Bipasha bolstered the bond of Suchitra Sen, Robin Chatterji and Sandhya Mukherjee.
The film Bipasha bolstered the bond of Suchitra Sen, Robin Chatterji and Sandhya Mukherjee. The success of legendary actress Suchitra Sen was largely indebted to the romantic music composed by Robin Chatterji and songs sung by Sandhya Mukherjee. The brilliant team of Suchitra Sen, Sandhya Mukherjee and Robin Chatterji gave evergreen hit songs like “ghum ghum chand” in Sabar Opare, “tumi na hoy rohite” in Pathe Holo Deri, “jani na phurabe” in Sagarika, to name a few. Very significantly all those films directed by Agradoot. Uttam Kumar and Suchitra Sen are considered to be the greatest romantic pair that ever graced Indian silver screen. They acted in 30 films together and most of their films ended up being cine-classics. Bipasha was released in 1962 and did fantastic business.
It was a film directed by Agradoot where Robin Chatterji composed the music. Suchitra Sen was named Beas (Bipasha in Bengali) as she was born near river Beas. She lost her parents during riots occurring at the time of partition in 1947. She was saved by Kamal Mitra, a divine soul near Sialkot and reached to relief camp in New Delhi. She studied there and got a job in tribal welfare in Panchet in Bihar.
Uttam Kumar was an engineer who worked in Damodar Valley Corporation (DVC) projects. Both Suchitra Sen and Uttam Kumar met each other and entered into an affair. Suchitra Sen gave able lips in Sandhya Mukherjee’s song “aami sapne tomay dekhechi”. When Uttam Kumar wanted to marry Suchitra Sen, he got a letter from his maternal uncle played by Nitish Mukherjee saying that he was illegitimate son of his mother Chaya Debi.
Uttam Kumar went to Allahabad to find his mother and in her absence attempted to commit suicide. Chabi Biswas, a sanyasi there saved him. He wrote a letter saying that Uttam Kumar (Dibyendu Chatterji) was the son of Saradindu Chatterji (Chabi Biswas). Chaya Debi (his wife) gave birth to him before her marriage. Chabi Biswas went abroad and married another foreign girl. The foreigner filed a suit against Chabi Biswas after she knew that he was already married to Chaya Debi. Their Chaya Debi gave false testimony saying that she was not married to Chabi Biswas, to save her husband. Uttam Kumar came to be known as illegitimate son from that time. After that Chabi Biswas gave the contact details of Chaya Debi. Uttam Kumar and Suchitra Sen found her and film ended there.
The powerful story was given adequate expression by compassionate performance of legendary actor Chabi Biswas. Uttam Kumar and Suchitra Sen’s romantic performance just improved from film to film and viewers started thinking that both of them were husband and wife.
It is a pity that Uttam Kumar and Suchitra Sen did not show their powerful performance in bollywood films, otherwise they would have given very tough competition to Raj Kapoor and Nargis and Dilip Kumar and Vaijayantimala who ruled bollywood industry in the 50s. The film Bipasha should be restored for its aesthetic value.
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Showing posts with label robin chatterji. Show all posts
Showing posts with label robin chatterji. Show all posts
Alpona Banerjee could have continued with her music career in films instead of nursery songs.
Alpona Banerjee could have continued with her music career in films instead of nursery songs.
Alpona Banerjee, the romantic playback singer of Bengal during the 50s and 60s, had earned stardom through the songs she had sung for children. Prominent among them included “chottopakhi chandana”, “hattimatim tim”, “kana machi bho bho”, “charka kate buri”, “agdum bagdum ghoradum”, “dol dol duluni”, etc. But while her popularity before the children remained intact over 70 years, her stardom in the film industry declined.
Born on 14th March, 1934, she got breaks in bollywood films due to her father’s intimacy with legendary composer Robin Chatterji and lyricist Gouri Prasanna Majumdar. Her song “matir ghare aaj nemeche chand re” entertained the Bengali film viewers in the early 50s. From providing playback in Bengali film Bidyasagar, she sang a number of romantic songs in leading films of the 50s.
Her song “hriday amar sundoro taba paye” composed by Robin Chatterji in Uttam Kumar Suchitra Sen’s film Sagarika stormed the audience. Her song performance in the film Shubhada was specially acclaimed.
While her film career blossomed in the 50s, her Bengali modern songs bewildered the Bengali audience. Her romantic song “ami sundar bole tai to bondhu besecho bhalo amay” composed by Manobendra Mukherjee can be considered to be the most romantic song she had ever sung in her life. The other composition of Manobendra Mukherjee for her titled “mon bolche aaj sondhay kichu bolte tumi aasbeki” which became super hit.
Her other songs “Jodi tomar jibone” and “bolechile tumi gaan shonaabe” were equally romantic. She at the same time sung songs in prominent films like Chele Kar under composition of Kalipada Sen, Personal Assistant under composition of Nochiketa Ghosh, Pathe Holo Deri composed by Robin Chatterji. She was married to Sridhar Mukherjee and faded away from the film music arena in the 60s.
She also sang songs in romyogeeti in All India Radio. The other films where she made valuable contribution included Bidhilipi, Kar Pape, Na, Chele Kar, Shilpi, Agni Parikkha, Bhangagara, etc. Her other basic discs which were prominent included “ami alpone eke jai”, “bokulgandhe Jodi akash”, “tomar moner rong legeche”, “samiran phire chao”, etc.
Viewers wonder that if Alpona Banerjee had not sung nursery songs for children which in Bengali is termed “charar gaan”, she could have done great justice to her romantic voice and her place would have been besides Sandhya Mukherjee and Geeta Dutt who dominated Bengali film music and modern songs during 50s and 60s. The audience had an impression of Alpona Banerjee’s voice related to children’s fairy tales which got more predominance over other songs. She died on 24th July, 2009, at the age of 75 years. Her songs and films should be preserved.
Alpona Banerjee, the romantic playback singer of Bengal during the 50s and 60s, had earned stardom through the songs she had sung for children. Prominent among them included “chottopakhi chandana”, “hattimatim tim”, “kana machi bho bho”, “charka kate buri”, “agdum bagdum ghoradum”, “dol dol duluni”, etc. But while her popularity before the children remained intact over 70 years, her stardom in the film industry declined.
Born on 14th March, 1934, she got breaks in bollywood films due to her father’s intimacy with legendary composer Robin Chatterji and lyricist Gouri Prasanna Majumdar. Her song “matir ghare aaj nemeche chand re” entertained the Bengali film viewers in the early 50s. From providing playback in Bengali film Bidyasagar, she sang a number of romantic songs in leading films of the 50s.
Her song “hriday amar sundoro taba paye” composed by Robin Chatterji in Uttam Kumar Suchitra Sen’s film Sagarika stormed the audience. Her song performance in the film Shubhada was specially acclaimed.
While her film career blossomed in the 50s, her Bengali modern songs bewildered the Bengali audience. Her romantic song “ami sundar bole tai to bondhu besecho bhalo amay” composed by Manobendra Mukherjee can be considered to be the most romantic song she had ever sung in her life. The other composition of Manobendra Mukherjee for her titled “mon bolche aaj sondhay kichu bolte tumi aasbeki” which became super hit.
Her other songs “Jodi tomar jibone” and “bolechile tumi gaan shonaabe” were equally romantic. She at the same time sung songs in prominent films like Chele Kar under composition of Kalipada Sen, Personal Assistant under composition of Nochiketa Ghosh, Pathe Holo Deri composed by Robin Chatterji. She was married to Sridhar Mukherjee and faded away from the film music arena in the 60s.
