Happy birthday to Raj Kapoor.

Happy birthday to Raj Kapoor.

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

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

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

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

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

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

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

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

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

Bosonto Choudhury superseded Uttam Kumar in Shankhabela.

Bosonto Choudhury superseded Uttam Kumar in Shankhabela.

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

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

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

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

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

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

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

Review of Sayangsiddha

Review of Sayangsiddha.

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

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

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

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

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

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

Manna Dey and Sudhin Dasgupta.

Manna Dey and Sudhin Dasgupta.

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

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

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

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

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

The nation remembers Uttam Kumar on his death anniversary.

The nation remembers Uttam Kumar on his death anniversary.

The nation remembers Uttam Kumar, one of the greatest superstars of Indian celluloid on his death anniversary on 24th July, 2009. He has died almost 29 years ago, yet the viewers had not forgotten his films and still his presence is felt in the life bengalies in different parts of the world.

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

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

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

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

Uttam Kumar had acted in around 205 films (including bollywood films like Amanush, Anand Ashram, Choti Si Mulakat, Dooriyan, Kitaab etc., ) in a span of 35 years, and all his films had remained everlasting treasures.

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

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

Salil Choudhury and Bengali modern songs.

Salil Choudhury and Bengali modern songs.

Salil Choudhury was one of the most gifted creators of Bengali modern songs during the golden age. As he was a versatile scholar, his scholarly attributes were reflected in his creations. He was both the lyricist and the composer and numerous songs sung by legendary singers over 50 years.

His creation “ami parini bujhite parini” and “tumi jaante” for Manobendra Mukherjee were created with two different andaz, one having classical orientation while the other having westernized treatment. His creation “jhanana jhanana baje” and “antabihin oi andharater shesh” for Dhanonjoy Bhattacharya showed his class in handling classical singers.

On the other hand his base in folk songs were evident in his song “sunayoni sunayoni” sung by Nirmalendu Choudhury and Sabita Choudhury. Nirmalendu became famous all across the world with his folk numbers. Salil Chouhdury huge experiment with Shymal Mitra in songs like “jadi kichu amare shudhao”, “aha oi ankabanka poth jai shudure”, “dur nai beshi dur oi”, “ja jare ja ja pakhi”, to name a few. In “jadi kichu amare shudhao”, Salil Choudhury’s orchestration was unique, half of the song was blank verse while the other half had musical treatment.

Salil Choudhury created a gem with the song “nil nil pakhi” for Sandhya Mukherjee. Besides, bengal’s literary community were astonished with Salil Choudhury conversion of famous poetry “ujjal ek jhak paira” sung by Sandhya Mukherjee into song. The poet’s feelings were translated into musical tune by sheer brilliance of Salil Choudhury. Other examples of converting legendary poems into songs include “runner” written by Shukanto Bhattacharya and “palki chole” written by Satyendranath Dutta which were sung by Hemanta Mukherjee which both became history. In “runner” the march of the postman on foot from remote corners of village was given adequate expression by Salil Choudhury.

Salil Choudhury’s national fame allowed him to do numerous experiments with bollywood singers like Mukesh and Lata. Articles after articles can be devoted to Lata Salil Choudhury creations in Bengali. Mukesh also sung hit song “jhum jhum pakshi nachona” composed by Salil Choudhury.

Salil Choudury created his masterpieces in Bengali films as well like Shyamal Mitra’s song “onek ghuriya sheshe” in Hrithik Ghatak’s film Bari Theke Paliye, Nirmalendu Choudhury’s song “sojoni o sojoni” and Manna Dey’s “uthali pathali amar buuk” in Rajen Tarafdar’s film Ganga. Besides his song “he bhai re bhai” and “baje go beena” sung by Manna Dey in the film Marjina Abdulla made the listeners speechless. Even Lata’s song “bujhbe na keu bujhbena” was equally popular.

Bengal and India was as a whole was indebted to a maestro like Salil Choudhury and several researches can be undertaken for finding out the history behind his creations. The creations should be preserved and restored.

Review of Bhanu's Ashite Ashiona.

