A tribute to Hemant Kumar on his Birth Centenary (16 June 1920 – 26 September 1989) by guest author N Venkataraman
(Lata Mangeshkar once said in an interview about Hemant Kumar, “Listening to Hemant Da, I feel as though a sadhu sitting in a temple is singing a bhajan.” But a more endearing observation was made by Salil Chowdhury: If God had to sing, he would do it in the voice of Hemant Kumar. After you read this article, you would say, if Hemant Kumar wanted someone to write a tribute on his Centenary, he would have N Venkataraman do the honours.
Venkataramanji needs no introduction to the regular readers of SoY. He is a management professional based in Kolkata, but on SoY we know him for his scholarship and breadth of knowledge. Truly a Renaissance Man from Bengal. I am grateful that he has agreed to write a superb tribute to Hemant Kumar on his Centenary in two parts. In the first part he covers Hemant Kumar’s career up to 1960, giving us a broad panorama of his family roots, his early life to his emergence as a singer and composer of great repute in both Hindi and Bengali, including films and non-film songs. This article also gives a summary of his output in other regional languages. Thank you Venkataramanji for your great effort. – AK)
Section-1: 1920 – 1940
The Mathurapur- Laksmikantapur railway tracks pass through South 24 Parganas, leaving in its trail many old-world, sleepy stations. One such station is BAHARU. BAHARU, one of the many janapadas, that grew up along the old Bhagirathi offshoot from the ancient times, finds a mention in Bipradas Pipilai’s Manasavijaya, composed in 1495; BAHARU, the place where the Dewan of the East India Company, Nandakumar Bose, in the beginning of the 19th century, built a temple for Shyamsundar, acquiring stones from Chunar and requisitioning architects from Jaipur, to recreate Mathura-Vrindaban for his aged mother; BAHARU, the origin of Joynagarer Mua, a sweet well-known all over Bengal, made of Kanakchur, a sweet-smelling variety of rice (popped or puffed) grown in this region, mixed with good quality of liquid palm jaggery and desi ghee; BAHARU, the place where the famous singer and music director Hemanta Kumar Mukhopadhyay spent eight years of his childhood and the village his ancestors originated from.
Vidyabagish Mahamahopadhyay Harihar Mukhopadhyay, the great grandfather of Hemanta Mukhopadhyay, was a respected Tole (traditional schools for teaching Sanskrit) Pandit in Dakshinpara, a locality in Baharu. He had two sons, Haradhan and Bisweswar. Haradhan, the eldest son was the grandfather of Hemanta. Haradhan was pious and a kind-hearted person. In spite of his modest income, he was always forthcoming in helping people in need, even to the extent of borrowing money or selling his belongings. His only son Kalidas Mukherjee inherited the debt left behind by his father. He took up a clerical job in Calcutta and visited Baharu once in a month. Kiranbala Debi, a strong-willed lady, was a pillar of support to her husband, Kalidas Mukherjee. She displayed equanimity in any situation. She had cultivated the habit of reading and writing poetries and setting them to melodies. Probably, Hemanta inherited this trait from his mother. Hemanta’s maternal grandfather, Gobinda Chandra Bandopadhyay, was a Civil Surgeon at the Government Hospital in Benaras. Hemanta and his siblings were born in Benaras. Shaktidas was the eldest. The other two brothers Tarajyoti, Amal and their only sister Neelima were younger to him. A visit to Benaras was almost an annual event for Hemanta till his college days. After their elementary education at the village Pathashala, Hemanta and his elder brother were admitted to Baharu High School (established in 1856). In 1928, when Hemanta’s grandmother passed away, his father decided to move to Calcutta with his family. Bus service was a far cry and railway tracks were being laid. After experiencing the delightful freedom of village life for eight years, it was difficult for young Hemanta to get into the mood of city life. Kalidas Mukherjee constructed a small two roomed house on an inherited piece of land, roughly measuring 720 sq,ft., at Bhawanipur; the adjacent portion, with a bigger house, was occupied by consanguine relatives.
After coming to Calcutta, Hemanta was admitted to Nasiruddin Memorial School. In Calcutta he got to hear Jatra Gaan and the songs of travelling minstrels. He possessed an inherent ability to remember and reproduce the lyrics and tune of the songs he heard. In the year 1934 he was admitted to the prestigious Mitra Institution. Children from well-to-do families studied there and Hemanta’s father could not afford to pay the full tuition fee. Hence on making an appeal, the fee was reduced to half. This shift eventually turned out to be crucial in young Hemanta’s life. He developed close friendship with a bunch of boys which paved the way for him to step into the world of music. Hemanta became popular among his friends for his singing. Yet he never got a chance to sing in the annual functions or other cultural programs organised by the school. But his close friends loved to listen to his songs and were ever encouraging. In this context the names of two of his classmates merit mention. Shyamsundar was from an affluent family and he admired Hemanta’s crooning abilities. Hemanta used to frequent Shyamsundar’s house, everything musical – harmonium, tabla, gramophone records – were there in his house. And young Hemanta was free to listen to the gramophone records; he had access to the harmonium too. It was a boon. He learnt to play the harmonium all by himself and now had the opportunity to fine tune the melodies he had heard and further his practice and singing.
The indifference of the school towards Hemanta’s singing infuriated his friend Subhas Mukherjee. Subhas Mukherjee was already a budding poet at this tender age and later became an acclaimed poet and a literary figure in Bengal. He managed to arrange for an audition for Hemanta Mukherjee at the Indian Broadcasting Corporation (known as All India Radio from 8 June 1936). After three months, to Hemanta’s surprise and joy, he got a letter from IBC informing that he has been allotted a ten-minutes slot to render two songs on a future date. Hemanta’s father was conservative and was not very amiable to Hemanta’s singing. With the help of his mother, Hemanta managed to get his father’s consent. Thus the first hurdle surmounted, Hemanta had to select the two songs for rendition. He persuaded his friend Subhas to write the lyrics. Hemanta set the lyrics to the melody of a recently released recorded song of Kamal Dasgupta. He approached Nirapada Chakraborty, a Bhatiyali singer residing in his locality, to teach him a Bhatiyali song. Subhas accompanied Hemanta to the radio station on the day of the broadcast. Two young friends, around 15 years of age, had accomplished a rare feat which will have few parallels.
During his regular visit to Benaras with his mother and siblings, Hemanta picked up a good number of songs from his cousin sister Lily. His aunt (Mashi/Mausi) and her children planned their visits to coincide with their trips to Benaras. Lily was under the tutelage of a music master and she had good stock of songs. Thus Lily became his first official music teacher. The next year he got one more call from IBC where he rendered two songs. Now he was getting noticed and young Hemanta was enjoying this new-found spotlight on him. He was even referred to as ‘Chhoto Pankaj’.
And paradoxically he was almost rusticated from the school for singing during a free period in his class. The entire class was deeply absorbed in singing to the beats played on their desks. Their reverie was broken by the arrival of the Assistant Headmaster. On being asked who were all singing in the class, only young Hemanta had the honesty and courage to own up, others maintained silence. He was taken to the office and his name removed from the roster. After repeated pleas from his father the Assistant Headmaster relented. However, Hemanta’s father did not rebuke him for this act. The incident left a deep sense of guilt in him. He knew very well that his father wanted him to do well in his education and take up a job to support him in running the family. He concentrated on his studies and passed the matriculation exams in first division. The year was 1937. He was successful in getting admitted to the Mechanical Engineering stream at the Jadavapur Engineering College.
In the meantime after his two appearances in IBC (AIR), nothing was happening on the music front. Now Hemanta tried his hand at writing too. But his good friend Subhas, not agreeable to the idea, once again took the mantle on himself in trying to get an audition at the reputed recording companies. But luck did not favour them this time. Hemanta’s attention was diverted towards literature. A few stories written by Hemanta got published. His story ‘Ekti Ghatana’ was published in the prestigious Desh magazine. However, his passion for singing never ebbed. In his college he was always in the limelight and made good of the few occasions he got to sing in college functions. Opportunity came his way through the most unexpected quarter. Kalidas Mukherjee’s colleague, Shanti Bose was a cello player at the Columbia Company. When he offered to introduce Hemanta to Sailesh Duttagupta, Kalidas Mukherjee was quite willing to accept the offer. He was convinced that with his son’s career in engineering well grounded, music could be a good pastime. And that would please Hemanta too. But never in his dream he could have foreseen that his act of benevolence could change the course altogether. A surprised Hemanta lost no time in accepting the offer with delight.
Sailesh Duttagupta (1905-1963) was a well-known musician and a radio artist. He was in charge of music and training at the Columbia and HMV recording companies. On the appointed date Shanti Bose arrived at the Columbia Company with Hemanta in tow. After customary introduction, Hemanta was asked to sing, but midway he was stopped. A disappointed Hemanta thought he had failed the test. But he was in for a pleasant surprise. Sailesh Babu had very keen ears and eyes for talent and he had spotted it in young Hemanta. In a matter of fact tone, Sailesh Babu told Hemanta that he would train him to sing a new song that day and another one the next day. And after rehearsing it for the next ten days the songs would be recorded. Eventually both the songs were recorded and released. That was in December 1937. The record was well-accepted.