She also sang songs in romyogeeti in All India Radio. The other films where she made valuable contribution included Bidhilipi, Kar Pape, Na, Chele Kar, Shilpi, Agni Parikkha, Bhangagara, etc. Her other basic discs which were prominent included “ami alpone eke jai”, “bokulgandhe Jodi akash”, “tomar moner rong legeche”, “samiran phire chao”, etc.
Viewers wonder that if Alpona Banerjee had not sung nursery songs for children which in Bengali is termed “charar gaan”, she could have done great justice to her romantic voice and her place would have been besides Sandhya Mukherjee and Geeta Dutt who dominated Bengali film music and modern songs during 50s and 60s. The audience had an impression of Alpona Banerjee’s voice related to children’s fairy tales which got more predominance over other songs. She died on 24th July, 2009, at the age of 75 years. Her songs and films should be preserved.
Films like Dosti were path-breakers in Indian film history.
Films like Dosti were path-breakers in Indian Film History.
Bollywood films had been known for the entertainment they had provided over the years. Entertainment had compelled the producers and directors to make formula films where there was equal share of romance, comedy and action. There were other directors who believed in making films out of classic literature.
Satyen Bose, the director of Dosti experimented with the literature of Nihar Ranjan Gupta who wrote the story for the Bengali film Lalu Bhulu, the story of a blind and a handicapped boy. Sudhir Kumar and Sushil Kumar, were the two artists who played the role of the blind and handicapped boys. In this film the blind boy had an elder sister who declined to identify him. The sister worked as nurse.
Both the boys used to come to meet a small girl played by Baby Farida. Sanjay Khan was the elder brother of the small girl who never liked the presence of the two boys. The handicapped boy got admission in a school where Abhi Bhattacharya was the headmaster. Nana Palsekar who was a reputed teacher in the institution got inpressed with the brilliance of the handicapped boy and taught him.
Nana Palsekar took him to his own house for education as the colony where the boy stayed was full of mischievous boys. But his friend Mohan got deprived out of it. He collected money by singing songs in the street and paid the fees for his Board Exam. Hi friend stood first in the exam.
In the film music played a very important role. Laxmikant Pyarellal had composed only in the film Parasmani before Dosti. Dosti was undoubted their best creation. Mohammad Rafi was as brilliant as ever. The lyrics of Majrooh Sultanpuri made the viewers weep. The songs “janewalo zara”, “rahi manwa dukh ki chinta kyun satati hai”, “chahunga mai tujhe saanz sawere”, “mera to job hi kadam hai” sung by Rafi were milestones in Indian film history. In the Bengali version Lalu Bhulu, Robin Chatterji composed the music, Sailen Ray wrote the lyrics while Manobendra Mukherjee sang the tragic songs “dukho amar shesh kore dao probhu”, “jar hiya akasher”, “ei pran jharona jaglo”, “dukher pothe naamli Jodi”, to name a few. The film had message relating to morality, public policy, etc.
Dosti did brilliant business without any renowned hero like Dilip Kumar or Raj Kumar, a classical dancer like Vaijayantimala. The viewers appreciated classic films in those days and the film was a path-breaker in its true sense of the term.
Bollywood films had been known for the entertainment they had provided over the years. Entertainment had compelled the producers and directors to make formula films where there was equal share of romance, comedy and action. There were other directors who believed in making films out of classic literature.
Satyen Bose, the director of Dosti experimented with the literature of Nihar Ranjan Gupta who wrote the story for the Bengali film Lalu Bhulu, the story of a blind and a handicapped boy. Sudhir Kumar and Sushil Kumar, were the two artists who played the role of the blind and handicapped boys. In this film the blind boy had an elder sister who declined to identify him. The sister worked as nurse.
Both the boys used to come to meet a small girl played by Baby Farida. Sanjay Khan was the elder brother of the small girl who never liked the presence of the two boys. The handicapped boy got admission in a school where Abhi Bhattacharya was the headmaster. Nana Palsekar who was a reputed teacher in the institution got inpressed with the brilliance of the handicapped boy and taught him.
Nana Palsekar took him to his own house for education as the colony where the boy stayed was full of mischievous boys. But his friend Mohan got deprived out of it. He collected money by singing songs in the street and paid the fees for his Board Exam. Hi friend stood first in the exam.
In the film music played a very important role. Laxmikant Pyarellal had composed only in the film Parasmani before Dosti. Dosti was undoubted their best creation. Mohammad Rafi was as brilliant as ever. The lyrics of Majrooh Sultanpuri made the viewers weep. The songs “janewalo zara”, “rahi manwa dukh ki chinta kyun satati hai”, “chahunga mai tujhe saanz sawere”, “mera to job hi kadam hai” sung by Rafi were milestones in Indian film history. In the Bengali version Lalu Bhulu, Robin Chatterji composed the music, Sailen Ray wrote the lyrics while Manobendra Mukherjee sang the tragic songs “dukho amar shesh kore dao probhu”, “jar hiya akasher”, “ei pran jharona jaglo”, “dukher pothe naamli Jodi”, to name a few. The film had message relating to morality, public policy, etc.
Dosti did brilliant business without any renowned hero like Dilip Kumar or Raj Kumar, a classical dancer like Vaijayantimala. The viewers appreciated classic films in those days and the film was a path-breaker in its true sense of the term.
Remembering Shyamal Mitra on his death anniversary.
Remembering Shyamal Mitra on his death anniversary.
Music lovers all across India remember Shyamal Mitra on his death anniversary on 15th November, 2009. Shyamal Mitra was the one of the leading singers of Bengal during the golden age and for 40 years dominated the world of modern songs and film music along with Manobendra Mukherjee, Manna Dey and Hemant Kumar. His nasal tune, emotional base, high pitch and effortless stretch of voice had remained immortal over the last 50 years. His first song “sriti tumi bedona” was composed by his guru Sudhirlal Chakravarty in the early 50s.
From that time onwards his nasal tune suited songs related to pathos and songs like “emono din aaste pare”, “jodi dako opar theke”, “ei sundar prithibi chere mono jete nahi chay” flabbergasted the Bengali audience. Satinath Mukherjee, a leading classical singer of the 60s loved Shyamal Mitra and his composition for him titled “eto alo aar eto hasi gaan” became super hit.
At that time Robin Chatterji, the leading composer of Bengali film music used Shyamal Mitra to sing film songs for Uttam Kumar, the greatest superstar of Bengal, and his songs “amar sapne dekha rajkonya” in the film Sagarika, 1956, “o mon kokhon shuru kokhon je shesh” in the film Kamal Lata, 1969, touched the souls of numerous listeners. Robin Chatterji experimented in the film Deeper Naam Tiya Rong with Portuguese folk music and the songs sung by Shaymal Mitra titled “o amar saat rajari dhaan” and “phiriti basakar kuye giya dishe” made the listeners speechless. The intonation of songs was in rural accent where Shyamal Mitra made an everlasting impact in the minds of the listeners.
Salil Choudhury was moved by the romantic appeal of Shyamal Mitra and used him in Dilip Kumar’s film Musafir with the song “ek aye ek jaye”. His basic discs sung by Shyamal Mitra include “aha oi ankabanka poth” which was remade in hindi titled “aha rimjhim ke” sung by Talat Mehmood, “jodi kichu amare shudhao”, “ja jare ja ja pakhi”, “dur nail beshi dur oi sajano sajano bokul baner dhare”, etc. By mid-60s Shyamal Mitra became a leading music composer and his composition for Manobendra Mukherjee and himself tilted “dole dodul dole jhulona” in Uttam Kumar’s film Deya Neya in 1963 became super hit.
