Ghatak,[3] Tapan Sinha,[4] Rajen Tarapdar,[5] had inspired filmmakers like Shyam Benegal, Govind Nahalani to make realistic films in the 70s. Shyam Benegal started his journey with the film Ankur, 1974, where he gave the biggest break to Shabana Azmi, one of the most powerful actress of Indian cinema. Govind Nahalani made Akrosh, where he brought out one of the most daunting performance of Om Puri in a mute role. These films depicted the lives of the rural Indian folk with powerful story telling and theme music. At the same time Directors like Basu Chatterji made Chitchor, 1974, Hrishikesh Mukherjee made Milli, 1975, Golmaal, 1979, where the stories were picturised on the lives of middle class Indians. In the same era, corruption became rampant in the Governmental and non-governmental sector, thereby invoking the Directors to make anti-establishment films. Ramesh Sippy came up with Sholay, 1975, Prakash Mehra made Zanjeer, 1973, Yash chopra made Deewar, 1975 where Amitabh Bacchan played the roles of the angry young man who had raised his voice against the anti corruptive practices throughout the country.[6]

Music took a turn in the 1970s due to a number of reasons. A number of musical giants died in that period. Jaikishan died in 1971, Roshan died in 1969, SD Burman died in 1975.In that era arrived Gulzar with a treasure of offbeat films which were backed by classic literature and soft meaningful music. Gulzar had the background of composing quality lyrics for Bimal Ray at a time when he had not started his career in film direction.[7]


His song in the film “Mausam”, 1975, titled “Dil Dhoondhta Hai, phir wohi, phursat ke raat din”, composed by Madanmohan, brought the music lovers back to the cinema hall who got frustrated with the loud music that used to be composed in the commercial films at that time.[8] The song was sung by Bhupinder Singh who was predominently eminent as a ghazal singer. The film was picturised in Darjeeling and Sanjeev Kumar recollected his past experience after returning from abroad. In the film “Gharonda”, 1977, directed by Bhim Sen, Gulzar's lyrics brought back the melody of the violin played with the song “Ek Akela is shahar me, raatme aur dopeher me, abodana dhoondhta hai, ashiana dhoondhta hai”. The composer Jaidev, the winner of a number of national awards was a loner in his life, the song almost told his story through Amol Palekar with a tragic note. Bhupinder Singh performed the song with his intoxicating appeal. In the same film Jaidev used urbanised folk song in “do diwane shahar me” and “tumhe ho naho mujhko to itna yakeen hai” where Runa Laila accompanied Bhupinder Singh. The lyrics were written from the core of the heart by Gulzar.[9]

In the Film “ Kinara”,1977, Gulzar was successful to extract the best possible music from RD Burman. In the song “ Naam Gum Jayega, Chehera Yeh Badal Jayega, meri awaz hi pehchan hai, gar yaad rahe” he complimented the poetic excellence of urdu poets like Sahir Ludhianvi, Hasrat Jaipuri, Majrooh Sultanpuri, Kaifi Azmi, Shailendra, Shakeel Badayani and others. Lata Mangeshkar and Bhupinder Singh were at their best. In the song “ Ek hi Khwab kaibaar dekha hai maine”, sometimes the music stopped, there were dialogues and Bhupinder Singh’s voice almost brought life into the role of Dharmender who was killed in an accident by the car of Jeetender in that film. Lastly RD Burman used the Bengali classical song of SD Burman ( Madhu brindabone) to create “Mithe Bol bole” sung by Bhupinder Singh.[10]

In the film “Dooriya”, 1980, the song “ Zindagi, zindagi, mere ghar ana, ana zindagi” composed by Jaidev and picturised on Uttamkumar and Sharmila Tagore , the height of the location of the song and height of the composition matched each other. Both of them had differences in opinion which led to separation with their children and were united at the end of the film.

In the other films like Parichay,1972,[11] Kitaab,[12]1978, Aandhi,[13] 1975, the songs played a significant role in bringing out the mental complexities of the characters. Notable songs include “Biti na bitayi rehna”, “Is morse jate hai”. Later on he contributed with a flavour of Rajasthani Folk songs in the film, Lekin, 1989. Gulzar’s creations are even noteworthy in films directed by other noted filmmakers , an example being “Masoom”,1983, the song “huzur is kadar bhi na itrake chaliye” and “ tujhse naaraz nahin zindagi hairan hoon mai” showing the feelings of the poet. It was directed by Shekhar Kapoor and Shabana Azmi and Nasiruddin Shah had performed to their potentials. Inpiration should be taken from the works of Gulzar to create space in the films these days for creation of soft, thoughtful, meaningful music.




[1]http://www.mouthshut.com/product-reviews/Five_Best_Bollywood_Films_of_the_1970s-925022205.html

[2] Satyajit Ray’s Apu Trilogy( Pather Panchali in 1955, Aparajito in 1956 and Apur Sangsar in 1959, based on story of Bhibhutibhushan Bandopadhaya) talked about the journey of Apu from the village in India to the crude reality of urbanised life of Kolkata. His Film Jalsaghar( 1958) was based on Feudal system existing in Bengal where Chabi Biswas depicted the Feudal Lord in his majestic style.

[3] Ghatak’s film “ Meghe Dhaka Tara”, 1960, talked about the pains taken by victims of partition of Bengal during independence.

[4] Tapan Sinha’s “Louhakapat”,1959 talked about the experiences of a jailor in respect of the lives of different prisoners in his jail. His film “Jatugriha”,1964, starring Uttamkumar talked about the complex life of a couple having no children in Kolkata.