Review of Bhanu’s Ashite Ashiona.

Bhanu Banerjee in the 60s gained immense popularity in the Bengali celluloid. Ashite Ashiona was released in the mid-60s with a subject related to dreams. Bhanu Banerjee was eighty years old person who was ill-treated by his sons and daughters – in –law. His wife Ruma Guha Thakurta was seventy years old.

He dreamt that he went for a change to a village named Nagtara. He went with his servant played by Jahar Rai. There he swam in a pond owned by Tarun Kumar. After bathing out he regained his youth. He shaved and returned back to his house. Tarun Kumar took the sample of the water to the Chief Chemists and asked him to test it. Then he dropped an old street dog in the water, which attacked all the chemists. The chemists informed the UN Authorities about the pond.

Bhanu returned back home, but before his elder son Kamal Mitra or second son Asit Boron forcibly made him sign the pond in favour of them, brought Ruma Guha Thakurta to the village. All the old persons of that village flocked near the pond to bath in that water. Robi Ghosh, Gangapada Badu and other authorities created a barbed wire around the pond.

Johor Roy, the servant of Bhanu created a lever by which she threw Ruma like a rocket and she immersed in the pond and returned back as young girl. Robi Ghosh drowned more than six types in the pond and reduced in size. When the police chased Bhanu and Ruma, they tried to escape and ended up being arrested by the police. Bhanu opened his eyes and found that he was dreaming and he stilled remained eighty years old person.

The music in the film composed by Gopen Mallick was fabulous. Manna Dey’s songs “dub diye jao” and “Jodi akaksh hoto” became super hit. As usual Bhanu Banerjee gave brilliant lips in the film. Ruma did well in the role of the old lady. Tarun Kumar as usual contributed well in Bhanu’s film. The supporting actresses like Renuka in the role of the wife of Kamal Mitra did well. Jahar Roy, Shyam Laha and Shital Banerjee did well in their respective roles.

The film should be preserved for the unique subject that was dealt with, that is regaining youth, which everyone in the world strives for.

Review of Uttam Kumar's Shankhabela.

Review of Uttam Kumar’s Shankhabela.

Uttam Kumar was the uncrowned monarch of Bengali classic films of the 50s, 60s and 70s. He had acted in around 205 films, so most of his films are landmarks in Bengali film industry. But some of the films created history due to some unique reasons. Shankhabela is one of that kind of film.

The film as released in 1966. Uttam Kumar was big corporate officer in the film who had married Madhabi Mukherjee and had a small son. Due to requirement of corporate world, he had to give parties distribute drinks to the business tycoons of the respective jurisdiction and get involved in drinking himself. All these activities were not like by Madhabi Mukherjee. She felt that all those activities could spoil her son.

After repeated requests when Madhabi saw that Uttam Kumar could not avoid parties, drinking, etc., she left the house and lived separately with her son. The son fell seriously in due period of time and was brought before Bosonto Choudhury, a specialist doctor in Kolkata. He asked her to get her son admitted in the hospital.

While treating the child he tried to reunite the family which was virtually separated. He called Uttam Kumar, the father of the child, and told him about his son’s sickness and rebuked him for failing to fulfill the responsibilities of a father. After curing the child he asked Uttam Kumar to take his wife and child back home thereby ending their mental differences.

The important fact in the film was that the composer Sudhin Dasgupta, used Manna Dey, the legendary singer of bollywood films to sing songs for Uttam Kumar, for the first time. He was associated with successful Hemant Kumar whose matched him the most. Manna Dey was previously used in the song “lag lag lag lag velki khela” in Uttam Kumar’s film Goli Theke Rajpoth in 1959, by Sudhin Dasgupta, but that was not a musical film, and the musical excellence of Manna Dey remained unnoticed.