The notable films where his music was impressive include Bon Palashir Padabali, Raj Konya, Bhranti Bilas, Amanush, Ananda Ashram, etc. Some of the notable songs in Bon Palashir Padabali included “aha mori mori”, “dekhuk para porshite”, “udash bayul”, etc. His song “dil aisa kisi ne mera tora” sung by Kishore Kumar in the hindi film Amanush gave him filmfare award for the best singer. His composition for Kishore Kumar and Asha Bhosle in the film Anand Ashram titled “sara pyar tumhara” became super hit with the excellent lips of Uttam Kumar and Sharmila Tagore.
My father, Ex-Chief Public Prosecutor Chitta Ranjan Chatterji, interviewed Shyamal Mitra in Scottish Church College in 1956, where he participated in a cultural night along with Manobendra Mukherjee and Satinath Mukherjee. Shyamal Mitra reiterated the contribution of Deep Narayan Bitholia in All India Radio who had composed songs under the head of Romyogeeti. His romantic stretch of voice in the song “boujhiuri go” had created a lasting impression in the minds of the listeners. Mr. Chitta Ranjan Chatterji was astonished with the humbleness of Shyamal Mitra who was down to earth and respectful towards his predecessors like Sudhirlal Chakaravarty and Satinath Mukherjee.
Shyamal Mitra’s brother Salil Mitra in TV interview emphasized Shaymal Mitra’s sense of respect towards legendary composer Robin Chatterji. While the shooting of the film Kamallata were taking place in bagan bari in rural West Bengal, Shyamal Mitra was playing badminton with Uttam Kumar. When Robin Chatterji heard his recording of the song “o mon kokhon shuru” he was unsatisfied and questioned Shaymal Mitra’s result of diksha in Naihati as the song lacked emotions in Bengali called “abeg”. Shyamal Mitra returned back and brought out the devotional andaz of his lifetime and Robin Chatterji gifted a perfume as a token of appreciation for the committed singer of Bengal.
His notable folk songs and romantic songs in basic discs include “o shimul bon”, “sediner sona jhora sondha”, “keno dako tumi more”, “keno tumi phire ele”, “kar monjiro baje”, etc. As composer he had composed evergreen songs for Manobendra Mukherjee like “o amar patralekha”, Dhanonjoy Bhattacharya “dole shal piyalir bon”, Sandhya Mukherjee “ami to tomari kache royechi” etc.
His voice suited Uttam Kumar a lot and his songs in the film Sokher Chor, Bhranti Bilas, Rajodrohi, Andha Atit had been landmarks in Bengali film history. He died in the mid-80s after becoming a legend along with Hemanta Kumar, Manobendra Mukherjee and Manna Dey and it is not possible to highlight his achievements in a small article. His songs and films should be restored.
Music lovers all across India remember Shyamal Mitra on his death anniversary on 15th November, 2009. Shyamal Mitra was the one of the leading singers of Bengal during the golden age and for 40 years dominated the world of modern songs and film music along with Manobendra Mukherjee, Manna Dey and Hemant Kumar. His nasal tune, emotional base, high pitch and effortless stretch of voice had remained immortal over the last 50 years. His first song “sriti tumi bedona” was composed by his guru Sudhirlal Chakravarty in the early 50s.
From that time onwards his nasal tune suited songs related to pathos and songs like “emono din aaste pare”, “jodi dako opar theke”, “ei sundar prithibi chere mono jete nahi chay” flabbergasted the Bengali audience. Satinath Mukherjee, a leading classical singer of the 60s loved Shyamal Mitra and his composition for him titled “eto alo aar eto hasi gaan” became super hit.
At that time Robin Chatterji, the leading composer of Bengali film music used Shyamal Mitra to sing film songs for Uttam Kumar, the greatest superstar of Bengal, and his songs “amar sapne dekha rajkonya” in the film Sagarika, 1956, “o mon kokhon shuru kokhon je shesh” in the film Kamal Lata, 1969, touched the souls of numerous listeners. Robin Chatterji experimented in the film Deeper Naam Tiya Rong with Portuguese folk music and the songs sung by Shaymal Mitra titled “o amar saat rajari dhaan” and “phiriti basakar kuye giya dishe” made the listeners speechless. The intonation of songs was in rural accent where Shyamal Mitra made an everlasting impact in the minds of the listeners.
Salil Choudhury was moved by the romantic appeal of Shyamal Mitra and used him in Dilip Kumar’s film Musafir with the song “ek aye ek jaye”. His basic discs sung by Shyamal Mitra include “aha oi ankabanka poth” which was remade in hindi titled “aha rimjhim ke” sung by Talat Mehmood, “jodi kichu amare shudhao”, “ja jare ja ja pakhi”, “dur nail beshi dur oi sajano sajano bokul baner dhare”, etc. By mid-60s Shyamal Mitra became a leading music composer and his composition for Manobendra Mukherjee and himself tilted “dole dodul dole jhulona” in Uttam Kumar’s film Deya Neya in 1963 became super hit.
The notable films where his music was impressive include Bon Palashir Padabali, Raj Konya, Bhranti Bilas, Amanush, Ananda Ashram, etc. Some of the notable songs in Bon Palashir Padabali included “aha mori mori”, “dekhuk para porshite”, “udash bayul”, etc. His song “dil aisa kisi ne mera tora” sung by Kishore Kumar in the hindi film Amanush gave him filmfare award for the best singer. His composition for Kishore Kumar and Asha Bhosle in the film Anand Ashram titled “sara pyar tumhara” became super hit with the excellent lips of Uttam Kumar and Sharmila Tagore.
My father, Ex-Chief Public Prosecutor Chitta Ranjan Chatterji, interviewed Shyamal Mitra in Scottish Church College in 1956, where he participated in a cultural night along with Manobendra Mukherjee and Satinath Mukherjee. Shyamal Mitra reiterated the contribution of Deep Narayan Bitholia in All India Radio who had composed songs under the head of Romyogeeti. His romantic stretch of voice in the song “boujhiuri go” had created a lasting impression in the minds of the listeners. Mr. Chitta Ranjan Chatterji was astonished with the humbleness of Shyamal Mitra who was down to earth and respectful towards his predecessors like Sudhirlal Chakaravarty and Satinath Mukherjee.
Shyamal Mitra’s brother Salil Mitra in TV interview emphasized Shaymal Mitra’s sense of respect towards legendary composer Robin Chatterji. While the shooting of the film Kamallata were taking place in bagan bari in rural West Bengal, Shyamal Mitra was playing badminton with Uttam Kumar. When Robin Chatterji heard his recording of the song “o mon kokhon shuru” he was unsatisfied and questioned Shaymal Mitra’s result of diksha in Naihati as the song lacked emotions in Bengali called “abeg”. Shyamal Mitra returned back and brought out the devotional andaz of his lifetime and Robin Chatterji gifted a perfume as a token of appreciation for the committed singer of Bengal.
His notable folk songs and romantic songs in basic discs include “o shimul bon”, “sediner sona jhora sondha”, “keno dako tumi more”, “keno tumi phire ele”, “kar monjiro baje”, etc. As composer he had composed evergreen songs for Manobendra Mukherjee like “o amar patralekha”, Dhanonjoy Bhattacharya “dole shal piyalir bon”, Sandhya Mukherjee “ami to tomari kache royechi” etc.
His voice suited Uttam Kumar a lot and his songs in the film Sokher Chor, Bhranti Bilas, Rajodrohi, Andha Atit had been landmarks in Bengali film history. He died in the mid-80s after becoming a legend along with Hemanta Kumar, Manobendra Mukherjee and Manna Dey and it is not possible to highlight his achievements in a small article. His songs and films should be restored.
