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.