[5] Rajen Tarpadar’s film “Ganga” ,1960, depicted the lives of fishing community of Bengal who sacrificed their lives in boats and travelled through Ganges to maintain their livelihood.

[6] http://www.mouthshut.com/product/categories.php?cid=927582

[7] Bimal Ray , the winner of a number of filmfare awards , made classic films like “ Devdas”,1955, written by Sarat Chandra Chatterji, “Madhumati” ,1958 and other notable films.

[8] http://www.hindilyrix.com/songs/get_movie_song_MAUSAM.html

[9] My father Chitta Ranjan Chatterji, the then chief Public Prosecutor, Bankshall Court ( Chief Metropolitan magistrate’s court), Kolkata interviewed Sabitri Chatterji and Dilip Ray eminent actors of Bengali films, who said it was so difficult to make Hindi version of Bengali film “ Panditmoshai” written by Sarat Chandra Chatterji , and yet Gulzar had maintained the Bengali flavour while making Khushbu, 1975.

[10] http://ww.smashits.com/music/oldies/songs/2215/kinara.html

[11] Parichay was the Hindi version of the Bengali film “ Jayjayanti”,1970, where Uttamkumar played the lead role and Manobendra Mukherjee got the Indira Gandhi Award for best Music Direction. It had similarity with the Hollywood film “Sound of Music”

[12] Uttamkumar played a significant role to bring up his brother in-law Master Raju in the film “Kitaab”.

[13] Suchitra Sen played the role of Political leader in the film Aandhi almost personifying Indira Gandhi, the Indian PM in 1975.

Mohammad Rafi- the greatest voice of the last century.

MOHAMMAD RAFI - ONE OF THE MOST VERSATILE VOICES
IN OUR LAST CENTURY.

By: Souvik Chatterji
Master of Law from Warwick University, Coventry,UK
Master of Law from Case Western Reserve University, Cleveland, Ohio, USA.




Music had played a very significant role in translating Indian thoughts throughout thousands of years. Right from the time of maharajas and nawabs it used to be presented in their courtrooms either by ustads or by the ruler himself. There was music inherently existing at every place, every part of society, every geographical location irrespective of being sung by sants or bairagis or fakirs or majhimollas. Indian cinema in the last century had based its feet on the strong story base of such characters. Now one of the main reason of reaching the stories to millions of people in our country and abroad was the everlasting music produced during 1940s, 50s, 60s.Mohammad rafi is a name which has galvanized the musical history of the golden era of Indian cinema.[1]

Now being very popular icon of the 50s, 60s and the 70s a lot had been said about the man with the golden voice in all the leading electronic media including, newspaper, journals, television and radio. What has not being said is the everlasting treasure of rich lyrics, compositions, tunes, orchestrations that had been left by the great legend for millions of his lovers to cherish for decades and decades.[2]

1950s and 60s can be described as an era of classical prose, poetry, shayeris. Although the subject matter of Indian cinema ranged from Historical classics like “ Tajmahal”, “ Mughal-I –Azam” to classic literature like”Devdas”(written by Sarat Chandra Chatterjee) “ Kabuliwala” (written by Rabindranath Tagore) to Suspense Thrillers like “ Woh kaun thi” “ Mera saya”. The list can go on. But what were common to all those films were the pains, devotion and imagination with which lyricists and music composers composed the songs. And of course the expression, andaz, style and perfection Mohammad Rafi had presented which is a rich asset for future generations.

If the compositions of the legendary music directors are analysed it can be said that each of them had their own foundation “ in musical terms we call it gharana”.It was a rich combination of ghazals, qawallis, Hindustani classical,mujras, thumris, kajris, bhajans, folksongs( like bhatiyali, bayul) , light songs, rock and roll, western..The composers included Shanker Jaikishan, Naushad, Roshan, Madanmohan, SD Burman, Gulam Mohammad, Wasant Desai, Khemchand Prakash, Salil Chowdhury, OP Nayyar, C.Ramchandran, Anil Biswas, Khayyam, Jaidev,Iqbal Qureshi, Ravi, Dattaram,S.N. Tripathi and others. Typically in those days musical sequences used to be created on the basis of the situation the story required, and both the lyricist and the composer used to create music which suited such sequence. Mohammad Rafi had the record of transforming the creation into history.[3]

If we look at the film “ Tajmahal” ,released in 1963, after the demise of mumtaz mahal , Shahjahan was associated with the lyrics” hum ate rahen hai, hum ate rahenge, muhabbat ki rasme nibhate rahenge, jan-e-wafa tum do sada fir kya thikana humko ana parega.” The lyrics was written by Sahir Ludhianvi and music composed by Roshan in Rag- Pahari..Rafi had transformed his passion with the badshahi andaz of Shahjahan that existed at that time.The song had not lost its immortal value even today.

Similarly in the film “ Bahubegum” , released in 1967, Meenakumari had waited for Pradipkumar a long time and was almost deciding to marry Ashokekumar when came the classic song “hum intezar karenge, tera qayamat tak,khuda Karen ki qayamat ho aur tu aye”.The song had such an everlasting impact that people forgot to pay homage to the serious performance of Ashokekumar who burnt himself in that film. [4]
There are songs where Rafi had made people intoxicated. There are other songs where he had awakened the audience. One of the example is in the Film “ Bheegi Raat” .At the frag end of the film, the song “Dil Jo na kah saka wohi raz-e dil, kaheneki raat ayee.” It was picturised on Pradeepkumar in 1965 and song composed by Roshan in raag kalyan.