Review of Uttam Kumar's film Kamallata.
Review of Uttam Kumar’s film Kamallata.
Harishadhon Dasgupta took a big challenge in making a film on Sarat Chandra Chatterji’s classic literature Kamallata. Uttam Kumar played the role of Sarat Chandra himself named (Srikanto) in the film. Suchitra Sen played the role of Kamallata while Nirmal Kumar played the role of a muslim poet called Gahar Goshai.
A farmhouse in the districts of West Bengal was used by Harishadhan Dasgupta to portray a baisnav akhra (the place where devotees of God Vishnu stay together). Suchitra Sen was subjected to unrest in her family after her relationship with Biren Chatterji had been criticized and joined the Baishnav Akhra. Nirmal Kumar, the poet, wrote Ramayana in new style, and also wrote songs devoted to God Vishnu inspite of being a muslim.
Pahari Sanyal and other elders in the akhra appreciated the literary work of Nirmal Kumar and his monetary contribution for the development of the charitable institution. Uttam Kumar was his friend and visited the place a number of times and came to know the story of Suchitra Sen. The other members of the institution were narrow minded and just because Suchitra Sen communicated with Nirmal Kumar, asked her to leave the place.
Nirmal Kumar died at the end of the film and gave all his property to the Institution. Uttam Kumar took Suchitra Sen from the place and reached her to safe place in Kolkata. Sarat Chandra Chatterji had shown that tolerance of every faith was the actual realization based on which the meaning of religion could be understood.
Nirmal Kumar received BFJA award for his brilliant performance in the film. He gave excellent lips in Shyamal Mitra’s devotional song (baishnavgeeti) “o mon kokhon shuru” and “mane na e mon”. Robin Chatterji the music director of the film showed his brilliance in composing devotional songs as well.
The film did excellent business after release in 1969 and still remains an inspiration for new directors in making films with classic literature. The film and music of the film should be restored.
Harishadhon Dasgupta took a big challenge in making a film on Sarat Chandra Chatterji’s classic literature Kamallata. Uttam Kumar played the role of Sarat Chandra himself named (Srikanto) in the film. Suchitra Sen played the role of Kamallata while Nirmal Kumar played the role of a muslim poet called Gahar Goshai.
A farmhouse in the districts of West Bengal was used by Harishadhan Dasgupta to portray a baisnav akhra (the place where devotees of God Vishnu stay together). Suchitra Sen was subjected to unrest in her family after her relationship with Biren Chatterji had been criticized and joined the Baishnav Akhra. Nirmal Kumar, the poet, wrote Ramayana in new style, and also wrote songs devoted to God Vishnu inspite of being a muslim.
Pahari Sanyal and other elders in the akhra appreciated the literary work of Nirmal Kumar and his monetary contribution for the development of the charitable institution. Uttam Kumar was his friend and visited the place a number of times and came to know the story of Suchitra Sen. The other members of the institution were narrow minded and just because Suchitra Sen communicated with Nirmal Kumar, asked her to leave the place.
Nirmal Kumar died at the end of the film and gave all his property to the Institution. Uttam Kumar took Suchitra Sen from the place and reached her to safe place in Kolkata. Sarat Chandra Chatterji had shown that tolerance of every faith was the actual realization based on which the meaning of religion could be understood.
Nirmal Kumar received BFJA award for his brilliant performance in the film. He gave excellent lips in Shyamal Mitra’s devotional song (baishnavgeeti) “o mon kokhon shuru” and “mane na e mon”. Robin Chatterji the music director of the film showed his brilliance in composing devotional songs as well.
The film did excellent business after release in 1969 and still remains an inspiration for new directors in making films with classic literature. The film and music of the film should be restored.
Music lovers lament Alpona Banerjee's death.
Music lovers lament Alpona Banerjee’s death.
The music lovers all across India lament Alpona Banerjee’s death on 24th July 2009. Children and elders had huge affection towards the romantic singer. She had sung many romantic songs both in Bengali films and also had basic discs during the golden age of Bengali music.
Her notable Bengali modern songs included “mon bolche aaj sondhay kichu bolte tumi ashbe ki” composed by Manobendra Mukherjee, “tumi shundar bole taito bondhu besecho halo amay” composed by Manobendra Mukherjee, “bolechhile tumi gaan shonabe” composed by Abhijit Banerjee, etc. She sang very significant songs in hit films in the 50s. Her song “hridoy amar shundaro tobo pay” in Uttam Kumar and Suchitra Sen’s film Sagarika became landmark hit. Robin Chatterji, the composer of the song used Alpona’s silky voice for expressing the affection of the actress Jamuna Singha in the film.
Alpona Banerjee sang many significant songs in other films like Bikash Roy’s Chele Kar, Pahari Sanyal’s Bidhyasagar, etc. In the mid-50s Alpona became matchless in her children’s songs which were termed as “charar gaan”.
Children all across the country are obsessed towards the songs of Alpona Banerjee. Her notable songs included “chotto pakhi chondona”, “hattimatim tim”, etc. Those songs did great business in the regional market of West Bengal.
Alpona Banerjee discontinued music after marriage and faded away from the Bengali music arena in the late 60s. The listeners felt sad about it as Alpona Banerjee’s romantic voice had appeal along with Sandhya Mukherjee, Geeta Dutt, Nirmala Mishra, Pratima Banerjee, Bani Ghoshal and many other leading singers og Bengali modern songs.
Alpona Banerjee appeared in TV channels like Doordarshan a number of times in the 80s and 90s and sang her popular songs. Her songs and films should be preserved and restored.
The music lovers all across India lament Alpona Banerjee’s death on 24th July 2009. Children and elders had huge affection towards the romantic singer. She had sung many romantic songs both in Bengali films and also had basic discs during the golden age of Bengali music.
Her notable Bengali modern songs included “mon bolche aaj sondhay kichu bolte tumi ashbe ki” composed by Manobendra Mukherjee, “tumi shundar bole taito bondhu besecho halo amay” composed by Manobendra Mukherjee, “bolechhile tumi gaan shonabe” composed by Abhijit Banerjee, etc. She sang very significant songs in hit films in the 50s. Her song “hridoy amar shundaro tobo pay” in Uttam Kumar and Suchitra Sen’s film Sagarika became landmark hit. Robin Chatterji, the composer of the song used Alpona’s silky voice for expressing the affection of the actress Jamuna Singha in the film.
Alpona Banerjee sang many significant songs in other films like Bikash Roy’s Chele Kar, Pahari Sanyal’s Bidhyasagar, etc. In the mid-50s Alpona became matchless in her children’s songs which were termed as “charar gaan”.
Children all across the country are obsessed towards the songs of Alpona Banerjee. Her notable songs included “chotto pakhi chondona”, “hattimatim tim”, etc. Those songs did great business in the regional market of West Bengal.
Alpona Banerjee discontinued music after marriage and faded away from the Bengali music arena in the late 60s. The listeners felt sad about it as Alpona Banerjee’s romantic voice had appeal along with Sandhya Mukherjee, Geeta Dutt, Nirmala Mishra, Pratima Banerjee, Bani Ghoshal and many other leading singers og Bengali modern songs.
Alpona Banerjee appeared in TV channels like Doordarshan a number of times in the 80s and 90s and sang her popular songs. Her songs and films should be preserved and restored.
Dhanonjoy Bhattacharya - the legendary classical singer of bengal.
Dhanonjoy Bhattacharya – the legendary classical singer of Bengal.