1. Janite jadi go tumi, Bengali NFS (1937), lyrics Naresh Bhattacharya, music Sailesh Duttagupta
I am highlighting a few incidents which may appear trivial. But each of these incidents, even if in a small way, not only revealed his passion and natural inclination for music, but also the impact of these incidents during his budding days. During one of those regular visits to Benaras, Hemanta came across a group of Swadeshis distributing leaflets. The leaflets in different colors contained ‘Vidrohi Kavitas’. One such leaflet landed in his hand and Hemanta set the poetry to music and, much to the amazement of his cousin brother, started singing. Then onwards he used to receive a regular supply of such leaflets from his cousin brother which he dutifully converted to songs.
Although Sailesh Babu had shifted his residence from Bhawanipore to Tollygunge, Hemanta visited him for his training every day. Sailesh Babu was very affectionate and understanding towards Hemanta. Soon, sometime in August 1938, his second record came out. This too was well received, and as on the previous occasion he received twenty rupees as remuneration. With that money (forty rupees) Hemanta’s father got him a harmonium. And there was no looking back. His stint with the All India Radio (AIR) was revived with help of Sailesh Duttagupta. He introduced Hemanta to Bani Kumar (1907-1974). Bani Kumar, whose actual name was Baidyanath Bhattacharya, was the live-wire of AIR. He offered Hemanta to sing in his feature programmes. Hemanta was paid five Rupees for a cluster of five programmes. His full attention diverted towards music, Hemanta lost interest in his studies and literary activities. He quit academics to pursue a career in music, much to the disappointment of his father. His brief stint in stenography also met with the same fate. In the meantime he recorded a few more songs under the training of Sailesh Babu. His remunerations from IBC and the recording companies were not enough to meet his regular expenses. Not wanting to be dependent on his father’s income, he started imparting music lessons and got a few students.
By now Saliesh Duttagupta or Salilesh Babu had become Sailesh Da to Hemanta. Saliesh Da introduced him to Rabindra Sangeet, a vast seascape. He taught him how to read the notations from ‘Swaralipi’ and practice them with the help of harmonium. This opportunity fine-tuned his musical senses and introduced him to a variety of compositions. He also started learning classical music from Phani Bhusan Banerjee, a disciple of Ustad Faiyaz Khan. His stint in classical training was short-lived. It came to an abrupt end on the sudden demise of his Guru. He concentrated on Rabindra Sangeet and with the active support of Sailesh Da he started gaining grounds in this genre. During this period, young Hemanta, on being offered to compose music for a feature programme at AIR, successfully accomplished the task to the satisfaction of Bani Kumar. A highly pleased Bani Kumar offered Hemanta to render a solo and to be a part of the chorus in the prestigious ‘Mahishasuramardini’ programme, broadcast live at dawn on the Mahalaya Day every year. The ninety minutes musical extravaganza, introduced in 1931, was a melodious combination of hymns, narration and devotional songs. Every year, people religiously followed the ritual of getting up before sunrise to tune into the radio station playing ‘Mahishasuramardini’, which had become synonymous with Mahalaya. Bani Kumar (script writing), Pankaj Mullick (music) and Birendra Krishna Bhadra (narration and recitation of scriptures) were the mainstay of this programme. The day was 1st October 1940. This programme brought him close to Pankaj Mullick. Hemanta continued to be a regular member of the Mahalaya team till he shifted to Bombay in1951.
The year 1940 turned out be very eventful for Hemanta. Through lyricist Ajay Bhattacharya he got an offer to sing two solos in the film produced by East India Film Company. Based on the life of Chaitanya Mahaprabhu, the film ‘Nimai Sanyas’ had Chabi Biswas in the lead role and Phani Burma was the director.
2. Kahan kanu kahi from Nimai Sanyas (1940), lyrics Ajay Bhattacharya, music Hariprasanna Das
The same year he rendered two songs for the film ‘Rajkumarer Nirbasan’. The film was directed by Sukumar Dasgupta. According to Hemanta, in 1940 he moved away from Pankaj Mullick’s style and adopted his own approach to singing.
3. Jago pratham pranay from Rajkumarer Nirbasan (1940), lyrics Ajay Bhattacharya, music Hariprasanna Das & SD Burman
The songs became an instant hit and that marked the entry of Hemanta Mukherjee into playback singing. With 8 recorded NF songs, 4 songs in 2 Bengali films, and his broadcasts over IBC/AIR, Hemanta had gained some popularity. This helped him in getting more tuition which was his primary source of income. Public functions would fetch paltry amount, even that was not guaranteed. With the sound of music beckoning, Hemanta moved into the next phase of his life and career.
Section II: 1941 – 1950
Allured by the melody at heart, young Hemanta toddled into the world of music. Now it was time for steady strides down the melody lane. Impressed by the success of ‘Nemai Sanyas’ and ‘Rajkumarer Nirbasan’, Hariprasanna Das made Hemata Mukherjee his assistant. Hemanta’s association with the All India Radio and Columbia Recording Co., which were like his alma mater, continued.
All India Radio
As mentioned earlier, Hemanta was a permanent member of the ‘Mahishasuramardini’ team till 1950. In the year 1944, in the absence of Pankaj Mullick, Hemanta Mukherjee was asked to conduct the rehearsals and music direction of this prestigious programme. However, the next year Pankaj Mullick was back. In the meantime, Hemanta under the training of Sailesh Duttagupta had attained proficiency in the rendition of Rabindra Sangeet. His association with Pankaj Mullick was an added advantage. In 1942, his rendition of Rabindra Sangeet was broadcast over AIR for the first time and he became a regular in this genre too. His participation in feature programmes continued.
Wedding Bells
AIR provided many defining moments in Hemanta’s life. He first came in contact with Bela Mukherjee during the rehearsals of Mahalaya programme at AIR. Bela and her younger sister Abha were part of the chorus. But Bela was yet to get acquainted with Hemanta. That opportunity came in 1943. In those days AIR used to organise public programmes with selected artists. In one of those trips to Jessore (now in Bangladesh) Hemanta and Bela came to know each other. And on return to Calcutta Hemanta became a frequent visitor to Bela’s House. Bela’s mother developed an immediate liking for him. Bela’s father, who was in the services of the Railways, had passed away a few years back. The compensations received proved to be inadequate to meet the expenses of the family of seven. Bela was the eldest and she had three sisters and two brothers. The family was dependent on Bela’s tuitions and public programmes to supplement the family’s income. Abha, too, chipped in with her bit. Before the Jessore trip, Bela got the opportunity to do playback singing in New Theatres film ‘Kashinath’ (music Pankaj Mullick). Then the Bombay trip came in 1944. Khemchand Prakash (as per Bela Mukherjee) had offered a playback opportunity to her for his forthcoming film ‘Shri Krishnarjun Yuddh’ (1945) – (HFGK mentions the music director as Jagannath Prakash). With no adult male member(s) in the house, Hemanta had become a guardian to the family. At the request of Bela’s mother, Hemanta escorted her to Bombay and stayed there for some time till Bela’s cousin brother arrived to take his place. After ‘Shri Krishnarjun Yuddh’, she had just started working with C Ramchandra when the news of her mother’s illness reached her. She had to pack off and return to Calcutta. Soon her mother passed away. Hemanta took upon himself the responsibility of Bela and her five siblings. After convincing his parents, Hemanta got married to Bela Mukheree on 7 December 1945. After their marriage, Bela and Hemanta visited Bombay, which was to be their honeymoon. The house at Roopnarayan Nandan Road was too small to accommodate six more members. Hemanta had to hire a flat at Indra Roy Road for a monthly rent of Rupees four hundred, which was quite high. But proximity to his parent’s house compelled Hemanta to hire the flat. Their son Jayanta was born in 1947.
Non-film songs on gramophone records: 1941 – 50
Between 1941 and 1950 Hemanta Mukherjee recorded 72 Bengali songs. This was inclusive of 20 self-composed songs and 20 Rabindra Sangeet. Trained by Anadi Ghosh Dastidar, his first Rabindra Sangeet record came out in 1944. In 1943, his first self-composed record with two songs was released by the Gramophone Company.
In the second half of the decade, Hemanta wanted to record a song based on a Punjabi folk tune (Heer) he had heard earlier. On his request, Hiren Bose penned the lyrics and Anupam Ghatak composed the tune. The record came out in 1949. Later the tune was used for the title music in ‘Anarkali’ (1953).
4. Shukno shakhar pata jhare jaay, Bengali NFS
Hemanta recorded his first Hindi non-film song under the direction of Kamal Dasgupta in 1943. In all, he recorded 40 Hindi songs in the decade, which included 7 self-composed songs. His first self-composed Hindi NFS was released in 1946. The majority of the songs were composed by Kamal Dasgupta (23 songs). Kamal Dasgupta, another stalwart in those days, had a major role in the advancement of Hemanta’s career.
Let us listen to the first Hindi non-film song by Hemant Kumar (1943).