Manna Dey and Lata Mangeshkar’s spirited performance in the songs “ke pratham kache asechi”, “ami agantuk ami barta dilam”, “aaj mon cheyeche ami hariye jabo” flabbergasted the Bengali audience. Due to the success of Shankhabela, Manna Dey dethroned Hemant Kumar from being the dominant singer in Bengali films, and created a magical combination with Uttam Kumar till his death. Manna Dey’s hit songs for Uttam Kumar stormed Bengali films like Anthony Firingi, Nishi Padda, Chowrangee, Jibon Mrityu, Stri, Chaddabeshi, Chiradiner, Sanyasi Raja, etc., to name a few.

Besides, Uttam Kumar gave the most romantic lips in a boat with Madhabi in Mython in the romantic song “ke prothom kache esechi”. The composition was totally westernized and the lyrics written by Pulak Banerjee was very romantic. Even legendary composer Naushad appreciated Sudhin Dasgupta for making the tune of “ke pratham kache esechi”, when Sudhin Dasgupta went to Bombay to place it before Manna Dey and Lata Mangeshkar.

The other aspect of the film directed by Saroj De ( the main director of Agragami), was the casting of Bosonto Choudhury in the role of the doctor. He was assisted by a panel of doctors including Mrinal who had his debue in the film, but his personality overshadowed the romantic personality of Uttam Kumar. Critics argue that Bosonto Choudhury gave his best performance in the film Shankhabela. The film addressed the intellectual viewers of Bengal and other parts of the country and could be very well categorsied as cine-classic. The film and the songs should be restored for those reasons.

Death anniversary of Shankar.

Death anniversary of Shankar.

The viewers of bollywood films mourn the death anniversary of Shankar, the legendary composer on 26th April, 2009, whose combination with Jaikishan had created musical masterpieces during the 40s, 50s and 60s. The combination started working together in Raj Kapoor’s film Barsaat in 1949, and after that they never looked back. They created trends, broke the conventional style of music, experimented in every level of music, gave music in the films of all the leading actors and actresses of 50s and 60s.

As the name of Shankar Jaikishan was always used together due to their dominance in bollywood music in the 50s and 60s, individually their individual capabilities were not discussed in details. Music historians had reiterated after the death of the magical duo that Shankar had contributed the most in the classical songs while Jaikishan was more instrumental in the westernized tunes and orchestrations. Further Shankar’s most of the compositions were associated with lyricist Shailendra and Jaikishan’s creations were mostly associated with Shankar.

Some of the unforgettable classical tunes of SJ include “sur na saje kya gayun mai” sung by Manna Dey in the film Basant Bahar picturised on Bharat Bhushan, “ajahu na aye balma” sung by Rafi in the film Saanjh Aur Sawera picturised on Mehmood, “aji ruth kar ab kahan jayiega” sung by Lata and Rafi in the film Aarzoo picturised on Sadhna and Rajender Kumar, “o mere shahe khuba” sung by Rafi and Lata in the film Love In Tokyo, picturised on Joy Mukherjee and Sadhna, etc.

Besides a huge number of compositions of SJ included folk songs involving the smell of the soil from where they had originated. Those songs included “ramaiya vasta maiya” in the film Shree 420, sung by Rafi, Lata and Mukesh picturised on Raj Kapoor and Nargis, “chalat musafir” in the film Teesri Kasam, sung by Manna Dey picturised on Raj Kapoor, “aa ab laut chale” sung by Mukesh, Lata and picturised on Raj Kapoor and Padmini, etc.

Music lovers lament the death of Shankar and the disintegration of the SJ team in the 60s, because they had contributed in the films of Raj Kapoor, Rajender Kumar, Shammi Kapoor, Joy Mukherjee, Biswajeet, Dharmender, Jeetender, Dev Anand, Dilip Kumar, Manoj Kumar, etc., which includes almost the entire industry. So viewers of different tastes enjoyed the composition of SJ in those films. It is very sad that during the last 15 years, the media had underrated SJ and tried to project RD Burman as the greatest phenomenon of the century. He was a definitely a brilliant composer but his contribution cannot be equated with the dynamic composition of SJ. Shankar’s contributions should be preserved and restored.

Uttam Kumar and comedy films like Mouchak

Uttam Kumar and comedy films like Mouchak.