Dhanonjoy Bhattacharya was the one of the legendary classical singer of Bengal of the 50s and 60s, who showed his excellence in films songs, Bengali modern songs and shyamasangeet. He did not get the recognition he deserved as the major attention of the media was focused only towards Hemant Kumar, the romantic singer of Bengal, but along with Manobendra Mukherjee, Manna Dey, Akhilbondhu Ghosh, Satinath Mukherjee and others, Dhanonjoy’s classical touch inspired the composers to compose pure classical and semi-classical songs.
Dhanonjoy’s evergreen modern songs included “matite jonmo nilam” composed by Prabir Mojumdar, “kabir kheyale premomoy tumi samrat shahjahan” composed by himself, “jhanana jhanana baje” composed by Salil Choudhury, “ei jhir jhir jhir batashe” composed by Sudhin Dasgupta, “ruma jhuma jhum” composed by Rotu Mukherjee, “antabihin oi andharater” composed by Salil Choudhury, “shilpi moner bedona”, “tandra elo bolo jaagi kemon kore”, “chameli melona ankhi”, “bashorer deep aaj” to name a few.
Dhanonjoy Bhattacharya acted in Bengali films like Pasher Bari (which was remade in hindi with the title Parosan where Kishore Kumar played his role), nobo bidhan, etc. His brilliant songs in Bengali films included “jagannath swami gamanapathagami bhabatue” sung in the film Nilachole Mahaprobhu, composed by Raichand Boral, “jhir jhir jhir jhir jhir borosha” in the film Pasher Bari, composed by Salil Choudhury, “katharo aghate chinno paye rokto jhare” in Uttam Kumar’s film Sabar Upare, composed by Robin Chatterji, etc. He made major contribution in Uttam Kumar’s film Nabajanmo, Uttam Kumar’s film Shilpi, etc.
Besides, Dhanonjoy Bhattacharya had sung more than 200 shyama sangeet (devotional songs sung for Goddess Kali). Some of his legendary shyama sangeet included “e maya proponchomoy” in the Uttam Kumar’s film Share Chuattor, “gaya ganga prabashadi” in the film Rani Rashmoni, also major songs in the films Sadhok Bamakhepa and Joto Mot Tato Poth. His brother Pannalal Bhattacharya became a legend in the world of Shyama sangeet.
Dhanonjoy died in the early 1990s, after leaving a huge treasure of classical songs and still remains a king (samrat) in the minds of numerous music lovers in the country.
Dhanonjoy Bhattacharya was the one of the legendary classical singer of Bengal of the 50s and 60s, who showed his excellence in films songs, Bengali modern songs and shyamasangeet. He did not get the recognition he deserved as the major attention of the media was focused only towards Hemant Kumar, the romantic singer of Bengal, but along with Manobendra Mukherjee, Manna Dey, Akhilbondhu Ghosh, Satinath Mukherjee and others, Dhanonjoy’s classical touch inspired the composers to compose pure classical and semi-classical songs.
Dhanonjoy’s evergreen modern songs included “matite jonmo nilam” composed by Prabir Mojumdar, “kabir kheyale premomoy tumi samrat shahjahan” composed by himself, “jhanana jhanana baje” composed by Salil Choudhury, “ei jhir jhir jhir batashe” composed by Sudhin Dasgupta, “ruma jhuma jhum” composed by Rotu Mukherjee, “antabihin oi andharater” composed by Salil Choudhury, “shilpi moner bedona”, “tandra elo bolo jaagi kemon kore”, “chameli melona ankhi”, “bashorer deep aaj” to name a few.
Dhanonjoy Bhattacharya acted in Bengali films like Pasher Bari (which was remade in hindi with the title Parosan where Kishore Kumar played his role), nobo bidhan, etc. His brilliant songs in Bengali films included “jagannath swami gamanapathagami bhabatue” sung in the film Nilachole Mahaprobhu, composed by Raichand Boral, “jhir jhir jhir jhir jhir borosha” in the film Pasher Bari, composed by Salil Choudhury, “katharo aghate chinno paye rokto jhare” in Uttam Kumar’s film Sabar Upare, composed by Robin Chatterji, etc. He made major contribution in Uttam Kumar’s film Nabajanmo, Uttam Kumar’s film Shilpi, etc.
Besides, Dhanonjoy Bhattacharya had sung more than 200 shyama sangeet (devotional songs sung for Goddess Kali). Some of his legendary shyama sangeet included “e maya proponchomoy” in the Uttam Kumar’s film Share Chuattor, “gaya ganga prabashadi” in the film Rani Rashmoni, also major songs in the films Sadhok Bamakhepa and Joto Mot Tato Poth. His brother Pannalal Bhattacharya became a legend in the world of Shyama sangeet.
Dhanonjoy died in the early 1990s, after leaving a huge treasure of classical songs and still remains a king (samrat) in the minds of numerous music lovers in the country.
Review of Uttam- Suchitra's Bipasha.
Review of Uttam – Suchitra’s Bipasha.
Uttam Kumar and Suchitra Sen are considered to be the greatest romantic pair that ever graced Indian silver screen. They acted in 30 films together and most of their films ended up being cine-classics. Bipasha was released in 1962 and did fantastic business.
It was a film directed by Agradoot where Robin Chatterji composed the music. Suchitra Sen was named Beas (Bipasha in Bengali) as she was born near river Beas. She lost her parents during riots occurring at the time of partition in 1947. She was saved by Kamal Mitra, a divine soul near Sialkot and reached to relief camp in New Delhi. She studied there and got a job in tribal welfare in Panchet in Bihar.
Uttam Kumar was an engineer who worked in Damodar Valley Corporation (DVC) projects. Both Suchitra Sen and Uttam Kumar met each other and entered into an affair. Suchitra Sen gave able lips in Sandhya Mukherjee’s song “aami sapne tomay dekhechi”. When Uttam Kumar wanted to marry Suchitra Sen, he got a letter from his maternal uncle played by Nitish Mukherjee saying that he was illegitimate son of his mother Chaya Debi.
Uttam Kumar went to Allahabad to find his mother and in her absence attempted to commit suicide. Chabi Biswas, a sanyasi there saved him. He wrote a letter saying that Uttam Kumar (Dibyendu Chatterji) was the son of Saradindu Chatterji (Chabi Biswas). Chaya Debi (his wife) gave birth to him before her marriage. Chabi Biswas went abroad and married another foreign girl. The foreigner filed a suit against Chabi Biswas after she knew that he was already married to Chaya Debi. Their Chaya Debi gave false testimony saying that she was not married to Chabi Biswas, to save her husband. Uttam Kumar came to be known as illegitimate son from that time. After that Chabi Biswas gave the contact details of Chaya Debi. Uttam Kumar and Suchitra Sen found her and film ended there.
The powerful story was given adequate expression by compassionate performance of legendary actor Chabi Biswas. Uttam Kumar and Suchitra Sen’s romantic performance just improved from film to film and viewers started thinking that both of them were husband and wife.
It is a pity that Uttam Kumar and Suchitra Sen did not show their powerful performance in bollywood films, otherwise they would have given very tough competition to Raj Kapoor and Nargis and Dilip Kumar and Vaijayantimala who ruled bollywood industry in the 50s. The film Bipasha should be restored for its aesthetic value.
Uttam Kumar and Suchitra Sen are considered to be the greatest romantic pair that ever graced Indian silver screen. They acted in 30 films together and most of their films ended up being cine-classics. Bipasha was released in 1962 and did fantastic business.
It was a film directed by Agradoot where Robin Chatterji composed the music. Suchitra Sen was named Beas (Bipasha in Bengali) as she was born near river Beas. She lost her parents during riots occurring at the time of partition in 1947. She was saved by Kamal Mitra, a divine soul near Sialkot and reached to relief camp in New Delhi. She studied there and got a job in tribal welfare in Panchet in Bihar.