5. Kitna dukh bhulaya tumne pyari (NFS, 1943), lyrics Faiyaz Hashmi, music Kamal Dasgupta
In 1944 Hemanta cut a record under the arrangement of Francisco Casanovas. Francisco Casanovas was a Spanish musician and conductor who came to India in 1930 and stayed in India for 27 years. (For more details on Francisco Casanovas please refer to the post ‘Multiple Version Songs (16): Rabindra Sangeet and Pankaj Mullick’).
Presenting one of the songs:
6. Wo aankh se pila gaye (NFS, 1944), lyrics Faiyaz Hashmi, music (arrangement) Francisco Casanovas
Sometime in 1945-46, he was appointed as a trainer by the Gramophone Company. The Company also allowed him to use its facilities to train students, which gave a boost to his income. On the other hand he continued his private tuitions. His work spread all over Calcutta. Travelling by tram, Hemanta was finding it difficult to cover the distance in time. He bought his first car – Morris Eight.
Playback singing
After the two films in 1940, the two songs he rendered were Rabindra Sangeet for the Bengali films, ‘Aparadh’, released in 1942 and ‘Priya Bandhabi’, released in 1943. In all, during the decade (1941-1950) he rendered 39 songs for 23 films, of which 6 were Rabindra Sangeet.
‘Priya Bandhab’, was a New Theatres production. Director Soumen Mukhopadhyay, brother of Suchitra Mitra, wanted Hemanta to render the Rabindra Sangeet he had selected. I think the song was originally composed for Tagore’s play, ‘Chandalika’ in 1933, but was not there in the later staged version or in the recorded version. The song from this film is not available. Hemanta has rendered this song in at least two more films. I believe Kishore Kumar, inspired by the melody, composed the song ‘Panthi hun main us path ka’ (Door Ka Raahi, 1971). I am presenting a 1966 recorded version. It is one of my favourite songs.
7. Pather shesh kothay, shesh kothay, ki aachhe sheshe!
Roughly translated,
“Where does the road end? Where is the end? What is there in the end?”
I am fast forwarding to 1950 to another Bengali film produced by New Theatres and directed by Hiren Bose, ‘Shri Tulsidas’. Hemanta rendered 10 songs; eight were in Bengali penned by Hiren Bose and the other two were in Hindi.
8. Presenting a traditional Hindi song ‘Ramji O Ramji’ from Shri Tulsidas (1950), music Anupam Ghatak
Between 1940-1950, Hemanta had the opportunity to work with almost all the then stalwarts of the music industry. It was at the AIR that he came in contact with Pankaj Mullick and Rai Chand Boral. His association paved the way for his entry into the New Theatres. Initially he was called for chorus singing by them, which in itself was a great experience for the young Hemanta. He got a ringside view of the recording and production facilities and a firsthand experience in playback singing at the New Theatres. His first playback singing in Hindi was for the film ‘Meenakshi’ (1942), produced by the New Theatres. Pankaj Mullick was the music director. His second Hindi film was ‘Irada’ (1944). Directed by S Shamsuddin, ‘Irada’ (1944) was produced at Indrapuri Studios under the banner Unity Film Exchange Ltd. Hemanta rendered two solos and a duet with Radha Rani for the film. Here is a song from the film Irada.
9. Aaram se jo raatein kaate wo ashq bahana kya jaane from Irada (1944), lyrics Aziz Kashmiri, music Master Amarnath
The next song, another solo, is from the film ‘Banphool’ (1945). Produced by PR Productions and directed by Niren Lahiri, the film had Kanan Devi and Krishnakant in the lead roles. Presenting the only song rendered by Hemanta for this film:
10. Laga us se lau tu madadagar hai wo from Banphool (1945), lyrics Narendranath Tuli, music Dhiren Mitra
His total output in Hindi films during this period was 20 songs from 11 films. Besides he recorded two version songs from the film Babul (1950). He rendered 11 songs for Kamal Dasgupta in 5 films. Presenting a Hindi film song composed by Kamal Dasgupta from the film, ‘Manmaani’ (1947), produced under the RA Patel Productions banner and directed by Sarvottam Badami.
11. Ishaare ishaare mein duniya bana li from Manmaani (1947), lyrics BC Mathur, music Kamal Dasgupta
Hemant Kumar as Music Director
Prior to 1951, Hemanta had visited Bombay thrice, in 1944, 1945 and 1948. During his first visit in 1944 he met Pramatesh Barua, who was in Bombay on a brief visit. On being offered to score music for his next film by Barua, Hemanta rushed back to Calcutta. Hemanta’s opportunity to score music for the first time, that too for a Barua movie, did not materialise, since the venture was shelved. In 1948, Hemanta got a call from V Shantaram to score music for the Bengali version (I presume) of the film ‘Shiv Shakti’. After the initial discussions this project did not take off either.
In 1946, Hemanta received offers for independently scoring music for two Bengali films, ‘Purbaraag’ and ‘Abhijatri’. Both the films were released in 1947.The offer for ‘Purbaraag’ came first, but ‘Abhijatri’ was released before Purbaraag. Purbaraag was produced by Kathachitra Limited and directed by Ardhendu Mukhopadhyay. This was Gouriprasanna Majumdar’s first film as lyricist. Purbaraag means courtship. It was well past their courtship years; Bela and Hemanta were into their second year of marriage. Presenting a duet with Bela Mukherjee from this film:
12. Ei dakshin haowar pulak laga phool phootana pala (with Bela Mukherjee) from Purbaraag (1947), lyrics Gouriprasanna Majumdar
‘Swami’ (1949) based on the story by Sarat Chandra Chattopadhyay, was produced by Kalalakshmi Chitramandir and directed by Pashupati Chattopadhyay. Let us listen to a song from this film:
13. Swapan Parer Kuhu Kekar from Swami (1949), lyrics Gouriprasanna Majumdar, singer and music director Hemanta Kumar
Between 1947-50 Hemanta scored music for 8 Bengali films and for 38 songs. He rendered 9 songs of which 5 were solos.
In the mid-1940s, Hemanta became an active member of the Indian People’s Theatre Association (IPTA) and thus started a long and fruitful association with Salil Chowdhury. In 1949, Hemanta recorded a non-film song called ‘Ganyer Badhu’ (‘The Village Bride’) that had music and lyrics by Salil Chowdhury. The song recorded on two sides of a 78 rpm disc depicted a contented and caring rural woman’s life and family, and how it gets ravaged by famine and ensuing poverty. This song generated an unforeseen popularity for Hemanta and Salil in eastern India, Hemanta and Salil paired again in several songs over the next few years and almost all these songs proved to be very popular. A Hindi version of the song was recorded in 1950/51. Madhukar Rajasthani recreates the meaning and spirit of the narrative.
14. Presenting the song ‘Gaaon Ki Rani’ (NFS), lyrics Madhukar Rajasthani, music Salil Chowdhury
Hemanta was also associated with the Artist Association, which was formed in 1946 at the initiative of all the performing artists of Calcutta. Previously the artists were exploited by the organisers of Jalsas and programmes. Most of them were paid measly sums and sometimes that too was not forthcoming. The remuneration at the AIR was also meagre. They had their grievances against the recording companies too. Almost all the leading artists like Pankaj Mullick, Krishna Chandra Dey, Kamal Dasgupta, Jaganmoy Mitra, Santosh Sengupta, Hemanta Mukherjee and others rallied to present a joint front demanding fair remuneration. Jaganmoy Mitra and Hemanta Mukherjee were the Joint Secretaries of the organisation. Presenting a charter of demands, they staged a sit-in demonstration in front of the AIR office. The picketing lasted for fourteen days, until they called it off at 2 am on 11 August 1946, after an assurance from the other stake-holders. Soon after this incident, Hemanta received his first payment for a public programme, organised by Girindra Singha. Pankaj Mullick was paid Rupees fifty and Hemanta and Ajit Chatterjee received Rupees twenty five each.
From a humble beginning Hemanta was riding high on success and popularity. He had transcended one milestone after another. But his earnings were just about enough to meet the rent and expenses of his family of eight and for giving a fixed sum to his mother every month. Besides, he had his personal expenses. It seems Hemanta was impulsive in certain matters. If his sudden decision to buy a car is an indication of this peculiarity, his decision to buy a house confirmed this oddity. Similar to the previous occasion when he bought a car, this time too he could convince Bela on the purchase of the house with a small garden at Azadgarh in Tollygunge, which was very close to the studios. Bela was so carried away that she agreed to mortgage her personal ornaments over and above obtaining another loan. Hemanta was eager to get a contractual job with New Theatres which would have assured him of a fixed income and he could have carried on with other activities. But that was not to be. Destiny had decided otherwise, he could stay in his new house for hardly two to three months.