In the film “Zahanara” Rafi’s immortal song “ Baad muddat ke yeh ghari ayee, ap aye to zindagi ayee, isq marmar ke kamyab hua , aaj ek zarra aaftab hua” and “ kisiki yaad me aapnako hai bhulaye hue” had brought poetic passion in numerous Indians. People could not understand what to appreciate, Rafi’s poetic passion , or Bharatbhusan’s natural performance or the strong lyrics or Madanmohan’s composition. In the film “ Mirza Ghalib” Rafi had brought life into few quality ghazals composed by Ghalib himself where tunes were given by Ghulam Mohammad.[5]

In the film “ Mere mehboob” released in 1963, the title song “ Mere mehboob tujhe meri muhhobat ki kasam , phir teri nargisi aankhoka sahara deden, mera khoyahua rangeen nazara deden” had brought the cultured pardanashin community of Aligarh to Cinemahall. Rafi’s sweetness and bass had overpowered the majestic screenpresence of Jubilikumar “ Rajenderkumar” , classic creation of Naushad and rich lyrics of Shakeel Badayani.The pandemonium hall of Aligarh University was opened for the classic song.

In Gurudutt’s Pyasa released in 1957, the climax of the film came into being when Gurudutt did not accept the recognition given to him by brothers in open hall.The famous song “ yeh mahalon , yeh takhton , yeh tajon ki duniya “ had created unrest in the cinema halls. Rafi’s voice had helped in social awakening. The song was composed by SD Burman. The same Rafi had mesmerized the listeners with his romantic mood in the film “Chawdavi ka chand” acted by Gurudutt , released in 1960,with the title song, “Chawdavikachandho, yah aaftab ho, jobhi ho tum khudakikasam lajawab ho”. The music was composed by Ravi. Rafi’s tragic andaz in the film Kagaz ka phool , released in 1959 had brought tears in the eyes of the audience with “ are dekhi zamane ki yaari, bichre sabhi, bari, bari.” The sensitive words were put in by Sahir Ludhiyanvi.

In most of the tragic situations Rafi had felt the pathos in himself while analyzing what the situation demanded. His song “koi sagar dil ko bahalata nahin” in the film “Dil diya dard liya” composed in raag kalawati had transformed intoxication into tragedy. It was released in 1966.In the film “ aadmi”, released in 1967, his song “ aaj purani raahon par koi mujhe awaz na den, dard me dube geet na den , gham ka sisakta saz naden” had made people think who was a better tragedian, Dilipkumar or Rafi himself. Both the lyrics were written by Shakeel Badayani and music composed by Naushad. In the film “ Kohinoor” released in 1960, Rafi had presented a pure classical andaz in the song “ Madhubanme radhika nacchere, giridharki muraliya bajere”.It was composed by Naushad in raag hamir and was picturised on Dilipkumar.In the same film there was totally different melody in the song “ Do sitaronka zammen par hai Milan aaj ki raat”.The words of Shakeel Badayani had been given adequate expression by Rafi.Aushad had given some serious compositions to Rafi like “ Ek shahanshah ne banwake hasin tajmahal sari duniyako muhabbatka nishani di hai.”It was composed in raag lalit in 1964 in the film “Leader” acted by Dilipkumar.

In the film “Meri surat teri aankhe” acted by Ashoke kumar , SD Burman had given Rafi one of the tragic raag Pilu, the song was“ Tere bin sune nayan hamare”. It was composed on the same lines as “ ami chinu eka basoro jagaye” in Bengali, sung by SD Burman himself. Other notable creations of SD Burman were “Aise to na dekho” in raag Gara in the film “ Teen Deviya” , “ hum bekhudime tumko pukare chaalegaye” in “Kalapani”, 1960 and “Din dhal jaye” in Guide, 1965.[6]

In the film “ Lal patthar”(1971), Shankar jaikishan had composed for Rafi “ unke khayal aye to ate chaale gaye”in raag gara. There the nostalgic mood of badshah was presented by Rafi.Other quality creations of Shankar Jaikishan included “ Aji ruth kar ab kahan jaiyega” in raag desh in Aarzoo(1966) starring Rajenderkumar, “ Khudabhi asma se jab zamin par dekhta hoga” in the film ‘Dharti,” “ mujhko apne gale lagalo ai mere humrahi”( Humrahi, 1962) “surahidar gardan koel sihi awaz”in the film “ Aman”. The lyrics were written by Hasrat Jaipuri.
In creations of OP Nayyar, Rafi had mixed the eastern passion with western flavour. So in the song “Zulfke chayon me chehreka ujala lekar” in “Phir wahi dil laya hoon”(1963) written by Majrooh sultanpuri or “ Mujhe dekhkar aapka muskurana” in “ Ek musafir ek hasina” (1962) picturised on Joy Mukherjee , or “ Tukre hai mere dilke ai jan tera aansoo” in “Mere Sanam” (1965) picturised on Biswajeet, we find the voice floating with western air to suit the compositions.
Besides Rafi ‘s voice had been used in “Kabhi khudpe kabhi halatpe rona aya” (Humdono, 1961) by Jaidev, “Parabatoke Pedo par shamka basera hai’by Khayyam, “ ek sawal tum karon, ek sawal hum Karen” (Goonj uthi sahnai, 1959) by Wasant Desai.There were other composers also in those decade who had given their best creations to Mohammad Rafi. It is difficult to compile major songs of the legend who did sing around 25000 songs in a span of 35 years. But the songs are expected to be preserved for future generations as rich historical remains because the alfaz (words) and sur ( musical composition) were created not mechanically, but with the deepest thoughts from the core of the heart.
Tragedy King Dilipkumar had rightly said that “jaise indradhanush ke andar saat rang kaid hai, usi tarah rafi ki awaz ki ehmiat tafteez karne ke liye mere pass alfaaz nahin hai”,
Meaning the way the seven colours (vibgyor), are immersed in a rainbow, in the same way it is not possible to express the significance of Rafi’s golden voice in words. An Archive on Mohamad Rafi’s works should be established where the creations of musical giants can be preserved. Furthermore the future generations can get inspiration for rich creation in future.