Uttam Kumar was an engineer who worked in Damodar Valley Corporation (DVC) projects. Both Suchitra Sen and Uttam Kumar met each other and entered into an affair. Suchitra Sen gave able lips in Sandhya Mukherjee’s song “aami sapne tomay dekhechi”. When Uttam Kumar wanted to marry Suchitra Sen, he got a letter from his maternal uncle played by Nitish Mukherjee saying that he was illegitimate son of his mother Chaya Debi.
Uttam Kumar went to Allahabad to find his mother and in her absence attempted to commit suicide. Chabi Biswas, a sanyasi there saved him. He wrote a letter saying that Uttam Kumar (Dibyendu Chatterji) was the son of Saradindu Chatterji (Chabi Biswas). Chaya Debi (his wife) gave birth to him before her marriage. Chabi Biswas went abroad and married another foreign girl. The foreigner filed a suit against Chabi Biswas after she knew that he was already married to Chaya Debi. Their Chaya Debi gave false testimony saying that she was not married to Chabi Biswas, to save her husband. Uttam Kumar came to be known as illegitimate son from that time. After that Chabi Biswas gave the contact details of Chaya Debi. Uttam Kumar and Suchitra Sen found her and film ended there.
The powerful story was given adequate expression by compassionate performance of legendary actor Chabi Biswas. Uttam Kumar and Suchitra Sen’s romantic performance just improved from film to film and viewers started thinking that both of them were husband and wife.
It is a pity that Uttam Kumar and Suchitra Sen did not show their powerful performance in bollywood films, otherwise they would have given very tough competition to Raj Kapoor and Nargis and Dilip Kumar and Vaijayantimala who ruled bollywood industry in the 50s. The film Bipasha should be restored for its aesthetic value.
Review of Suchitra Sen's Uttar Falguni.
Review of Suchitra Sen’s Uttar Falguni.
Suchitra Sen was the greatest actress Bengal had ever produced in the history of cinema. She had remained one of the most versatile actresses produced by Indian cinema in the last 60 years.
Uttar Falguni was released in 1963, at a time when Suchitra Sen was ruling the Bengali silver screen. While romantic performance in 30 films opposite superstar Uttam Kumar established her as the queen of Bengali cinema, her performance in female dominated films like Deep Jele Jai created a new dimension in the world of creative arts.
Uttar Falguni was directed by Asit Sen. The music was composed by Robin Chatterji. Suchitra Sen played the role of the girl Debjani, who loved Barrister Manish (played by Bikash Roy), but due to repayment of loan of father Jahar Ganguly, married a characterless person Rakhal Bhattacharya played by Kalipada Chakravarty. Bikash Roy went abroad and asked Suchitra Sen to wait till he returned to India. But due to compelling circumstances Suchitra Sen married Kalipada Chakravarty.
Suchitra Sen gave birth to Kalipada Chakravarty’s daughter and to rear her up became Pannabai (a singer who earned money by performing in mujras). She admitted her daughter in a missionary school and promised before the principal that she would never disclose her identity before her daughter. But her husband Rakhal Bhattacharya used to visit Suchitra Sen’s house and take money with the threat that he would find out her daughter and disclose his identity before her.
Bikash Roy came back to India, went to Lucknow to meet Suchitra Sen. He even agreed to marry her but Suchitra Sen said that it was too late. Instead she asked her to take the responsibility relating to education of her daughter. Bikash Roy send Suchitra Sen’s daughter Suchorita (also played by Suchitra Sen) abroad. She became a Barrister and returned back with young barrister played by Dilip Mukherjee.
But when Sucharita was seen in Kolkata High Court with Bikash Roy, her father Rakhal Bhattacharya blackmailed her mother saying that he would disclose the fact that Suchitra Sen’s mother was a baijee. Debjani (Suchitra Sen) killed Rakhal Bhattacharya by firing 6 bullets.
When the murder case was tried in Court of law, Sucharita compelled Bikash Roy to disclose his relationship with Debjani. That was the most delirium scene of the film. Bikash Roy told the entire history of the sacrifice of Debjani and all her efforts to make her daughter a barrister. Sucharita pleaded before the court to acquit her mother as the murder did occur out of adequate provocation. Her mother died at the witness box itself.
The film was remade in hindi with the title Mamta. But it miserably failed to match the epic performance of the stars in Uttar Falguni. Undoubtedly it was the best performance of Suchitra Sen in her double role. Bikash Roy also rose up to the occasion in an Uttam Kumar production, where Uttam Kumar did not play the role but left it upto the experience of respectable Bikash Roy.
Uttar Falguni had been a milestone of Indian classic cinema and should be preserved for the following generations.
Suchitra Sen was the greatest actress Bengal had ever produced in the history of cinema. She had remained one of the most versatile actresses produced by Indian cinema in the last 60 years.
Uttar Falguni was released in 1963, at a time when Suchitra Sen was ruling the Bengali silver screen. While romantic performance in 30 films opposite superstar Uttam Kumar established her as the queen of Bengali cinema, her performance in female dominated films like Deep Jele Jai created a new dimension in the world of creative arts.
Uttar Falguni was directed by Asit Sen. The music was composed by Robin Chatterji. Suchitra Sen played the role of the girl Debjani, who loved Barrister Manish (played by Bikash Roy), but due to repayment of loan of father Jahar Ganguly, married a characterless person Rakhal Bhattacharya played by Kalipada Chakravarty. Bikash Roy went abroad and asked Suchitra Sen to wait till he returned to India. But due to compelling circumstances Suchitra Sen married Kalipada Chakravarty.
Suchitra Sen gave birth to Kalipada Chakravarty’s daughter and to rear her up became Pannabai (a singer who earned money by performing in mujras). She admitted her daughter in a missionary school and promised before the principal that she would never disclose her identity before her daughter. But her husband Rakhal Bhattacharya used to visit Suchitra Sen’s house and take money with the threat that he would find out her daughter and disclose his identity before her.
Bikash Roy came back to India, went to Lucknow to meet Suchitra Sen. He even agreed to marry her but Suchitra Sen said that it was too late. Instead she asked her to take the responsibility relating to education of her daughter. Bikash Roy send Suchitra Sen’s daughter Suchorita (also played by Suchitra Sen) abroad. She became a Barrister and returned back with young barrister played by Dilip Mukherjee.
But when Sucharita was seen in Kolkata High Court with Bikash Roy, her father Rakhal Bhattacharya blackmailed her mother saying that he would disclose the fact that Suchitra Sen’s mother was a baijee. Debjani (Suchitra Sen) killed Rakhal Bhattacharya by firing 6 bullets.
When the murder case was tried in Court of law, Sucharita compelled Bikash Roy to disclose his relationship with Debjani. That was the most delirium scene of the film. Bikash Roy told the entire history of the sacrifice of Debjani and all her efforts to make her daughter a barrister. Sucharita pleaded before the court to acquit her mother as the murder did occur out of adequate provocation. Her mother died at the witness box itself.
The film was remade in hindi with the title Mamta. But it miserably failed to match the epic performance of the stars in Uttar Falguni. Undoubtedly it was the best performance of Suchitra Sen in her double role. Bikash Roy also rose up to the occasion in an Uttam Kumar production, where Uttam Kumar did not play the role but left it upto the experience of respectable Bikash Roy.
Uttar Falguni had been a milestone of Indian classic cinema and should be preserved for the following generations.
Robin Chatterji and Sandhya Mukherjee
Robin Chatterji and Sandhya Mukherjee.
