Epoch-making Bangali singers of yesteryears

Long before the arrival of Uttam Kumar (1926-80), actor-director-screenwriter Pramathesh Barua (1903-51) was the first male heartthrob of Bangla cinema. His movie version of Devdas (1935) was most authentic. Like the Cumilla-born and raised, Victoria College-educated singer-musician Sachin Dev Burman (1906-75), the Assamese Pramathesh Barua was a prince.  

Kanan Devi: Long before Suchitra Sen (Roma Dasgupta, 1931-2014) and Sandhya Mukherjee, Kanan (Bala) Devi (1916-92) superbly embodied the talents of both to become Bangla cinema’s first and only singer-heroine. Barua and Kanan combined their talents in Shesh Uttar (1942) to produce Bangla movie’s first mega hit. Barua directed and acted in the film. The movie featured Kanan Devi’s immortal song, “Chhandey Chhandey Duli Anondey, Ami Bono-phulgo”, which our mothers had hummed happily.  The music for the movie was composed by the Jashore-born and Cumilla Victoria College-educated Kamal Dasgupta (1912-74), who married Nazrul Sangeet virtuoso Firoza Begum in 1955, converted to Islam and adopted the name Kamal Uddin Ahmed.

Hemanta Mukherjee: Although there were pioneers like Pankaj Kumar Mullick (1905-78) – the actor-singer, proficient in both Bangla and Hindi (“Piyaa Milan Ko Jaanaa”), and singers like Jaganmoy Mitra (1918-2003) with the heart-piercing 1948 classic songs: “Chithi – Tumi Aaj Katodurey”, “Ami Duranta Boishakhi Jhar”, and “Bhalobasha Morey Bhikhari Korechhey” – none contributed more to Bangla vocal music than Hemanta Mukherjee (1920-89).

Changing his name to “Hemant Kumar,” Hemanta Mukherjee first made a name for himself in Hindi cinema. He debuted as the music director of Bankim Chatterjee’s ‘Anand Math’ (1952), where he composed the music for Lata’s “Bande Mataram,” which became one of India’s national songs. Hemanta won the Filmfare Award for best music director for the film Nagin (1954), famous for the ‘Been music’ (performed by his assistants Kalyanji and Ravi) leading to Lata’s timeless “Man Dole Mera Tan Dole” (lyrics by Rajendra Kishan). As s singer, Hemant is best known for his rendition of “Hay Apna Dil” picturised on Dev Anand in the hit Solva Saal (1958, lyrics: Majrooh Sultanpuri, music: S.D. Burman).

Without lyricists, who are poets putting words into the singers’ mouths, they would have been reduced to humming tuners There were quite a few famous lyricists in West Bengal, such as Bimal Chandra Ghosh, Pulak Banerjee and Mukul Dutt, but none was more versatile than the Pabna-born Gauriprasanna Mazumder (1925-86). Some of the most famous Bangla songs were penned by him. He wrote most of Faridpur-born Geeta Dutt (nee Geeta Ghosh Roy Chowdhuri, 1930-72) and Asha Bhosle’s (1933-) famous Bangla songs.

Hemanta recorded two Rabindra Sangeets in 1944: “Amar Ar Habey Na Deri” and “Keno Pantha Ey Chanchalata”.  In 1947, he recorded a unique song composed and written by Salil Choudhury: “Kono Ak Gayner Bodhur Katha Shono” – a 6-minute rendition sung at different paces depicting how the idyllic life of a rural bride was disrupted by the famine of 1943.  The pair also produced the unique, up-tempo “Dhitang Dhitang Boley”. Then there was the nostalgic “Chheley Belar Galpo Shonar Dingulo”.  One of Hemanta’s landmark songs was the 1953 superhit, “Shanto Noditi Patey Anka Chhobiti” (lyrics and music by Paresh Dhar), which described how a tempest transformed a tranquil river. For the next 20 years, a vocalist would sing the song in musical soirees, and an artist would draw the scenes on a blackboard. 

Hemanta launched his Bangla film-composition career with the Suchitra-Uttam blockbuster ‘Shap Mochan’ (1955).  All four songs he composed and sang for Uttam – “Shurer Akashey Tumi-Je-Go”, “Shono Bondhu Shono”, “Boshey Achhi Patho Cheye”, and “Jhar Uthechhey Baul Batash” – became super hits (lyrics: Bimal Ghosh). Hemanta became the singing voice of Uttam Kumar.