[1] http://www.sangeetmahal.com/
[2] http://www.mohdrafi.com/
[3] http://www.geocities.com/Tokyo/Gulf/3437/rafi.html
[4] http://www.eternalrafi.com/home/index.php?option=com_content&task=view&id=31&Itemid=40
[5] http://www.upperstall.com/people/rafi.html
[6] My father Sri Chittaranjan Chatterji, Ex Chief Public Prosecutor of Bankshall Court,Kolkata had interviewed classical Bengali singer “ Manobendra Mukherjee” who said his performance in the Bengali feature film “ Lalubhulu” featuring a blind and a handicapped young boy as friends was superceded by Rafi’s performance in the Hindi film “Dosti” for which Laxmikant Pyarellal won their first filmfare award in 1964.Manobendra Mukherjee said it was Rafi only who could have matched his performance .


Related Reading

• Immortal Ghazals sung by Mohammad Rafi.
• Awards received by Mohammad Rafi in his illustrious career.
• Mohammad Rafi- the greatest voice of the last century.
• Rahul Dev Burman’s immense respect for Mohammad Rafi.
• Laxmikant Pyarellal’s immortal relationship with Mohamand Rafi.
• OP Nayyar’s immortal relationship with Mohammad Rafi.
• Salil Chowdhury’s relationship with Mohammad Rafi.
• Ravi’s memorable combination with Rafi.
• Roshan's everlasting bond with Mohammad Rafi.
• SD Burman and Mohammad Rafi.
• Rafi’s pleasant memories with Madanmohan.
• Khayyam and Jaidev’s relationship with Mohammad Rafi.
• Kalyanji Anandji’s association with Mohammad Rafi.
• Naushad’s association with Rafi.

Mohammad Rafi- the greatest voice of the last century.

MOHAMMAD RAFI - ONE OF THE MOST VERSATILE VOICES
IN OUR LAST CENTURY.

Music had played a very significant role in translating Indian thoughts throughout thousands of years. Right from the time of maharajas and nawabs it used to be presented in their courtrooms either by ustads or by the ruler himself. There was music inherently existing at every place, every part of society, every geographical location irrespective of being sung by sants or bairagis or fakirs or majhimollas. Indian cinema in the last century had based its feet on the strong story base of such characters. Now one of the main reason of reaching the stories to millions of people in our country and abroad was the everlasting music produced during 1940s, 50s, 60s. Mohammad rafi is a name which has galvanized the musical history of the golden era of Indian cinema.

Now being very popular icon of the 50s, 60s and the 70s a lot had been said about the man with the golden voice in all the leading electronic media including, newspaper, journals, television and radio. What has not being said is the everlasting treasure of rich lyrics, compositions, tunes, orchestrations that had been left by the great legend for millions of his lovers to cherish for decades and decades.


1950s and 60s can be described as an era of classical prose, poetry, shayeris. Although the subject matter of Indian cinema ranged from Historical classics like “ Tajmahal”, “ Mughal-I –Azam” to classic literature like”Devdas”(written by Sarat Chandra Chatterjee) “ Kabuliwala” (written by Rabindranath Tagore) to Suspense Thrillers like “ Woh kaun thi” “ Mera saya”. The list can go on. But what were common to all those films were the pains, devotion and imagination with which lyricists and music composers composed the songs. And of course the expression, andaz, style and perfection Mohammad Rafi had presented which is a rich asset for future generations.

If the compositions of the legendary music directors are analysed it can be said that each of them had their own foundation “ in musical terms we call it gharana”.It was a rich combination of ghazals, qawallis, Hindustani classical,mujras, thumris, kajris, bhajans, folksongs( like bhatiyali, bayul) , light songs, rock and roll, western..The composers included Shanker Jaikishan, Naushad, Roshan, Madanmohan, SD Burman, Gulam Mohammad, Wasant Desai, Khemchand Prakash, Salil Chowdhury, OP Nayyar, C.Ramchandran, Anil Biswas, Khayyam, Jaidev,Iqbal Qureshi, Ravi, Dattaram,S.N. Tripathi and others. Typically in those days musical sequences used to be created on the basis of the situation the story required, and both the lyricist and the composer used to create music which suited such sequence. Mohammad Rafi had the record of transforming the creation into history.

If we look at the film “ Tajmahal” ,released in 1963, after the demise of mumtaz mahal , Shahjahan was associated with the lyrics” hum ate rahen hai, hum ate rahenge, muhabbat ki rasme nibhate rahenge, jan-e-wafa tum do sada fir kya thikana humko ana parega.” The lyrics was written by Sahir Ludhianvi and music composed by Roshan in Rag- Pahari..Rafi had transformed his passion with the badshahi andaz of Shahjahan that existed at that time.The song had not lost its immortal value even today.