Section III: 1951 – 1960
In 1951, Hementa got an offer from Hemen Gupta to score music for his next Hindi film ‘Ananda Math’ under the Filmistan banner. When Hemanta was establishing himself as music director in Calcutta, he had worked with Hemen Gupta in three films. A few words about Hemen Gupta would not be out of place. He was a revolutionary freedom fighter, a member of the Bengal Volunteers, established by Netaji Subhas Chandra Bose in 1928. When he was released after serving seven years in jail he got a job in New Theatres as an assistant (in the costume department) to Debaki Bose, on the recommendation of Netaji. Soon he left New Theatres and directed four Bengali films and a Hindi film. Hemanta was the music director for his Bengali films, ‘Abhijatri’ (1947), ‘Bhuli Nai’ (1948) and ‘Biyallish’ (1951). Besides Bhuli Nai and Biyallish, Pradeep Kumar had acted in two more films, ‘Sandipan Pathshala’ (1949) and ‘Swami’ (1949), for which Hemanta had scored music. After initial hesitation to move out of Calcutta, Hemanta decided to accept the offer. In March 1951 he went to Bombay with Pradeep Kumar and Hemen Gupta. Initially he stayed at Hemen Gupta’s house. He was offered a job by Sashadhar Mukherjee at Filmstan for a salary of Rupees 1500/- per month. In Calcutta his monthly earning was almost double the amount. Soon he shifted his family, Bela, her siblings and their son Jayanta, to Bombay. The first task at hand was to find an accommodation. When his friend Nihar Mukherjee, offered to sub-let a room and a hall in his flat at Borivali, where he was staying on rent, Hemanta readily agreed. The rent of Rupees sixty per month suited his pocket, though they had to share the common bath and toilet with two other families residing on the same floor,
The selection and recording of songs soon began. Since the film was ‘Ananda Math’, Vande Mataram was the first song to be selected, having two versions. Most of us would be aware of the fact that Hemen Gupta approved the Lata Mangeshkar’s version after twenty takes, not due to any fault of Lata. Hemen Gupta wanted the rhythm of the song to synchronize with hoof movements of the horses in the visuals. In spite of Hemanta’s apprehension, Lata was very much understanding and accommodative and thus a long-standing bond developed between them. Besides, Hemanta rendered one more solo and two duets with Geeta Dutt. Geeta sang two solos and another duet with Talat Mahmood. The remaining female solo was sung by Rajkumari. In all nine songs. Like the previous films of Hemen Gupta, the Censor Board had issues with ‘Ananda Math’ also. As a result, large portions of the film had to be cut and the flow was hampered. Although the film was among the first ten box-office hits of 1952, it did not do as well as expected. However, the film remains a favourite with many, especially for its theme and music. Hemanta had not yet become Hemant Kumar. The credit titles of the film displayed his name as ‘Hement Kumar Mukherji’. Let me present the duet ‘Jai Jagadish Hare’, penned by Jaidev (from his ‘Geet Govindam’) and sung by Geeta Dutt and Hemanta.
Hemanta’s voice can be heard from a distance, very soft…..
‘Harey Murarey Madhu Kaitabha Harey, Gopaala Govinda Mukunda Shaurey’
Then his voice gently becomes a few notches louder……
‘Pralaya Payodhi Jale Dhṛtavan Asi Vedam, Vihita Vahitra Charitram Akhedam’
Then Geeta Dutt sings at a higher pitch, but in a fine voice,
‘Keshava Dhṛuta Meena Shareera Jaya Jagadisha Hare’
And the song continues……
A lovely treatment; and a listening pleasure too.
15. Jai Jagadish Hare (with Geeta Dutt) from Anand Math, lyrics Jaidev, music Hemant Kumar
Hemanta wanted to leave for Calcutta after ‘Ananda Math’, but Shashadhar Mukherjee was reluctant to release him. As it turned out, fortune smiled on Hemanta in the year 1954. In 1954, Hemanta had six releases. Apart from Filmstan’s four films – ‘Samrat’, ‘Shart’, ‘Nagin’ and ‘Jagriti’ – there were two other films for which he scored the music, ‘Daku Ki Ladki’ and ‘Kashti / Ferry’. ‘Samrat’ and ‘Daku Ki Ladki’ sank deep down the Arabian Sea. With ‘Kashti’, Hemanta continued to float with Hemen Gupta. ‘Kashti’ was Hemen Gupta’s own production. Hemen Gupta wanted to continue with the Ananda Math’s lead pair, but since Pradeep Kumar was busy with ‘Anarkali’ and ‘Nagin’, Dev Anand took his place. Hemanta’s son Jayanta (7) and Hemen Gupta’s daughter Jayashree (3) made their appearances as Master Babu and Baby Bula respectively. Most of the songs were rendered by Geeta Dutt and Ratna Gupta, Hemen Gupta’s wife. The film was applauded for its plot which was so different from what was the norm then, and was India’s entry at the Moscow Film Festival, fetching Hemen Gupta critical acclaim. The title-cum-theme song rendered by Hemanta deserves a mention.
16. O maajhi re, naav badha le maajhi from Ferry (1954), lyrics Rajendra Krishna, music Hemant Kumar
‘Shart’ did not have an impressive star cast. Music by Hemant Kumar, songs by SH Bihari and Rajendra Krishna and direction by Bibhuti Mitra were the major credits of ‘Shart’. Ravi became Hemanta’s assistant that year. C Ramchandra had left Filmistan due to some differences with Sashadhar Mukherjee. C Ramchandra’s arranger Alfanso also joined Hemanta. Surprisingly ‘Shart’ was seventh in the box office hit list for that year. The melodic beauty, lyrical charm and sentimental appeal of the music and songs, enriched by the singing, carried the film on its shoulders. Both the versions of the song ‘Na ye chand hoga na taare rahenge’ by Hemanta and Geeta Dutt became popular. Lata Mangeshkar, too, had some beautiful numbers in this film.
17. Na ye chand hoga na taare rahenge from Shart (1954), lyrics Shamsul Huda Bihari, sung and composed by Hemant Kumar
Hemanta’s purple patch continued, the crowning accomplishment came with the film that broke all records, ‘Naagin’. Ravi and Alfanso were there to assist him. Been or the snake charmer’s flute was an important facet of the whole film. Hemanta needed somebody to play the instrument. After inquiry, he came to know that Kalyanji had used the clavioline in ‘Naag Panchami’ (1953). Hemanta used the instrument along with the harmonium played by Ravi in the final take. The sound of the Been pervaded right through the film, but the director Nandlal Jaswantlal thought the sound of been had a monotonous effect and Sashadhar Mukherjee too wanted the use of the instrument reduced. Hemanta stuck to his gun and convinced Mr. Mukherjee that the sound of the been would act as the catalyst for the film. Hemanta decision was proved right. After initial hiccups the film became a great hit, it was the highest grosser for the year 1954. Its music was the backbone of the film and won him his only Filmfare Award for the best music direction, pipping Naushad (‘Uran Khatola’) and C Ramachandra (‘Aazad’) at the post. I would present the song:
18. Kashi dekhi…Tere dwaar khada ek jogi from Naagin (1954), lyrics Rajendra Krishna, sung and composed by Hemant Kumar
‘Jagriti’ was another successful film both for Hemant Kumar and Filmistan. The movie ranked 7th highest grosser in that year and won the Filmfare Award for the best film. The making of Hemant Kumar from Hemanta was thus complete.
Simultaneously, Hemant Kumar also gained popularity in Mumbai as a playback singer. Between 1951 and 1955, Hemanta rendered a few playback songs, most of them duets. After coming to Bombay his first playback was again a duet, with Sandhya Mukherjee, for the film ‘Sazaa’ (1951). ‘Aa gupchup gupchup pyar karein’ composed by SD Burman. The real break came in 1952, when he was offered to do playback in ‘Jaal’. According to Hemanta ‘Ye raat ye chandni phir kahan’ was the first song that got him recognition as a playback singer in Hindi films.
‘Anarkali’ (1953) was another feather in the cap of Hemant Kumar as a playback singer. When C Ramchandra left Filmstan in a huff after a discord, music for a couple of songs were yet to be composed. The other songs composed by C Ramchandra and rendered by Lata Mangeshkar were all gems. Sashadhar Mukherje asked Hemant Kumar to complete the music for the film, since the date of release was already scheduled. Hemant Kumar was in a quandary, he was not very comfortable with the idea. Left with no other alternative and time, Hemant Kumar composed music for the title song, ‘Ai baad ae saba aahista chal’, based on his Bengali NFS, ‘Shukno shakhar pata jhare jaay’ (1949) I have mentioned earlier. In the meantime Hemant Kumar got the telephone number of C Ramchandra who was at Poona then. He explained the situation and requested him with folded hands to come back and complete the music for the film. C Ramchandra relented. On his return, C Ramchandra listened to the title song composed by Hemant Kumar and decided to retain it. He composed one more song for Hemanta, ‘Zindagi pyar ki do chaar ghadi hoti hai’. Needless to say both the film and the music came for high praise. Hemant Kumar’s two solos and a duet with Lata Mangeshkar became very popular. I would present here the duet with Lata Mangeshkar:
19. Jaag dard-e-Ishq Jaag (with Lata Mangeshkar) from Anarkali (1953), lyrics Rajendra Krishna, music C Ramchandra
Hemant Kumar had to shift his residence twice, from Borivali to Bandra and then from Bandra to Khar. Both the residences at Borivali and Bandra were untenable, but they had to adjust to those conditions till they could afford a better accommodation. In 1954 Hemant Kumar could not turn down a lucrative offer from his South Indian neighbour, Narayana Swami, to sell their flat to him. The gentleman was going back to his native place after retirement and had offered the house with a garden at a very reasonable price. Hemant Kumar paid fifty percent of the price then, and in 1954, after Nagin’s success, he shifted to his newly acquired property after paying the remaining amount. Thus once again Hemanta had exhausted all his savings. The property was named ‘Geetanjali’. The same year Bela gave birth to their daughter Ranu.