Robin Chatterji was the uncrowned king of bengali cinema during the golden age in the world of music direction. The entire industry dependant on Robin Chatterji and whatever work he had produced can be very well be designated as masterpieces. He contributed the most in Suchitra Sen’s films and for those reasons Sandhya Mukherjee, whose voice suited Suchitra Sen the most, sang majority of songs composed by the legendary composer.
In Uttam Kumar and Suchitra Sen’s film Sagarika, Sandhya Mukherjee’s song “sei to amar prothomo phaguna bela” composed by Robin Chatterji mesmerized the audience along with Alpona Banerjee’s “hridoy amar sundoro tobo paye” picturised on Jamuna Sinha and Shyamal Mitra’s “amar sapne dekha rakonya” picturised on Uttam Kumar. The film stormed Bengali cinema as the audience accepted Uttam Kumar and Suchitra Sen as the greatest romantic pair to be ever born in this country.
Robin Chatterji’s composition for Sandhya Mukherjee titled “dheere bondhu dheere” in the film Pathe Holo Deri had the romantic element embedded in them. Similarly in the film Pathe Holo Deri, all the compositions of Robin Chatterji for Sandhya Mukherjee including “e sudhu ganer din”, “e chaya bhora logone aaj”, “tumi na hoy rohite kache”, etc., presented the romantic presentation of Bengali modern songs for the first time.
The same combination had provided brilliant songs like “monero madhuri mishaye” in Suchitra Sen’s film Shriti Tuku Thak, “ami sapne tomay dekhechi” in Suchitra Sen’s film Bipasha, “ghum ghum chand” in Suchitra Sen’s film Sabar Upore, to name a few. Robin Chatterji provided brilliant tunes to Sandhya Mukherjee in also films like Nayikar Bhumikay, including devotional songs like “notun surjo alo dao, alo dao”.
Robin Chatterji exploited the classical skills of Sandhya Mukherjee, as she was the student of Ustad Bare Ghulam Ali Khan, in the film Uttar Falguni. Suchitra Sen played the role of the singer Panna Bai in the film who sacrificed her entire life to make her daughter a barrister. The film had classical songs and Sandhay Mukherjee’s classical andaz created separate dimension for the viewers. In the hindi remake of the same film titled Mamta, composer Roshan had to match the classical compositions of Robin Chatterji, as the Bengali film won international awards for best performance and other technical awards.
Besides Sandhya Mukherjee had many basic discs of Bengali modern songs like “amare loye je”, “ei nodi tire”, etc., composed by Robin Chatterji, which had the same romantic appeal and brilliant use of the piano which was used with elegance by Robin Chatterji, all along his career.
Probably Suchitra Sen could never had become mahanayika (megaactress), had she not got the compositions of Robin Chatterji and songs of Sandhya Mukherjee, as they contributed even in actress-oriented films like Grihadaha, Kamallata, where Suchitra Sen played character roles. The films having compositions of Robin Chatterji and songs of Sandhya Mukherjee should be preserved and restored for their musical value.
Robin Chatterji was the uncrowned king of bengali cinema during the golden age in the world of music direction. The entire industry dependant on Robin Chatterji and whatever work he had produced can be very well be designated as masterpieces. He contributed the most in Suchitra Sen’s films and for those reasons Sandhya Mukherjee, whose voice suited Suchitra Sen the most, sang majority of songs composed by the legendary composer.
In Uttam Kumar and Suchitra Sen’s film Sagarika, Sandhya Mukherjee’s song “sei to amar prothomo phaguna bela” composed by Robin Chatterji mesmerized the audience along with Alpona Banerjee’s “hridoy amar sundoro tobo paye” picturised on Jamuna Sinha and Shyamal Mitra’s “amar sapne dekha rakonya” picturised on Uttam Kumar. The film stormed Bengali cinema as the audience accepted Uttam Kumar and Suchitra Sen as the greatest romantic pair to be ever born in this country.
Robin Chatterji’s composition for Sandhya Mukherjee titled “dheere bondhu dheere” in the film Pathe Holo Deri had the romantic element embedded in them. Similarly in the film Pathe Holo Deri, all the compositions of Robin Chatterji for Sandhya Mukherjee including “e sudhu ganer din”, “e chaya bhora logone aaj”, “tumi na hoy rohite kache”, etc., presented the romantic presentation of Bengali modern songs for the first time.
The same combination had provided brilliant songs like “monero madhuri mishaye” in Suchitra Sen’s film Shriti Tuku Thak, “ami sapne tomay dekhechi” in Suchitra Sen’s film Bipasha, “ghum ghum chand” in Suchitra Sen’s film Sabar Upore, to name a few. Robin Chatterji provided brilliant tunes to Sandhya Mukherjee in also films like Nayikar Bhumikay, including devotional songs like “notun surjo alo dao, alo dao”.
Robin Chatterji exploited the classical skills of Sandhya Mukherjee, as she was the student of Ustad Bare Ghulam Ali Khan, in the film Uttar Falguni. Suchitra Sen played the role of the singer Panna Bai in the film who sacrificed her entire life to make her daughter a barrister. The film had classical songs and Sandhay Mukherjee’s classical andaz created separate dimension for the viewers. In the hindi remake of the same film titled Mamta, composer Roshan had to match the classical compositions of Robin Chatterji, as the Bengali film won international awards for best performance and other technical awards.
Besides Sandhya Mukherjee had many basic discs of Bengali modern songs like “amare loye je”, “ei nodi tire”, etc., composed by Robin Chatterji, which had the same romantic appeal and brilliant use of the piano which was used with elegance by Robin Chatterji, all along his career.
Probably Suchitra Sen could never had become mahanayika (megaactress), had she not got the compositions of Robin Chatterji and songs of Sandhya Mukherjee, as they contributed even in actress-oriented films like Grihadaha, Kamallata, where Suchitra Sen played character roles. The films having compositions of Robin Chatterji and songs of Sandhya Mukherjee should be preserved and restored for their musical value.
Bengali film industry misses classical singers like Manobendra Mukherjee
Bengali film industry misses classical singers like Manobendra Mukherjee.
Bengali cinema for the last 10 years, have relied on music composed by music directors of Bombay and singers of bollywood films. Mostly composers like Bappi Lahiri, Shantonu Moitra, and singers like Kumar Shanu, Babul Supriyo, Abhijeet are brought from Bombay and contribute for the Bengali cinema.
There was an age (the 50s and 60s) when Bengali film industry was self-sufficient and did not have to borrow singers from bollywood industry. Manobendra Mukherjee belonged to such an elite class who could sing any type of song ranging from pure classical numbers to folk songs, to nazrulgeeti, to westernized songs.
In 1954, Manobendra Mukherjee started his innings as music director in Bengali films with Uttam Kumar’s film Chapadangar Bou. He sang Mahadev’s gajon (a type of devotional song) titled “shibo he shibo he” which was picturised on Uttam Kumar and became very successful. Manobendra’s kirtan in Uttam Kumar’s film Shanjher Prodeep also became extremely popular.
Manobendra was brilliant by every musical standard in the film Nilachole Mahaprobhu which was based on the life of Lord Chaitanya. Composer Raichand Boral made Manobendra sing a number of kirtans including “jagannath jagatbandhu” which became superhit. During that time composer Ghyan Prakash Ghosh used Manobendra Mukherjee for pure classical numbers like “andhare”. Bosonto Choudhury played the main role in the film. Noted composer Anil Bagchi experimented with classical numbers in Chabi Biswas’s epic film Shashibabur Sangsar. The song “rojoni pohale sojoni kothaye” was very successful and Bosonto Choudhury gave able lips on Manobendra’s song in the film.