Uttam Kumar, the most versatile superstar of Bengali films became one man industry in the 70s. Viewers were not that bothered about who was his heroine in the film or the co-actors or actresses. The moment the name of Uttam Kumar flashed in the silver screen the viewers knew that he had the potentiality of pulling on the film alone.

Arun Kumar Chatterji, better known as Uttam Kumar acted in Arobindo Mukherjee’s film Mouhak in 1975. Aurobindo Mukherjee had experimented with Uttam Kumar and Sabitri Chatterji in the films Nishipadda and Dhanni Meye. In Mouchak, Uttam Kumar was the elder brother of Ranjit Mullick who got a job outside Kolkata.

When he came to his workplace, he found that right from the CEO of the company to the different officers, people were looking for qualified men to get married to their daughters. Even the house that was rented to Ranjit Mullick was in the vicinity of all these persons who wanted to keep him in close watch and convince him to marry their daughters.

The situation became so worst that Uttam Kumar had to come to that place and artificially campaign about the bad character of Ranjit Mullick. He told all the officers that Ranjit Mullick was a drunkard, gambler and anti-social. Even after that the fathers of these girls never stopped coming to his house and convincing him about marrying their daughters.

At the end of the film Ranjit Mullick entered into an affair with Mithu Mukherjee, and after the acceptance of her both from Uttam Kumar and Sabitri Chatterji, the marriage was solemnized. The film showed the crude reality of fathers of unmarried daughters in Bengal in the mid-70s who generally were in need of qualified bachelors to get their daughters married to them.

Even the lips given by Uttam Kumar in Manna Dey’s songs like “Jodi jagai madhai”, “ebar mole suto hobo”, “paglagarod kothay ache”, etc., was equally brilliant.

Uttam Kumar died almost 29 years back. Bengali films these days get lot of sponsorship and technical development had taken place in the film industry. Yet the vacuum created by superstar Uttam Kumar neither had been filled up, nor can be filled up by anyone else. Comedy films like Mouchak should be restored to show the contribution of Uttam Kumar in those types of films.

What happened to the classical gharana of Bengali modern songs?

What happened to the classical gharana of Bengali modern songs?

In the 50s and 60s, a number of Bengali classical singers had adorned the firmament of Bengali modern songs. The list included Begum Akhtar, Krishna Ganguly, Ila Bose, Chinmoy Lahiri, A.T. Kanon, etc. The legacy that was created by Vishwadeb Chatterji, Ganendra Prosad Goswami, Tarapodo Chakravarty was carried forward by the above-mentioned singers.

The legendary singers educated the music-lovers about thumris, tappas, kajris, etc. Some of the notable songs included “koeliya gan thama ebar” composed by Gyanprakash Ghosh, “jhanana jhanana baje” composed by Salil Choudhury, “koto je shoyechi betha” composed by Chinmoy Lahiri to mention a few. Manobendra Mukherjee dominated the world of Bengali modern songs, and songs either sung by him or composed by him reached level of excellence in the 50s and 60s.

Some of his memorable songs included “rimjhim baje monjiro kar”, “bare bare ke jeno dake”, “borosha klanto o duti nayan”, “jodi amake dekho tumi udashi”, “seto naam dhore konodin dakeni amay”, “aha na royna”, “hajar jonom dhore”, “mone hoy koto striti”, to mention a few. The songs where he composed music for other singers became equally famous. Some of them included “kemone janabo bolo e pranero bedona” sung by Shefali Chakravarty, “mon bolche kon sondhaye” sung by Alpona Banerjee, “gane gane ami je khuji tomay” sung by Supriti Ghosh, to mention a few.

Dhanonjoy Bhattacharya sang many classical numbers during that age which included “ruma jhuma jhum” composed by Rotu Mukherjee, “kobir kheale premomoy tumi” composed by himself, “maatite jonmo nilam” composed by Probir Mojumdar, “ei jhir jhir jhir batashe” composed by Sudhin Dasgupta, to mention a few. Satinath Mukherjee’s songs “baluka belae kurai jhinuk”, “ajo to elo na she”, “bonopatho majhe”, “pashaner buke” etc., received both admiration and respect from the music-lovers.