Let me shift to his Bengali films. Between 1951 and 1954, he did not get any offer to score music for Bengali films. His appearances in Bengali films as a playback singer were few and far between during this period. But for the few NFS and Rabindra Sangeet records that he religiously recorded every year, his presence in Bengali music front was nominal. After the phenomenal success of ‘Nagin’ and ‘Anarkali’ he got an offer to score music for the film ‘Shap Mochan’ (1955). ‘Shap Mochan’ was a romantic-musical film, directed and produced by Sudhir Mukherjee with Uttam Kumar and Suchitra Sen in the lead roles. The film had four solos by Hemanta, one by Shyamal Mitra, a classical duet by Chinmoy Lahiri and Pratima Bandopadhyay, and a Khayal Bandish by DV Paluskar, which was used as the title song. With the success of the film and its music, Hemanta Mukherjee bounced back strongly as music director for Bengali movies. He won the Cine Advance Best Music Director Award for a Bengali movie. Presenting a solo rendered by Hemanta Mukherjee from the film:
20. Boshe aachhi path cheye from Shap Mochan (1955), lyrics Bimal Chandra Ghosh, sung and composed by Hemanta Mukherjee
The success of ‘Shap Mochan’ (1955) gave him a firm footing in Bengali films that became his mainstay in his later half of his career. He became the voice of Uttam Kumar, the matinee idol of Bengali films. Let me present a couple of songs from his Bengali films of this period.
Composed by a different music director
21. Nir chhoto khoti nei (with Geeta Dutt) from Indrani (1958), lyrics Gouriprasanna Majumdar, music Nachiketa Ghosh
Self-composed
22. Ei meghla dine ekla ghore thakenato mon from Sesh Prajanta (1960), lyrics Gouriprasanna Majumdar
Meanwhile, by the mid-1950s, Hemant Kumar had reached the pinnacle as a prominent singer and composer in Bombay. This was a major leap for Hemanta Mukherjee from Baharu to Bombay which made him Hemant Kumar. In the second half of the 1950s, though he continued to get a good number of films as music director, only a few films like ‘Inspector’ (1956) and ‘Miss Mary’ (1957) made an impact on the box office. However, his career as a playback singer continued to flourish; besides the songs under his own baton, he also sang for Anil Biswas, Naushad, C Ramchandra, SD Burman, Shankar-Jaikishan, Roshan, Madan Mohan, Sali Chowdhury, Chitragupta and many more. I have selected two songs rendered by Hemant Kumar as playback singer, composed by other music directors.
23. Rula kar chal diye ek din hansi ban kar jo aaye the from Badshah (1954), lyrics Shailendra, music Shankar-Jaikishan
24. Kho gaya jaane kahan aarzuon ka jahan from Mohar (1959), lyrics Rajendra Krishna, music Madan Mohan
I give below a brief overview of his work in Hindi, Bengali and other regional languages to round up his career till 1960.
Overview of Hemant Kumar’s career in Hindi films and NFS pre-1960
Hindi Films: As Music Director
1952-1960: 36 films; composed 316 songs; and rendered approximately 90 songs out of which 36 were solos.
Hindi Films: As playback singer under other music directors
1942-1960: 164 Hindi songs (approximately 93 films)
Hindi NFS records
1946-1960: 26 records, roughly 50 songs, including 9 self-composed records, roughly 16 songs.
Overview of Hemant Kumar’s career in Bengali films and NFS pre-1960
Bengali Films: As Music Director
1947-1960: 30 films; roughly 123 songs. He rendered roughly 54 songs out of which 48 were solos.
Bengali Films: As playback singer under other music directors
1940-1960: Roughly 124 songs (approximately 77 films)
Bengali NFS records including Rabindra Sangeet
1937-1960: 81 records; roughly 156 songs. This includes his self-composed 16 records/ roughly 31 songs.
Besides, he lent his voice for the character ‘Ananda’ for the album ‘Chitrangada’ released in 1948. In 1950 he was the Joint Music Director along with Pankaj Mullick for a Bengali drama ‘Mess No. 49.’
Promotional/ Advertisement songs 11
Some Bengali and Hindi NFS songs broadcast by All India Radio could be traced. Exhaustive list not available.
Overview of Hemant Kumar’s career in other regional language films and NFS pre-1960
Other language Films: As Music Director (with A Rama Rao)
Tamil – 1 film, 7 songs
Other language films: As playback singer under other music directors
Marathi – 3 films, 3 songs
Assamese – 1 film, 2 songs
Tamil – 1 film, 1 song
Other Language NFS records
Gujarati – 1 song
After his phenomenal success both in Bombay and Calcutta, it was now time to build up on this success and reputation. From the above figures it is quite clear that he had taken up a huge work load. Was he able to consolidate his position and career in Bombay and also in Calcutta? I will leave that for another post, the second part of this write-up. I have not posted any song rendered by other singers from films for which Hemant Kumar had composed music and there are many more songs, both solos and duets, rendered by Hemant Kumar. I hope the readers would be generous in posting the songs and comments. I would request the readers to post songs upto 1960 and not beyond, as I would be covering his career post-1960 in the second part of my article. (The readers are also requested not to post songs sung by other singers, composed by Hemant Kumar, as these may be covered in other posts. – AK)
I will conclude Part 1 of my centenary tribute to Hemant Kumar with the following song.
25. Jaane wo kaise log the jinke pyar ko pyar mila from Pyasa (1957), lyrics Sahir Ludhiyanvi, music S D Burman
Acknowledgements & References:
1. Anandadhara (as told by Hemanta Mukhopadhyay) by Abhik Chattopadhyay; Saptarshi Prakashan,Kolkata, 2013
2. Amaar Swami Hemanta: (as told by Bela Mukhopadhyay) by Partha Ghosh; Sahityam, Kolkata, 1999
3. Hemanter Ki Manta by Subhas Mukhopadhyay
4. Hemen Gupta: His Life and Times: Feature Article by Aniruddha Bhattacharjee, Cinemaazi.com
5. List of songs & films: Compilation by Jaydeep Chakraborty; Assistance Sanjay Sengupta
Disclaimer:
The video links of the songs have been embedded from the YouTube/ Dailymotion only for the listening pleasure of the music lovers. This blog does not claim copyright over them which rests with the respective owners such as Saregama India Private Limited, Eros, Shemaroo and others.
My sincerely apologies to those sources which/ whom I might have inadvertently missed to acknowledge.
{ 203 comments… read them below or add one }
Hats off to Shri NV for his so painstaking, expansively researched and so systematically presented article.
However, far more important is NV’s content presntation that brings out all the major , as well as nuanced, details of the life and work of Hemant Kumar in its total perspective.
The article will need fairly good effort to digest each detail.
Very very nice and comprehensive writing on Hemanta Mukhopadhyay. Amazing detailing of incidents in his life from his budding stage to the top of his musical carrier. Moreover the detailed description of his life and small incidents and people who influenced his steps into musical world and then successive journey, is an example of painstaking research which has the right for enormous applause. Congratulation!! I am really pleased, amazed and learnt a lot of unknown facts about great Hemanta Mukherjee from this novel article..
An Exhaustive write up of Hemanth Kumar tracing his career leaving no stones without turned is a masterly work. Thank you Shri Venkatraman
for a feast offered to the readers of this fine blog. Would come back again
to post about Hemanda songs.
A most absorbing article on a film icon who has generally been less known. I thoroughly enjoyed reading it, and now await the second instalment. Thank you, N Venkataraman and AK.
Debalina,
Welcome to SoY and thanks a lot for your appreciation. The author of the article Mr Venkataraman, too, would respond to you.
Beautiful tribute! Very informative.
Venkataramanji
What a great treatise on the life of this great music director cum playback singer. Your calisthenics of narrative skills is something to be greatly admired although with a twinge of jealousy on my part on being far below par in my writing.
You have numerous music directors and playback singers. Had Hemant Kumar been a mere music director or playback singer alone, he would still have been great. As a combination of both traits during his career in film world, he has carved out a unique place for himself for eternity. I am sure nobody else has performed with great distinction in both the fields combined. I cannot honestly say which is first in him – Music Director or playback singer.
Before Dr. Shetty lets loose a torrent of songs, let me pip him to the post and post two songs.
The first one is from the film Sahara (1958), lyrics Bharat Vyas and music by Hemant himself. A Meena Kumari tragedy reflected in this duet of pathos rendered by Hemant and Bela Mukherjee, his consort. – Har Dukhra Sehenewali –
https://youtu.be/9QRNTUN-vQE?t=4
The second a duet from Hill Station (1957), lyrics S H Behari, music Hemant da himself, Lata Mangeshkar and Hemant Kumar. Unfortunately the movie is not available and hence no live video.