Similarly in the film “ Bahubegum” , released in 1967, Meenakumari had waited for Pradip kumar a long time and was almost deciding to marry Ashoke kumar when came the classic song “hum intezar karenge, tera qayamat tak,khuda Karen ki qayamat ho aur tu aye”.The song had such an everlasting impact that people forgot to pay homage to the serious performance of Ashoke kumar who burnt himself in that film.

There are songs where Rafi had made people intoxicated. There are other songs where he had awakened the audience. One of the example is in the Film “ Bheegi Raat” .At the frag end of the film, the song “Dil Jo na kah saka wohi raz-e dil, kaheneki raat ayee.” It was picturised on Pradeep kumar in 1965 and song composed by Roshan in raag kalyan.

In the film “Zahanara” Rafi’s immortal song “ Baad muddat ke yeh ghari ayee, ap aye to zindagi ayee, isq marmar ke kamyab hua , aaj ek zarra aaftab hua” and “ kisiki yaad me aapnako hai bhulaye hue” had brought poetic passion in numerous Indians. People could not understand what to appreciate, Rafi’s poetic passion , or Bharatbhusan’s natural performance or the strong lyrics or Madanmohan’s composition. In the film “ Mirza Ghalib” Rafi had brought life into few quality ghazals composed by Ghalib himself where tunes were given by Ghulam Mohammad.

In the film “ Mere mehboob” released in 1963, the title song “ Mere mehboob tujhe meri muhhobat ki kasam , phir teri nargisi aankhoka sahara deden, mera khoyahua rangeen nazara deden” had brought the cultured pardanashin community of Aligarh to Cinemahall. Rafi’s sweetness and bass had overpowered the majestic screenpresence of Jubilikumar “ Rajenderkumar” , classic creation of Naushad and rich lyrics of Shakeel Badayani.The pandemonium hall of Aligarh University was opened for the classic song.

In Gurudutt’s Pyasa released in 1957, the climax of the film came into being when Gurudutt did not accept the recognition given to him by brothers in open hall.The famous song “ yeh mahalon , yeh takhton , yeh tajon ki duniya “ had created unrest in the cinema halls. Rafi’s voice had helped in social awakening. The song was composed by SD Burman. The same Rafi had mesmerized the listeners with his romantic mood in the film “Chawdavi ka chand” acted by Gurudutt , released in 1960,with the title song, “Chawdavikachandho, yah aaftab ho, jobhi ho tum khudakikasam lajawab ho”. The music was composed by Ravi. Rafi’s tragic andaz in the film Kagaz ka phool , released in 1959 had brought tears in the eyes of the audience with “ are dekhi zamane ki yaari, bichre sabhi, bari, bari.” The sensitive words were put in by Sahir Ludhiyanvi.

In most of the tragic situations Rafi had felt the pathos in himself while analyzing what the situation demanded. His song “koi sagar dil ko bahalata nahin” in the film “Dil diya dard liya” composed in raag kalawati had transformed intoxication into tragedy. It was released in 1966.In the film “ aadmi”, released in 1967, his song “ aaj purani raahon par koi mujhe awaz na den, dard me dube geet na den , gham ka sisakta saz naden” had made people think who was a better tragedian, Dilipkumar or Rafi himself. Both the lyrics were written by Shakeel Badayani and music composed by Naushad. In the film “ Kohinoor” released in 1960, Rafi had presented a pure classical andaz in the song “ Madhubanme radhika nacchere, giridharki muraliya bajere”.It was composed by Naushad in raag hamir and was picturised on Dilipkumar. In the same film there was totally different melody in the song “ Do sitaronka zammen par hai Milan aaj ki raat”.The words of Shakeel Badayani had been given adequate expression by Rafi. Aushad had given some serious compositions to Rafi like “ Ek shahanshah ne banwake hasin tajmahal sari duniyako muhabbatka nishani di hai.”It was composed in raag lalit in 1964 in the film “Leader” acted by Dilipkumar.

In the film “Meri surat teri aankhe” acted by Ashoke kumar , SD Burman had given Rafi one of the tragic raag Pilu, the song was“ Tere bin sune nayan hamare”. It was composed on the same lines as “ ami chinu eka basoro jagaye” in Bengali, sung by SD Burman himself. Other notable creations of SD Burman were “Aise to na dekho” in raag Gara in the film “ Teen Deviya” , “ hum bekhudime tumko pukare chaalegaye” in “Kalapani”, 1960 and “Din dhal jaye” in Guide, 1965.

In the film “ Lal patthar”(1971), Shankar jaikishan had composed for Rafi “ unke khayal aye to ate chaale gaye”in raag gara. There the nostalgic mood of badshah was presented by Rafi. Other quality creations of Shankar Jaikishan included “ Aji ruth kar ab kahan jaiyega” in raag desh in Aarzoo(1966) starring Rajenderkumar, “ Khudabhi asma se jab zamin par dekhta hoga” in the film ‘Dharti,” “ mujhko apne gale lagalo ai mere humrahi”( Humrahi, 1962) “surahidar gardan koel sihi awaz”in the film “ Aman”. The lyrics were written by Hasrat Jaipuri.