Then followed an avalanche of Hemanta gems penned by Gauriprasanna Mazumder: “Aj Dujanar Duti Path” (Harano Shur, 1957); “Nilamwala Chha-Ana”, “Durer Manush Kachhey Esho” (music: Nachiketa Ghosh) (in ‘Prithibi Amarey Chay’, 1957); “Neer Chhoto Khati Nei” (music: Nachiketa Ghosh) (in ‘Indrani’, 1958); “O Nodirey” (in ‘Neel Akasher Nichey’, 1958); “Ei Baluka Belay Ami Likhechhinu”, “Ei Meghla Diney Ekla”, “Keno Durey Thako, Shudhu Aral Rakho” (in ‘Shesh Parjanta’, 1960); “Tarey Boley Dio”, “Amar Jiboner Eto Khushi” (in ‘Dui Bhai’, 1961); “Ei Path Jodi Shesh Na Hai” (playful song with Sandhya in ‘Saptapadi’, 1961); “Etodin Parey Tumi” (‘Bibhash’, 1964); “Ke Jenogo Dekechhey Amay”, “Nijhum Sandhay Pantho Pakhira” (solo and duet with Lata, in ‘Monihar’, 1965, lyrics: Pulak Banerjee). And who can forget: “Ami Door Hotey Tomarei Dekhechhi”, “Megh Kalo Andhar Kalo”, “Runner Chhutechhey Tai Jhum-jhum Ghanta Bajchhey Ratey”.  

A foremost exponent of Rabindra Sangeet, Hemanta modernised and made the genre more palatable to the masses. He had movie-singers like Kishore Kumar (1929-87) sing Rabindra Sangeet “Mayabon Biharini Horini” in ‘Lukochuri’ (1958). Taking the cue from Hemanta, Satyajit Ray used Kishore to sing Rabindra Sangeets: “Ami Chinigo Chini” in Charulata (1964) and “Bidhir Bandhon Katbe Tumi” in ‘Ghare Baire’ (1984). In ‘Lukochuri’, Hemanta utilised Kishore’s talent to make him sing the innovative “Shing Nei Tobu Nam Tar Singha” and himself sang “Muchhey Jawa Dinguli” (all songs in ‘Lukochuri’ were written by Gauriprasanna).  Hemanta composed and Gauriprasanna wrote many of Lata’s most popular Bangla hits, including “Ar Jeno Nei Kono Bhabna” from ‘Deep Jele Jai’ (1959), and perhaps the best of them all, the eternal love song: “Prem Ekbari Eshechhilo Nirabey” (1957).  

Shyamal Mitra: Shyamal Mitra (1929-87) probably sang more Bangla modern hits and movie-songs than anyone else. His most famous Bangla film song “Amar Shapney Dekha Rajkonya” (lyrics by Gauriprasanna Mazumder, music by Robin Chatterjee) was from the Suchitra-Uttam romantic classic ‘Sagorika’ (1956). Many of Shyamal’s earliest non-movie hits were also penned by Gauriprasanna Majumder: “O Shimul Bon, Dao Rangiye Mon” (music: Shyamal), “Sarabela Aaj Ke Dake” (music: Shyamal). Then came other gems like “Sediner Sonajhara Sandhya” (lyrics: Pabitra Mitra, music: Shyamal), “Nam Rekhechhi Bonolata Jakhan Dekhechhi” (lyrics and composition by Sudhin Dasgupta). Then there were three outstanding and ground-breaking songs written and composed by Salil Chowdhury: “Jodi Kichhu Amarey Shudhao”, “Aha Oi Anka Banka je Path Jay Sudurey” (1962), and “Jak Ja Gechhey Ta Jak” (1963). Shyamal Mitra honoured Bangladeshis by singing “Chena Chena Lagey” (lyrics: Fazal Shahabuddin, music: Satya Saha) in the Bangladeshi movie Surya Konya (1975). 

Sandhya Mukherjee (1931-2022) tried her luck in Mumbai early in her career and successfully sang for Barishal-born and raised Anil Biswas (music director of the 1943 superhit, famous for Kismat, starring Ashok Kumar) in the 1951 Dilip Kumar-Madhubala movie Tarana (“Bol Papiha Bol”). Luckily for Bangalis, Sandhya realized that with the advent of Lata and Asha, and fellow Bangali Geeta Dutt already firmly established in Mumbai, it would be better to return to Kolkata.  She soon became the singing voice of Pabna-born and raised ‘Mahanayika’ Suchitra Sen. She sang numerous duets with Hemanta for Suchitra-Uttam and others.