Nayee manzil nayee rahen
https://youtu.be/W4_B18CO3JQ?t=4
This is rendered as a solo by Lata Mangeshkar whihch is also entrancing.
In conclusion I would state your post is lchef deoeuvre.
Venkataramanji
A superb article accompanied by collection of superb songs.
As Vaishnav ji stated in the opening comment it will require great effort on our part to understand the finer nuances & the impact of trivial little instances you have so vividly described.
This article along with your quantitative analysis ( SoY completes 10 years) proves – if at all proof is needed- that you are master of both parametric & non- parametric methods
My contribution to Hemantayan is a song I heard first during internet age
Yaad aa rahi hai wo nashilee nigahe – Manzil- Majrooh- SDB
It is painstakingly compiled and presented in a very systematic and exhaustive manner. The writng style was also quite absorbing as I couldn’t keep myself away till I reached the end of the article. Raja, you have judiciously highlighted the events which was truly catalyst in projecting the popularity he gained in his career. I am personally enlightened of many aspects of the artist which I was really not aware of, especially his contribution towards the struggle he spearheaded with the fellow singers and artists and technicians for the economic upliftment. The mention of Mr Girindra Nath Sinha making payments was really a turning point in the history of remunerating the creative talents of the artist. We await the next instalment of the article equally eager to devour which spans the era of our childhoods post 1960s.
A la jawab presentation. Vivid and details description of struggling days of singer Hemanta Mukhopadhyay and his singing career as singer and musician. Really an excellent work done by Mr. N.Venkatraman. I only missed the song Sun ja dil ka dasta from film Jaal 1955
Eagerly waiting for Part-II
This is just magic… So well woven and intensely researched, reflecting the dogged involvement in creating the new height in the history of Indian cinematic music . The study frame has been locked in with great revelations of the tender fabric of a fabulous talent. Can never be thankful enough for the good read
Venkataramanji ;
Thanks Venkat ji for bringing out stories of Hemant Kumar that we never knew earlier . His life and songs were like overcoming obstacles and difficult times as well. Irrespective of how many homes he had to shift….his heart always remained focused on Music…that now unfold before us in your exhaustive article.
As Lata ji and Salil da said his was really a voice of God that comes from his inner soul ….but in times he was perfect in peppy and romantic songs too. In thrillers and fast numbers he was not far behind . i will attempt to paste some of his solos which are dear to me and will gradually come up with other variations sticking to norms set as pre 60s songs.
Hum To Hain Khel | Shikast….SJ
https://www.youtube.com/watch?v=w5AigOYSaLs
O Duniya Ke Maalik Ram | Hemant Kumar | Chakradhari
https://www.youtube.com/watch?v=oWaPDJ5XJ84
Meri Soyi Re Aatma Jaagi | Hemant Kumar | Chakradhari
https://www.youtube.com/watch?v=_h0J-23GHKE
Naav Badha Le Majhi – Hemant Kumar – FERRY – KASHTI
https://www.youtube.com/watch?v=aS6IFYLNhvI
….to be contd.
Amazing sketch of the golden voice of Bengal by NV. Very informative and absorbing. Many unheard details of the musical journey of a legendary singer and composer till 1960 have been set to tune in befitting manner. Now I eagerly look forward to the 2nd part of the Tribute to enrich myself.
Venkatraman ji ;
In continuation some more songs….
Yeh Baharon Ka Sama….Milap..
https://www.youtube.com/watch?v=W2xFtOXN-78
Anchal Se Kyun Bandh Liya Mujh Pardesi Ka Pyar : Hemant Kumar : Non Film : Md Ravi : L Hasrat….NFS
https://www.youtube.com/watch?v=gzdDIiemhs0
chali gori pee se milan ko chali..Hemant Kumar_Majrooh..Ek hi Rasta
https://www.youtube.com/watch?v=xeI-m82uX4g
Zameen Chal Rahee – Hemant Kumar, Pehli Jhalak
https://www.youtube.com/watch?v=qqHS3ZIw9_U
….to be contd.
Let me first tell you all that dear N Venkatraman ji celebrated his birthday yesterday. And, today, this beautiful ‘ gift’ for us!
N Venkatraman ji,
Hope you have many more happy, healthy, peaceful, prosperous, musical and scholastic years to come.
There is a bit of selfishness,too, in wishing you because, otherwise, who will give us such admirable articles and thoroughly researched facts and mind blogging statistics?
As usual, a very highly informative post covering Hemant Da’s career till 1960 _ In Bengali and Hindi; as a singer and a composer; in films and outside; his writing career…..a complete package.
Thank you for a great write up.
Thank you, AK ji, for knowing the perfect person for the job.
Ashok Vaishnavji @ 1,
Thank You for your nice words.
It is all the more gratifying to receive appreciation from you.
I would be glad to find further postings on the subject in SoY soon.
Debalina @ 2,
Thanks for all those flattering words.
It makes my day if the article reaches as many readers from the younger generations.
Vasudevanj @ 3
I am glad that you liked the article. Thanks a lot.
Looking forward to your postings of songs of Hemant Kumar.
Dineshji @ 4,
Thank you for the encouraging words.
I would try to i the second part at the earliest.
Shankar Ghosh,
Welcome to SoY. The author Mr Venkataraman would also respond to you.
Shanta Ghatak,
Welcome to SoY on my behalf. The author Mr Venkataraman would also respond to you.
Mr Bera,
Welcome to SoY on my behalf. Mr Venkataraman would acknowledge your appreciation.
Mr Basudeb Sen
Welcome to SoY.
Arunima Sengupta,
Welcome to SoY.
In my opinion, Hemanth songs for Dev Anand films were more romantic
than other singers who lend voice to Dev. Hemanth sang 13 songs for Dev Anand all composed by SD Burman out of which 12 were on Dev.
I pick these songs as the best by Hemanth for Dev films.
1. aa gap chup pyar karien – Film Saza Sandhya Mukerjee also sang with Hemanth
2 ye raath chandini – film Jaal can there be more romantic song than this.
3 Hai apna dil awara – Film Solva saal. teasingly romantic
4 na thum hamien ja – Fil Bath ek raat ki. words fail me to describe
the beauty of this song.
5. the SJ tuned number – a duet from Patita
yaad kiya dil ne kahan ho thum.
dear sir, IAM grateful for the info given, most of which was new to me. Am now in mid 70 Das songs voice, composition ,have given me a reason to spend my time meaningfuly. regards
Great Work Raja Sir! very informative. I have the book Amar ganer swaralipi lekha robe..which is his autobiography with two valuable cassets…you just make me remember those days when i often took part in debate about my favorite singer and music composer Hemanta Mukhopadhyay…Thanks Raja da, Thank you….
A great biography -1 of Hemant Kumar touching almost 30 pages . I am now waiting for the remaining parts of this series. I am sure I need not read any other biography of Hemant Kumar after reading this series. You have also given links to many of his good songs .Hemant Kumar I learn is a very dear person in Kolkata and yourself being a Kolkata man you must be knowing the commercial potential if you publish this book.
I also must say that you are a person who meets any deadlines as you brought out this exactly on his birthday.
Thank you.
Let me wish you a Belated Happy birthday first!
A great post! So exhaustive! Oh!
I would need some time to read it all Venkatramanji.
I will be back later.
Hats off Venkatramanji.
Anup
🙂
Ranganji ,
Thanks lot for your generous appreciation.
Yes, he was equally good as a music director and playback singer, especially in the Bengali films. As a Rabindra Sangeet artist he had a unique fan following. Even his Bengali NFSongs had a niche following. Every year he recorded at least twice; first during the Kavi Parva he would record a couple of Rabindra Sangeet and then during the Durga Puja he would record a couple of Bengali NFSongs. He had another facet, as a producer and director. That I would cover in the second part.
Thanks for posting the songs from Sahara and Hill Station. Hill station did reasonably well at the box office.
Quondam iterum gratias ago tibi
Arunima Sengupta,
Thanks a lot. Hope you will find the second part equally readable
Mt Kulkarni,
Welcome to SoY.
Mr Achyut Kumar Behera,
Welcome to SoY.
Rahulji,
I accept your compliments with unassuming gratitude.
“Yaad aa rahi hai wo nashilee nigahe” is a nice song. S D Burman used three voices for Dev Anand in this film Manzil (1960); Hemant Kumar, Md.Rafi and Manna Dey. Thefilm was a moderate success at the box office.
Providing the link to the song – Manzil- Majrooh- SDB
In fact there are three versions, all rendered by Hemant Kumar.
The first link contains the happy version, the shortest (35 seconds) and the sad version (2minutes 10 seconds)
https://www.youtube.com/watch?v=QJDUxlzr7s8&list=PL4RM1XgzhZ6U3QhyQzliTIRU78GR-BA9q&index=82&t=0s
The link to the third version, another sad version and the longest.
https://www.youtube.com/watch?v=w5RgfAYAM8k
A lovely song, nice rendition. Thanks for the mention.
Basu Da,
Thank you for visiting SoY. And I value your encouraging words of appreciation.
I am delighted that you found the write up engrossing and found information that were unknown to you.
That makes my day.
My Mumbai visit in March was cancelled due to the prevailing conditions. Hope to meet you soon in better climes.