In creations of OP Nayyar, Rafi had mixed the eastern passion with western flavour. So in the song “Zulfke chayon me chehreka ujala lekar” in “Phir wahi dil laya hoon”(1963) written by Majrooh sultanpuri or “ Mujhe dekhkar aapka muskurana” in “ Ek musafir ek hasina” (1962) picturised on Joy Mukherjee , or “ Tukre hai mere dilke ai jan tera aansoo” in “Mere Sanam” (1965) picturised on Biswajeet, we find the voice floating with western air to suit the compositions.

Besides Rafi ‘s voice had been used in “Kabhi khudpe kabhi halatpe rona aya” (Humdono, 1961) by Jaidev, “Parabatoke Pedo par shamka basera hai’by Khayyam, “ ek sawal tum karon, ek sawal hum Karen” (Goonj uthi sahnai, 1959) by Wasant Desai. There were other composers also in those decade who had given their best creations to Mohammad Rafi. It is difficult to compile major songs of the legend who did sing around 25000 songs in a span of 35 years. But the songs are expected to be preserved for future generations as rich historical remains because the alfaz (words) and sur ( musical composition) were created not mechanically, but with the deepest thoughts from the core of the heart.

Tragedy King Dilipkumar had rightly said that “jaise indradhanush ke andar saat rang kaid hai, usi tarah rafi ki awaz ki ehmiat tafteez karne ke liye mere pass alfaaz nahin hai”, Meaning the way the seven colours (vibgyor), are immersed in a rainbow, in the same way it is not possible to express the significance of Rafi’s golden voice in words. An Archive on Mohamad Rafi’s works should be established where the creations of musical giants can be preserved. Furthermore the future generations can get inspiration for rich creation in future.



* My father Sri Chittaranjan Chatterji, Ex Chief Public Prosecutor of Bankshall Court,Kolkata had interviewed classical Bengali singer “ Manobendra Mukherjee” who said his performance in the Bengali feature film “ Lalubhulu” featuring a blind and a handicapped young boy as friends was superceded by Rafi’s performance in the Hindi film “Dosti” for which Laxmikant Pyarellal won their first filmfare award in 1964. Manobendra Mukherjee said it was Rafi only who could have matched his performance .


Related Reading

• Immortal Ghazals sung by Mohammad Rafi.
• Awards received by Mohammad Rafi in his illustrious career.
• Mohammad Rafi- the greatest voice of the last century.
• Rahul Dev Burman’s immense respect for Mohammad Rafi.
• Laxmikant Pyarellal’s immortal relationship with Mohamand Rafi.
• OP Nayyar’s immortal relationship with Mohammad Rafi.
• Salil Chowdhury’s relationship with Mohammad Rafi.
• Ravi’s memorable combination with Rafi.
• Roshan's everlasting bond with Mohammad Rafi.
• SD Burman and Mohammad Rafi.
• Rafi’s pleasant memories with Madanmohan.
• Khayyam and Jaidev’s relationship with Mohammad Rafi.
• Kalyanji Anandji’s association with Mohammad Rafi.
• Naushad’s association with Rafi.

Rafi's awards

Awards received by Mohammad Rafi in his illustrious career.

Here is the list of awards bestowed on the man with the golden voice, Mohammad Rafi. Significantly a number of filmfare awards were won by Rafi at a period when the male and female singer did not get separate filmfare awards for best playback singers. It is a pity that Mohammad Rafi neither received Bharat Ratna nor Dada Saheb Phalke award but the greatest award he received is the love, respect, affection and admiration from millions of music lovers across the world who never realise that his Golden voice died in 1980 and still considers him immortal in his 26,000 masterpieces sung in a span of 35 years.

Government Awards

1948 - Rafi received a silver medal from the Indian Prime Minister Jawaharlal Nehru, on the first anniversary of the Indian Independence Day.

1965 - Rafi was honoured with the Padmashri by the Government of India.
National Film Awards Winner

1977 - National Film Award for Best Male Playback Singer for Kya Hua Tera Wada song in the film Hum Kisi Se Kum Nahin), composed by RD Burman, lyrics by Majrooh Sultanpuri.
Filmfare Awards Winner

1960 - Filmfare Best Male Playback Award for Chaudhvin Ka Chand Ho song in the film Chaudhvin Ka Chand

1961 - Filmfare Best Male Playback Award for Teri Pyaari Pyaari Surat Ko song in the film Sasural

1964 - Filmfare Best Male Playback Award for Chahunga Mein Tujhe song in the film Dosti

1966 - Filmfare Best Male Playback Award for Baharon Phool Barsao song in the film Suraj

1968 - Filmfare Best Male Playback Award for Dil Ke Jharoke Mein song in the film Brahmachari

1977 - Filmfare Best Male Playback Award for Kya Hua Tera Vaada song in the film Hum Kisi Se Kum Nahin

Nominated

1961 - Husnwale Tera Jawaab Nahin song in the film Gharana
1962 - Aye Gulbadan Aye Gulbadan song in the film Professor
1963 - Mere Mehboob Tujhe song in the film Mere Mehboob
1965 - Choo Lene Do Nazuk Hothon Ko song in the film Kaajal
1968 - Mein Gaaon Tum Sojaao song in the film Brahmachari
1968 - Babul Ki Duayein Leti Ja song in the film Neel Kamal
1969 - Badi Mastani Hai song in the film Jeene Ki Raah
1970 - Khilona Jaan Kar song in the film Khilona
1973 - Hum Ko To Jaan Se Pyaari song in the film Naina
1974 - Achha Hi Huva Dil Toot Gaya song in the film Maa Behen Aur Biwi
1977 - Pardah Hai Pardah song in the film Amar Akbar Anthony
1978 - Aadmi Musaafir Hai song in the film Apnapan
1979 - Chalo Re Doli Uthao Kahaar song in the film Jani Dushman
1980 - Mere Dost Kissa Yeh song in the film Dostana
1980 - Dard-e-dil Dard-e-jigar song in the film Karz
1980 - Maine Poocha Chand Se song in the film Abdullah