Akhil Bandhu Ghosh sang a number of memorable songs like “bashoriya bashi bajayona”, “keno prohoro na jete”, “aaji chandini raati go”, “o dayal bichar koro”, to mention a few. Manna Dey devoted most of his time in singing songs for films, yet many of his basic discs had moved the music-lovers which included “koto dure aar”, “ami aaj akasher moto ekela”, “sundari go”, “lalita, oke aar chole jete bolna”, “shabai to sukhi hote chaye”, “kophota choker jol”, etc., which bewildered the audience from the 50s to the 80s.

Other than successful basic discs of Sandhya Mukherjee and Geeta Dutt, a number of other singers had excellent basic discs. The legendary songs included “koishore ami jekhane bendhechi ghar” sung by Bani Ghoshal, “bolechile tumi gaan shonabe” sung by Alpona Mukherjee, to mention a few.

Someway or the other, the classical gharana faded away in the 70s. One of the reasons must be excessive domination of Hemant Kumar in Bengali film music, where other than Shaymal Mitra and Manna Dey, the rest of the singers did not get that scope. The classical singers did not any motivation and the composers who had the capability of creating landmark songs also died and a new generation was never created.

These days Ajoy Chakravarthy, Rashid Khan, Girija Devi motivates young singers towards classical singing, but the response is not that encouraging. The legendary songs should be restored for the new generation.

Uttam Kumar and Sudhin Dasgupta

Uttam Kumar and Sudhin Dasgupta.

Uttam Kumar had dominated Bengali cinema for more than 35 years till his death in 1980. There were lot of composers who had contributed a lot for the success of his films which included Anupam Ghatak, Robin Chatterji, Anil Bagchi, Hemant Kumar, Nochiketa Ghosh, Salil Choudhury, to name a few. Among them Sudhin Dasgupta made a memorable contribution for the success of Uttam Kumar’s films and he especially created a combination of Manna Dey with Uttam Kumar which no other composer thought before him.

Sudhin Dasgupta used Manna Dey for the song “lag lag lag lag bhelkir khela” in Uttam Kumar’s film Goli Theke Rajpoth in 1959. At that time although Uttam Kumar became Mahanayak he was still overshadowed by the powerful performances of Chabi Biswas who was the dominating figure in Bengali films in the 50s. The film was related to the manner in which Chabi Biswas reformed Uttam Kumar who was previously a thief in the film. The music was appreciated by the musiclovers.

In 1966, Sudhin Dasgupta stormed Bengali films with his romantic composition for Manna Dey and Lata Mangeshkar titled “ke prothom kache esechi” in Uttam Kumar’s film Shonkho Bela. The film was directed by Saroj Dey under the banner of Agragami and Uttam Kumar acted along with Bosonto Choudhury and Madhabi Mukherjee in the film. The other hit songs in the film included “ami agantuk” by Manna Dey and “aaj mon cheyeche ai hariye jabo” sung by Lata Mangeshkar. The film became superhit and gave birth to the combination of Uttam Kumar and Manna Dey which ruled Bengali films for the next 20 years.

The same combination entertained the viewers in the film Choddobeshi. The major hit songs of the film included “amar din katena” by Asha Bhosle, “aro dure cholo jai” by Manna Dey and Asha Bhoshle, “ami kon pathe je choli” and “bachao ke acho” by Manna Dey. Sudhin Dasgupta impressed the viewers with his westernized tunes in a film which was based on a comedy story. The same film was remade in hindi with the title Chupke Chupke.

Sudhin Dasgupta gave superhit tunes in Uttam Kumar and Suchitra Sen’s film Har Mana Har. The hit songs included “esechi ami esechi”, “lekhaporata sikhe phele”, “pae pae choriye rakho”, etc. The film was released in 1971 and created strong impression in the box-office.

The other hit films where Suchin Dasgupta gave good music to Uttam Kumar included Kokhono Megh, where Anjana Bhowmick acted opposite Uttam Kumar. The above-mentioned films should be restored for their immense musical value.