Sandhya Mukherjee: Classically trained by Ustad Bade Ghulam Ali Khan, Sandhya’s songs are like emotional volcanoes whose lava of love never cools.  She was the Lata of Bangla cinema, and transported listeners to variegated worlds of emotion. Her first hit was “Ogo Mor Geetimoy” (1950) (lyrics: Kamal Ghosh, music: Robin Chatterjee). Then came the soul-piercing “Ke Tumi Amarey Dako” (lyrics: Gauriprasanna, music: Anupam Ghatak) in the Suchitra-Uttam hit ‘Ogni Pariksha’ (1954). After that came Robin Chatterjee and Gauriprasanna’s “Ghum Ghum Chand Jhikimiki Tara Ei Madhobirat”, and “Jani Na Phurabey Kabey Ei Patho Chawa” in ‘Sabar Uparey’ (1955). More doses of pathos and ecstasy followed in another Suchitra-Uttam classic ‘Sagorika’ (1956): “Eito Amar Prothom Phagun Bela”, and “Tabo Bijoy Mukut Ajkey Dekhi” (lyrics: Pranab Roy). A ringing endorsement of unrequited love followed in “Hayto Kichhui Nahi Pabo, Tobuo Tomay Ami Dur Hotey Bhalobeshey Jabo” (music: Shyamal, lyrics: Gauriprasanna). Then there was the longing: “Kichhukshan Aro Na Hoi Rohitey Kachhey” and “Eshudhu Ganer Din” (Gauriprasanna and Robin) in ‘Pathey Holo Deri’ (1957), and the Puja song, “Modhumaloti Dakey Ay” (Pronab Roy, Robin Chatterjee), “Ei Path Jodi Na Shesh Hoi” (solo, and duet with Hemanta, music: Hemanta, and lyrics: Gauriprasanna) from ‘Saptapadi’  (1961). Sandhya too, honoured Bangladesh by singing “Ami Je Andharey Bondini” (lyrics: Fazal Shahabuddin, music: Satya Saha) in the 1975 Bangladeshi movie ‘Surya Konya’ directed by Alamgir Kabir.

Pratima Banerjee: Pratima Banerjee (1934-2004), whose ancestors were from Dhaka, was a disruptor. She fearlessly expressed the longings and desires of the heart. Her songs were frank and conversational. Pratima was classically trained, and one of her fans, Lata Mangeshkar once asked: “Why do they ask me to sing in Bangla films when there are singers like Pratima there?”  Pratima proved that she was different by recording “Tomay Keno Lagchhey Eto Chena” (music by fellow disruptor Bhupen Hazarika, lyrics by Pulak Banerjee) in 1960.  She expressed her ecstasy in 1963 with the song, “Mon Je Khushi Khushi Aaj” (lyrics: Pulak Banerjee, music: Ritu Mukherjee), and fondness for darkness in “Andhar Amar Bhalo Lagey” (lyrics: Mukul Dutt, music: Hemanta).  Next was the lover’s plea: “Ekta Gaan Likho Amar Jonno” (lyrics: Subir Hazra, music: Sudhin Dasgupta). Perhaps, Pratima’s signature song was addressing the fire that burnt in every lover’s heart, “Money Agun Jaley, Chokhey Keno Jaley Na” (lyrics: Sudhin Dasgupta, music: Prasanta Chowdhury). Finally, Pratima expressed every heart’s longing in, “Baro Sadh Jagey Ekbar Tomay Dekhi” (lyrics: Pulak Banerjee, music: Hemanta Mukherjee).

EnD note: Kishore Kumar (1929-87) and Manna Dey (1919-2013) have not been discussed in this piece because they devoted their talents mostly to Hindi cinema. For brevity’s sake, the songs of the king of pathos Satinath Mukherjee (1923-92, “Jibaney Jodi Dwip Jalatey Nahi Paro”, lyrics: Gauriprasanna Mazumdar), the quest for deeper love of Manobendra Mukherjee (1929-92, “Ami Eto Je Tomay Bhalobeshechhi”, lyrics: Shyamal Gupta), and other legendary singers like Torun Banerjee, Dwijen Mukherjee, Dhananjay Bhattacharya, Subir Sen, Arati Mukherjee, Sabita Chowdhury, , Alpana Banerjee, and Anup Ghoshal have also not been addressed here.

All the singers, lyricists and composers mentioned above, except Asha Bhosle, are deceased. We remain ever-grateful to them, because we still enjoy every day the gifts they bequeathed to us so many years ago.

Dr Fakhruddin Ahmed is a Rhodes Scholar living in Princeton, New Jersey, USA. fakhruddin.ahmed1975@gmail.com