Bengal Film Journalists' Association Awards Winner

1965 - Best Male Playback Singer for Dosti
1966 - Best Male Playback Singer for Arzoo

Significantly if the composers associated with the filmfare awards of Rafi and the filmfare nominations are analysed, it will be seen that a wide variety of composers loved Rafi the most. For example Chaudavi Ka Chand is composed by Ravi, Sasural is composed by Shankar Jaikishan, Dosti is composed by Laxmikant Pyarellal, Hum Kisi Se Kum Nahi is composed by RD Burman, Mere Mehboob is composed by Naushad. Furthermore, where the composers have received filmfare awards for best music composed in the respective years, Rafi jhad contributed the most in those films, examples include Naushad in 1954, where Rafi sang majority of songs of Baiju Bawra, OP Nayyar in 1958, where Rafi sang majority of songs of Naya Daur, Salil Chowdhury in 1959, where Rafi sang two songs for Madhumati, Ravi in 1962, where Rafi sang majority of songs for Gharana, Shankar Jaikishan in 1963, where Rafi sang majority of songs for Professor, Roshan in 1964, where Rafi sang majority of songs for Taj Mahal. The list can go on. There were years where the nomination for the best filmfare award and the actual award, both were enjoyed by Rafi.



Even then, the contribution of Rafi in Indian film music and private albums is so huge, that the recognition that was given to him is very negligible, but the love and admiration of people around the world bolster the truth that his voice is as young as the first blossom of daffodils in early spring, even after 27 years of his death.


Related Reading

• Immortal Ghazals sung by Mohammad Rafi.
• Awards received by Mohammad Rafi in his illustrious career.
• Mohammad Rafi- the greatest voice of the last century.
• Rahul Dev Burman’s immense respect for Mohammad Rafi.
• Laxmikant Pyarellal’s immortal relationship with Mohamand Rafi.
• OP Nayyar’s immortal relationship with Mohammad Rafi.
• Salil Chowdhury’s relationship with Mohammad Rafi.
• Ravi’s memorable combination with Rafi.
• Roshan's everlasting bond with Mohammad Rafi.
• SD Burman and Mohammad Rafi.
• Rafi’s pleasant memories with Madanmohan.
• Khayyam and Jaidev’s relationship with Mohammad Rafi.
• Kalyanji Anandji’s association with Mohammad Rafi.
• Naushad’s association with Rafi.

Rafi's Ghazals

Immortal Ghazals sung by Mohammad Rafi.

Mohammad Rafi is a name which has galvanised the Indian firmament during golden age of Indian film music. As his dimension was as wide as the horizon of creative arts, various categories of his songs has been remembered by generations for the last 50 years, including ghazals, Hindustani classical songs, bhajans, folk songs, songs on the freedom movement of India, qawallis, najrul geeti and many more types of geet. Among them ghazal is one category where Rafi’s sweet voice has brought life into the sensational lyrics and outstanding music compositions of the Golden era.

The ghazal is a common song form in India and Pakistan today. There are different definitions of it, but simply it is a musical form, but having a poetic recitation. Today, however, it is commonly conceived of as an Urdu song, with prime importance given to the lyrics. In some modernized ghazals the poet's name is hidden somewhere in the last verse, usually between the front and end of a word.


In the 1950s and 60s, the song picturised on the different films were based on different moods of the characters depicted in the stories. As the lyrics of the ghazals were quite rich, having immense literary and poetic value they generally captured the pensive moods of the major characters of the stories.Most of the films had ghazal in one form or the other composed by the musical giants of the golden age.

Madanmohan used to be considered as the king of ghazals. His most outstanding creations were composed for Mohammad Rafi , including “Tumhari Zulfke sayeme sham karlunga, safar is umraka palme tamam karlunga” from the film Naunihal, 1967, “ Baad muddat ke yeh ghari aayi, aap aye to zindagi ayee”, from the film Zahanara, 1964, “kisiki yaad mai apna ko hai bhulaye hue”, from the film Zahanara, 1964, “ Rang aur noor ki barat tujhe pesh karu, in muradonki hassen raat tujhe pesh karoon,” from the film Ghazal, 1965, “Barbad muhobaat ka dua saath liye ja” from the film Laila Majnu, 1977, picturised on Rishi Kapoor.



There were very dignified ghazals composed by Roshan during that era. Some of them include “ jane who kaun hai kya naam hai in aankhoka” from the film Bheegi Raat, 1965, picturised on Pradeep kumar, “ Hum intezar karenge, tera kayamat tak, khuda kareki kayamat ho, aur tu aye,” from the film Bahu Begum, 1967, “ Aab kya misal doon mai tumhare shabab ki,” and “aapne yaad dilaya tha to mujhe yaad aya” from the film Aarti, 1963, picturised on Pradeep Kumar. Roshan composed one of the most evergreen hit titled “ Zindagi bhar nahin bhulenge woh barsaat ki raat,” from the film Barsaat ki raat, 1960, picturised on Bharat Bhushan.The legendary lyrics were written by Sahir Ludhiyanvi.