Thanks once again.
I would like to be honest to say that I had to put a lot of effort to come to the end of Part 1 of the tribute. The tribute turned out to be a biography of Mr. Hemanta Mukherjee with reference to his journey with Music.
The presentation actually helped me to somehow read it all. I was going through the paragraphs of writings while previously referred clip of song was on. Yes, mostly everything written here is new to me. Thanks for those information. And I think writer had to put huge effort to collect those information, and it is a commendable effort indeed to put all together.
Mr. Tapan Kumar Bera,
Happy to know that you enjoyed the post and the songs.
I have mentioned the song ‘Ye raat ye chandni phir kahan’ in my writing. The song was recently discussed in this blog in another post ‘SD Burman: ‘The Courage of His Convictions’ (Has his way on Hemant Kumar)’. No doubt it is one of his iconic songs. Here is the link to song
https://www.youtube.com/watch?v=dBw_JSiNF9c
Thanks a lot for your appreciation.
Madam Shanta Ghatak,
My intention was to reach to as many people and share the information that I had gathered on Hemanta Mukhopadhyay on his birth centenary. I am glad that memories of Hemanta Mukhopadhyay and his songs still touch an emotional chord in many. I am happy that I could pay my humble tributes to him, whom I adored as much as anybody else.
Thank you very much for the appreciative words.
N Venkatraman ji is yet to touch upon Hemant Kumar, the producer. Justifiable because Geetanjali Productions ,his home banner, was formed in the early 60s.
But, Hemant Da had started his production company in 1959 as Hemanta _ Bela Productions. The first offering was NEEL AKASHER NEECHE directed by Mrinal Sen. It was the first movie to have been banned by the Indian government. Strangely, subsequently the movie won the President’s Gold medal.
Lyrics: Gauriprasanna Majumdar.
Singer : Hemant Kumar.
O nodi re ekti katha sudhai sudhu tomare
https// youtu.be/S9M fxm7_Ahs
Sounds very familiar? Yes, I ,too, feel the same!
The tune was later reworked into O beqarar dil ho gaya hai mujhko aansoon se pyar…in Geetanjali Productions’s KOHRA, 1964 .
The movie had another solo .
Neel akasher niche ei prathibhi….
https:// youtu.be/ upyWu7fgh0k
What an exclusive write up by N. Venkataraman and thanks to songs of yore for such fantastic post
Congratulation,the research oriented writeup along with the precious collection of songs- turns this to a biographical dimension,may be treated as an asset for the litarary world,as well the commonor, thanks a lot for such great tribute
Reply
Dear Raja,
Your article is a wonderful effort.Congratulation.May Almighty bless you with good health.
Raju Venkateswaran.
Venkataramanji,
Am short of adjectives so I will stick to numbers.
PERFECT 10.
Besides everything mentioned by predecessors, I liked the way you have presented the songs in chronology. Loved songs # 20 21 and 22.
Poor AK, the perfect host he is, is overwhelmed by so many guests.
Joining you in paying my tributes to this great musician and a fine human being.
More will be revealed in 2nd part.
NV,
Sorry , forgot to wish you .
Happy (belated) Birthday.
One confession.
Your name has so many “a’s.
Addressing you is a daunting task; I have to copy and paste every time.
I liked AV’s way of addressing you,henceforth, if you approve, I will do the same.
Mr Avinash Shravan, Mr Sankar Prasad Basu and Mr Venkateswaran,
Welcome to SoY.
Excellent coverage. Very well drafted . Most importantly the write up is absolutely unbiased . This leaves space to reader to form his or her opinion. To any common Bengali of mid 40s and above Manna Dey and Hemanta Mukherjee are two singer icon. Raja da ( also known as N Venkataramana) has done perfect justice to that. Looking forward for part 2.
Ayan Banerjee,
Welcome to SoY.
It is raining continuously since last night. Monsoon has, finally, arrived properly, after a few false starts. Coastal Karnataka, like God’s Own Country Kerala,is beautiful in the rainy season.
Let’s begin the day with a lovely Salil Da number ( I feel he has given us some terrific rain songs).
Jhir jhir jhir jhir badrwa barse o kaari kaari…
PARIWAR, 1956.
HK, Lata; Shailendra.
Jairaj and Usha Kiran in the Asit Sen directed movie.
I like the ‘ physical exercise’ song
Ek do teen, Ek do teen,.
from the same movie.
HK, Asha Bhonsle and chorus.
What a fine tribute to a legend of India Music fraternity! Very well researched and articulated. For me it was more of education about an exponent of music. Thank you for the learning and express my gratitude.. may more people from the younger generation read to feel proud and get inspired. Cheers!
I live in a beautiful village. River ( Mother) Nethravati flows along the border of our farm, five minutes walk from home. When in full fury during the heavy rains, the flood waters reach our outer courtyard. The Arabian Sea is about 30 km from my place, i.e. at Mangaluru/ Mangalore.
CHHABILI, 1960, was Shobhna Samarth’s second directorial venture after HAMARI BETI, 1950.
HAMARI BETI introduces a 14 years old Nutan as a heroine and a 7 years old Tanuja as a child artist.
CHHABILI, 10 years later, had Nutan as the heroine. Tanuja treats it as her adult debut.
Both films had music by Snehal Bhatkar.
CHHABILI had Nutan singing solos and duets ( with males _ Hemant Kumar, Mahinder Kapoor and females _ Geeta Dutt, Sudha Malhotra).
Lehron pe lehar
Ulfat hai jawan…
Two versions:
Solo _ HK.
Duet _ HK, Nutan.
Kudos to Venkatramanji…brilliant effort….detailed and informative…Looking forward to reading Part II.
This write up is absolutely brilliant and by far the best to come out in Hemanta Babu’s Centenary year. No one, and I repeat, no one could match Hemanta Babu’s equal command on both aspects of film music — as a singer and a composer. Eagerly looking forward to read the second part
I consider two duets of Hemant Da and Lata Di as their best ( my personal choices). So many with SDB are lovely. Still ,these two are with composers who didn’t use him much in their work.
The absolute favourite can not be mentioned now because it is from a post 1960 movie.
The second one is
Nain so nain nahi milao…
JHANAK JHANAK PAYAL BAAJE, 1955.
Lata, chorus; Hasrat Jaipuri.
Soothingly romantic. Even the picturisation is unhurried, pleasant to view. A pair of excellent dancers like Gopi Krishna and Sandhya would tempt one to add a few vigorous dance steps even if the song has no scope for it.
Mr Purukesh Maiti, Mr N Krishnan, Mr Ram, Mr Jaydeep Basu,
Welcome to SoY and thanks a lot for your appreciation. The author Mr Venkataraman would also respond to you.
Most detailed write up on the maestro I have ever read. Looking forward to the second part.
Venkataramanji @ 30
I am hoist on my own petard and like your closing phrase, a long winded one to say ‘thank you’. It seems actors/actresses born around those times had to struggle a lot to come into prominence as they were mostly cases of rags to riches. Hemant da in romantic strain is great and an ideal singer as part of duets. Here is one from the film Munimji paired with Geeta Dutt and music by S D Burman and lyrics Sahir Ludyanvi. Picturisation is great with Pran tossed as a football and sent packing away atop a donkey.
Dil ki umange hai jawan
https://youtu.be/Q5rRt2jt5Aw?t=43
Venkataraman ji,
Belated birthday wishes to you.
I was attending some other personal email, when this post dropped in my inbox. So I may have been amongst the first to view it and yet I delayed writing. Reason being the question as to
How does one react or comment to such a masterpiece. ?
edurite, educative, elaborate, exhaustive…. I am short of words.
By all means this has to be perfect centenary gift to Hemantda.
Many Thanks for this post and eagerly waiting for the next one.
Btw, I vividly remember visiting a blog or a website 7-8 years back which had the complete discography of Hemantda in all the languages he was involved with.
I am unable to trace it on the net now.
Any idea about it please ?
mahesh
Bimal Roy’s NAUKRI , 1954, about youth unemployment was a very hard hitting film with intense performance by Kishore Kumar.
Chota sa ghar hoga baadlon ki gaon mein..
by Kishore Kumar and Shaila Belle is a very popular song. But, there is a less heard sad version by Hemant Kumar.
Shailendra, Salil Chowdhury.
https:// youtu.be/ eyHYTfPLpCs
While on Kishore Kumar, let me mention the two nice solos of him from MISS MARY and BANDHI, both 1957, picturised on himself.
Hemant Kumar was the composer.
Gaana na aaya bajana na aaya
Dilbar ko apna banana na aaya..
Prem Dhawan.
Ek roz hamare bhi dal galegi..
Rajinder Krishan.
SOY river system has breached barriers on both shores with addition of content from 14 first time entrants and a substantial number from the eastern India. With such a rush to join, blogmaster under great strain had to combine them in a single message twice above. Venkataramanji can add this to his laurels.
Hemant da was superb in most of his solos. Here is one from House No. 44, music by S D Burman
Teri duniyan me – https://youtu.be/XHuSP_uvL4o?t=34
D P Rangan ji,
I love the MUNIMJI song, specially for the way Geeta Dutt says ‘ Wah! Wah!’ , ‘ Bahut achhe’, ‘ Gaayiye na’ and Pran’s besuri attempts at singing!