In the mid-50s, composer Nochiketa Ghosh experimented with folk songs in the film Nabajanma. Uttam Kumar gave brilliant lips in Manobendra’s song titled “ore monmajhi” which was based on Bengali folk song titled bhatiayali. Manobendra was sublime in Bosonto Choudhury’s film Kostipathor. The song “kal se phakir aaj se raja” showed Manobendra’s skills in singing light songs.
In the 60s Manobendra stormed Bengali films as a versatile composer. All the songs composed in Biswajeet’s film Mayamrigo became superhit, including Manobendra’s own song “metidiamerikar kabyo”, “bidhire”, Hemanta Mukherjee’s song “ore son son geroraj”, Sandhya Mukherjee’s song “bok bok bok bokum bokum payera”.
Similarly all the songs composed by Manobendra Mukherjee in Chabi Biswas’s legendary film Badhu, were well appreciated by the learned audience including Manobendra’s own kirtan “gunimon kalorupe”, Sandhya Mukherjee’s song “sonali megher din”, etc. Manobendra’s composition in the film Godhuli Belai was equally brilliant with the title song “godhuli belai” picturised on Biswajeet.
Probably Joy Joyanti, marked the best creation of Manobendra Mukherjee which fetched him Indira Gandhi award for remarkable music composition. The film was based on Hollywood film Sound of Music. Sandhya Mukherjee’s songs in the film “amader chuti chuti”, “kiholo karo je mukhe kotha phote na”, etc., were landmarks in Bengali film music.
Besides, many composers had given their most dynamic compositions to Manobendra. The best example can be the film Lalu Bhulu. Lyricist Sailen Roy and composer Robin Chatterji gave probably the best songs ever in the film. All the songs sung by Manobendra mukherjee like “ei pranjhorona jaglo”, “akash mor alloy decho bhore”, “jar hiya akasher neel nilimai”, “dukkho amar shesh kore dao probhu”, “dukher pothe naamli Jodi”, etc., had class, variety and depicted the helplessness of two blind and handicapped boys who sang songs to earn their livelihood. In fact Lalu Bhulu’s songs were inspiration for lyricist Majrooh Sultanpuri, composer Laxmikant Pyarellal and singer Mohammad Rafi, who created songs of their lifetime in the film Dosti which was the hindi adaptation of Bengali film Lalubhulu.
Some of Manobendra’s songs like “dole dodul dole jhulona” in Uttam Kumar’s film Deya Neya are still popular even today. Manobendra’s composition in films like Joto Mot Tato Poth, Sudur Niharika, Sadhok Bamakhepa, caught both the classical base and devotional flavor of Bengali music. It is a pity that Manobendra Mukherjee, with all his classical talent and depth, did not go to bollywood like Manna Dey, otherwise Bengal could have been represented on a larger scale by the meritorious singer and composer whose style and elegance in modern songs was compared with stylish andaz of Australian batsman Neil Harvey. Bengali films these days lack the brilliance of classical singers and composers like Manobendra Mukherjee who are born once in a decade. The songs and the films should be restored for their aesthetic value.
Bengali cinema for the last 10 years, have relied on music composed by music directors of Bombay and singers of bollywood films. Mostly composers like Bappi Lahiri, Shantonu Moitra, and singers like Kumar Shanu, Babul Supriyo, Abhijeet are brought from Bombay and contribute for the Bengali cinema.
There was an age (the 50s and 60s) when Bengali film industry was self-sufficient and did not have to borrow singers from bollywood industry. Manobendra Mukherjee belonged to such an elite class who could sing any type of song ranging from pure classical numbers to folk songs, to nazrulgeeti, to westernized songs.
In 1954, Manobendra Mukherjee started his innings as music director in Bengali films with Uttam Kumar’s film Chapadangar Bou. He sang Mahadev’s gajon (a type of devotional song) titled “shibo he shibo he” which was picturised on Uttam Kumar and became very successful. Manobendra’s kirtan in Uttam Kumar’s film Shanjher Prodeep also became extremely popular.
Manobendra was brilliant by every musical standard in the film Nilachole Mahaprobhu which was based on the life of Lord Chaitanya. Composer Raichand Boral made Manobendra sing a number of kirtans including “jagannath jagatbandhu” which became superhit. During that time composer Ghyan Prakash Ghosh used Manobendra Mukherjee for pure classical numbers like “andhare”. Bosonto Choudhury played the main role in the film. Noted composer Anil Bagchi experimented with classical numbers in Chabi Biswas’s epic film Shashibabur Sangsar. The song “rojoni pohale sojoni kothaye” was very successful and Bosonto Choudhury gave able lips on Manobendra’s song in the film.
In the mid-50s, composer Nochiketa Ghosh experimented with folk songs in the film Nabajanma. Uttam Kumar gave brilliant lips in Manobendra’s song titled “ore monmajhi” which was based on Bengali folk song titled bhatiayali. Manobendra was sublime in Bosonto Choudhury’s film Kostipathor. The song “kal se phakir aaj se raja” showed Manobendra’s skills in singing light songs.
In the 60s Manobendra stormed Bengali films as a versatile composer. All the songs composed in Biswajeet’s film Mayamrigo became superhit, including Manobendra’s own song “metidiamerikar kabyo”, “bidhire”, Hemanta Mukherjee’s song “ore son son geroraj”, Sandhya Mukherjee’s song “bok bok bok bokum bokum payera”.
Similarly all the songs composed by Manobendra Mukherjee in Chabi Biswas’s legendary film Badhu, were well appreciated by the learned audience including Manobendra’s own kirtan “gunimon kalorupe”, Sandhya Mukherjee’s song “sonali megher din”, etc. Manobendra’s composition in the film Godhuli Belai was equally brilliant with the title song “godhuli belai” picturised on Biswajeet.
Probably Joy Joyanti, marked the best creation of Manobendra Mukherjee which fetched him Indira Gandhi award for remarkable music composition. The film was based on Hollywood film Sound of Music. Sandhya Mukherjee’s songs in the film “amader chuti chuti”, “kiholo karo je mukhe kotha phote na”, etc., were landmarks in Bengali film music.
Besides, many composers had given their most dynamic compositions to Manobendra. The best example can be the film Lalu Bhulu. Lyricist Sailen Roy and composer Robin Chatterji gave probably the best songs ever in the film. All the songs sung by Manobendra mukherjee like “ei pranjhorona jaglo”, “akash mor alloy decho bhore”, “jar hiya akasher neel nilimai”, “dukkho amar shesh kore dao probhu”, “dukher pothe naamli Jodi”, etc., had class, variety and depicted the helplessness of two blind and handicapped boys who sang songs to earn their livelihood. In fact Lalu Bhulu’s songs were inspiration for lyricist Majrooh Sultanpuri, composer Laxmikant Pyarellal and singer Mohammad Rafi, who created songs of their lifetime in the film Dosti which was the hindi adaptation of Bengali film Lalubhulu.
Some of Manobendra’s songs like “dole dodul dole jhulona” in Uttam Kumar’s film Deya Neya are still popular even today. Manobendra’s composition in films like Joto Mot Tato Poth, Sudur Niharika, Sadhok Bamakhepa, caught both the classical base and devotional flavor of Bengali music. It is a pity that Manobendra Mukherjee, with all his classical talent and depth, did not go to bollywood like Manna Dey, otherwise Bengal could have been represented on a larger scale by the meritorious singer and composer whose style and elegance in modern songs was compared with stylish andaz of Australian batsman Neil Harvey. Bengali films these days lack the brilliance of classical singers and composers like Manobendra Mukherjee who are born once in a decade. The songs and the films should be restored for their aesthetic value.
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