S. N. Tripathi composed few immortal ghazals based on the life of the last Mughal Emperor Bahadur Shah Zafar. The songs included “ Na kisisi ki aankh ka noor hoon” and “lagta nahin yeh dil mera” from the film Lal Quila. Jaidev composed one of his master pieces, “ kabhi khud pe kabhi halaat pe rona aya, baat nikli to har ek baat pe rona aya” from the film Humdono, 1961.
Shankar Jaikishan is known to create songs of diverse range of subjects.Even amongst his stylish western compositions the best ghazals were composed for Mohammad Rafi. Some of them include “unke khayal aaye to ate chale gaye” from the film Lal patthar,1971, picturised on Raajkumar, “ Chalke teri aankhose sharab aur ziaada” from the film Aarzoo,1965, picturised on Rajenderkumar, “O Mere Shahe Khuba, o meri Jan- e- jajana” from the film Love In Tokyo, 1965, written by Hasrat Jaipuri and picturised on Joy Mukherjee.

Ravi has composed few unforgettable tunes like “chaudavi ka chand ho yah aaftab ho, jobhi ho tum khuda ki kasam, lajawab ho” from the film Chaudavi ka chand, 1960, picturised on Gurudutt, also “Chulene do nazuk hoton ko, kuch aur nahin hai jaam hai yeh” and “yeh zulf agar khulke bikhar jaye to accha ho” from the film Kaajal, 1965, picturised on Raaj Kumar.

Naushad had done proper justice to each and every raaga he has used to compose his songs. His notable ghazals include “ Mere mehboob tujhe meri mohabbat ki kasam” and “ tumse ishar – e –haal kar baithe” from the film Mere Meheboob, 1963 picturised on Jubileekumar Rajender Kumar” written by Shakeel Badayani, “ koi sagar dil ko behlata nahin” from the film Dil Diya Dard liya,1966, and “aajki shaam mere dilki salaami lele, dilki salaami lele, kal tere bazm se diwana chala jayega, shamma rah jayegi, parwana chala jayega”, from the film Ram Aur Shyam, 1967, picturised on Tragedy king Dilip Kumar.

OP Nayyar had made a very unique use of the santoor with the sarangi, and he too while making his western blend thought about ghazals for Rafi. His best creations include “ aapke hasin rukh pe aaj naya nur hai, mera dil machal gaya to mera kya kusur hai” from the film Baharen phir bhi ayegi , 1966, picturised on Dharmender, and “Aachal me saja lena kaliyan, zulfon me sitaren bhar lena” and “Zulf ke chayon me chehere ka ujaala lekar”from the film Phir Wohi dil Laya Hoon,1963, written by Majrooh Sultanpuri and picturised on Joy Mukherjee.

There were ghazalas from other Classical composers also like “Kahin bekhayal hoker yuhin chuliya unhiko,” and “ Aise to na dekho, ki humko nasha ho jaye” by SD Burman in the film Teen deviya,1965, “Theheriye hosh me aaloon to chalejayiega” by Khayyam.As these songs are soft in nature, they create an everlasting impact on the souls of numerous music lovers of the country who find themselves associated with Rafi. It is very difficult to mention the notable ghazals sung by the maestro who has around 26000 songs in a span of 35 years. An archive should be created where Rafi’s creations are restored, categorised and preserved for future generations to know the noble hertitage of ghazals India had during the golden age.


* Noted and renouned Ghazal Singer, Ghulam Ali had said that Rafi’s songs had reflected the truth that the man possessed and the sweetness of the songs depict his generousness and kindness of heart.

* My father Ex Chief Public Prosecutor of Bankshall court, Chief Metropolitan Magistrate’s Court interviewed Monobendra Mukherjee, the Bengali Classical Singer composing Music for Bengali films Mayamrigo 1960, Joyjayanti,1970, Badhu,1962, and singing more than 1000 nazrul geeti, who said that he used to do the riyaaz everyday for several hours to do justice to his thumris, tappas and he is amazed about only one singer in India, Mohammad Rafi, whose voice floats like a river and the harkats in the songs are so accurate and effortlessly sung like the way clouds flow in the sky.

* Jagjit Singh, one of the most legendary ghazal singers of the present century, said some of the very melodious Ghazals were sung by Rafi during the Golden age, listeners heard them and appreciated them even sometimes not knowing that they are categorized as ghazals. Jagjit Singh composed music for noted film Saath Saath and TV serial Mirza Ghalib starring Nasir uddin Shah and directed by Gulzar.


Related Reading

• Immortal Ghazals sung by Mohammad Rafi.
• Awards received by Mohammad Rafi in his illustrious career.
• Mohammad Rafi- the greatest voice of the last century.
• Rahul Dev Burman’s immense respect for Mohammad Rafi.
• Laxmikant Pyarellal’s immortal relationship with Mohamand Rafi.
• OP Nayyar’s immortal relationship with Mohammad Rafi.
• Salil Chowdhury’s relationship with Mohammad Rafi.
• Ravi’s memorable combination with Rafi.
• Roshan's everlasting bond with Mohammad Rafi.
• SD Burman and Mohammad Rafi.
• Rafi’s pleasant memories with Madanmohan.
• Khayyam and Jaidev’s relationship with Mohammad Rafi.
• Kalyanji Anandji’s association with Mohammad Rafi.
• Naushad’s association with Rafi.