I saw the movie for the first time on YouTube some years back and found it very boring and consider it as one of Dev Anand’s worst. But, Burman Da has composed a brilliant score.
Here is another popular song from the same movie. I always wonder at our ability to mix comedy with devotion, especially in connection with Shivji’s Vivah!
Shivji bihane chale palki sajai ke
Bhabuti lagai ke…
Again, Dev Anand, Nalini Jaywant and Pran.
https:// youtu.be/Wlz_VySM1KZl
( The uploader here _ Mast Kalandar _ has named the artists playing Shivji and Parvati, too!)
I really enjoyed reading your article
Brilliant tribute to a legendary singer like Hemanta Mukhopadhyay… Great research work with a nostalgia and romanticism….kudos to Venkatramanji
Here is another duet from the film – Ek Hee Rastaa (1956), Majrooh Sultanpuri-Hemant Kumar combination. Duet by Lata Mangeshkar and Hemant Kumar
Saanvale Salone Aaye – https://youtu.be/WjsL0ocfMiU?t=78
Bhatiaji @ 12 & 14,
Thanks for the appreciation. I have tried to present the information gathered to the best of my ability. I am glad that the post was interesting/ informative to you.
Listened to the songs posted by you. Nice postings; loved listening to them; especially ‘Zameen Chal Rahee’ ,’ Chali gori pee se milan ko chali’; in fact Hemant Kumar’s voice is so haunting, every song seems to be special.
I think the NF song ‘Anchal Se Kyun Bandh Liya Mujh Pardesi Ka Pyar’ was penned by Faiyaz Hashmi and composed by Kamal Dasgupta. The record (GE 2654) came out in 1944. A wonderful song. Thanks for posting. You will find the song from ‘Ferry’ in my list of songs (#16).
“Irrespective of how many homes he had to shift….his heart always remained focused on Music.”
Absolutely. Regarding his house hopping I would add a few more details later.
Thanks once again Bhatiaji.
Pratik, Chitra Nair, Susmita Gangopadhyay,
Welcome to SoY.
Mr. Shankar Ghosh @ 13,
Thank you for taking the time to go through the post and for appreciating my efforts.
Third posting same topic I have not done before.
Was Hemnt Kumar a better singer or a composer. I think he was master in composing and a fine singer.
Raja, it’s a monumental undertaking to put Hemant Kumar’s life-story, as it unfolded in the great man’s long journey in pursuit of excellence in music and singing. Magnificent. So many names, and I hope you have not missed out any! A great read. You should attempt many more of such people who were legends. G Viswanath
Pradeepji @ 15,
Thank you very much for your best wishes and appreciation.
Sorry my response is slow. I would attend to the comments one by one at a relaxed place.
@39
Initially I had included “ Neel Akasher Neeche” in this post. While pruning the pages I decided to include it in my next part. Since it was a 1959 film, you are very much within the boundaries stipulated by me. Thanks for the facts and mention of the songs. I am posting the link to one of the songs with the translation. Please listen to the song till the end with the translation; very appropriate to the prevailing situation.
Neel akasher niche ei prathibhi
https://www.youtube.com/watch?v=2wbfO9Dy0ZM
I would discuss” Neel Akasher Neeche” and “Kohra” in detail and their songs in my next post. I am not posting the links to the other songs here; please bear with me.
Thanks once again.
AKji,
I am moving at a slow pace. I should have expressed my gratitude much earlier.
I owe you a great deal for the constant encouragement and engagement for the last three months or more. I should also thank you for the thorough editing and getting my article into a better shape.
I can’t thank you enough.
Dr Shetty ji has talked and also given the link to the song … ‘ O Nodi re …’ on 16 /6 / 2020 .
It is a great song of Hemant Kumar.
But what I am noticing for the first time is that Dr Shetty ji has started giving the links to his songs which would benefit all of us , particularly because he posts a torrent of songs (as DPR ji mentioned elsewhere ). Great !
I also want to mention that Hemant Kumar was the MD for the English film ‘ Siddhartha ‘ where this same song ‘ O Nodi re… ‘ was taken in the film . Link…
‘ O Nodi re ekti … ‘ / SIDDHARTH / 1972 / Hemant Kr / Hemant Kr
https://youtu.be/JBAw2cTve1s
Kulkarniji @26,
Namaskar.
I am very much happy that I could provide you with some new information on one of the most sought after musicians of the golden era. Comments from veterans like you and the next generations demonstrate the popularity of Hemant Kumar and provide an apt tribute to the great musician.
I feel you should visit Songs of yore more often. There are lot of articles written since 2010, which I am sure would be of interest to you. And every ten day the blog comes out with new articles.
Thank once again
Today I came across an interesting article on birth centenary of Hemant da. Link is given below :
https://www.thestatesman.com/features/a-centennial-tribute-1502900432.html
Another time enduring immortal solo by Hemant Da from the film Baadbaan (1954), lyrics Indeevar, music Timir Baran
Kaise koyi jiye – https://youtu.be/Oe_YFawnfog?t=12
It is also rendered by Geeta Dutt. But Hemant da version is far superior according to me. Here is the link.
https://youtu.be/Z86G6g-KQxs?t=4
There seems to be some error in the BAADBAAN song Kaise koi jiye because the film did not star Dilip Kumar and this video is featuring in the youtube since long. I understand that the song was filmed on Ashok Kumar. Please clarify.
I don’t think there’s a more detailed and comprehensive write-up on Hemanta Mukhoadhyay’s layered career. Mr Venkataraman pulled off a daunting task and all HM fans will be eternally indebted to him. Kudos sir.
Venkataraman ji
Belated wishes on your birthday.
I think that you must incorporate in your model a new parameter- number of silent readers responding to the post.
The term Silent reader may be defined appropriately.
Rangan ji @
has mentioned duet from Ek hi Raasta.
Here is a solo from the same film.
Chali Gori pi se milan ki chali
https://youtu.be/eJzaXWfmu0A
This song also became popular . Was this the film which paved the way for association between BR films & Ravi, Ravi being assistant to Hemantkumar in this film
There was a Marathi film Awaghachi Sansar
There was a song sung by Pt Vasantrao Deshpande
Aali sakhi aali Piya milanasi
The lyrics were exact translation of Chali Gori & so was the tune ( may be in slower beats)
As Hemantkumar is not involved in this song , I will not post the link to it.
KB ji,
Yes. The song is superimposed ( I hate the word ‘ doctored’, you know why!..a smiley here) to look like Dilip Kumar is singing it.
Some uploaders do this when the original clipping is not available. I have seen a beautiful ‘ Ye dil aur unki nigahon ke saaye’.
Similarly, the BANPHOOL picture that we see is of the ( much) later day film… BANPHOOL, 19971.
Have I missed someone’s posting the legendary Chandan ka palna Resham ki dori… from SHABAB, 1954?
Shakeel Badayuni, Naushad.
3 versions:
Hemant Kumar solo.
Hemant Kumar and chorus.
Hemant Kumar, Lata Mangeshkar and chorus.
https:// youtu.be// HOl1qQQVTfHA
One of the rare lullabies sung for an adult . The opposite of Jaag dard e ishq jaag..
Mr. Achyut Behara,
Thank you for your appreciation; happy that you liked the article.
As far as I know, the book ‘Amar ganer swaralipi lekha robe’ was sold to limited subscribers. And I believe the last edition came out in 1988. ‘Anandadhara’ was first published in 1975 by New Bengal Press Pvt.Ltd. From 2013 onwards Saptarshi Prakashan is bringing out the book collated and edited by Aveek Chattopadhyay. The third edition under the new publication came out in 2019. Another book on Hemanta Mukhopadhyay ‘ Jibanpurer Pathik Hemanta’ was published in 2009 by Open Mind, collected and edited by Dhiraj Saha.
‘Jibanpurer pathik re bhai’ was song rendered and composed by Hemanta Mukhopadhyay from Palatak (1964). I would try to include it in my next part.
‘Amar ganer swaralipi lekha robe’ was a Non film song (1958) penned by Gouriprasanna Majumdar and set to music by Dr. Nachiketa Ghosh. Here is the link to the song.
https://www.youtube.com/watch?v=3_eK3zc0Zxk
BTW, you have addressed me by my nick name. Sorry I could not identify you. I guess our acquaintance was through Alokesh . Will you please confirm.
Read every word. Listened to every song I am better informed, well entertained and totally enthralled by the simple eloquence of the author which conveyed indepth research and utmost reverence for Sri Hemanta Mukherjee.
“His only son Kalidas Mukherjee inherited the debt left behind by his father”. A grim situation presented in a laconical manner, caught my attention. Eagerly waiting for the sequel. Many of my favourites are in that period. My favourite in this period is जाग दर्द इश्क जाग
&नैन हो नैन नाही मिलाओ। My take away is the word ‘consanguin’ which exactly conveys the essence of Bengal’s ‘aathiyo sajon’.
Way to go Raja! Keep them coming!
Josephji @ 28,
Thank you very much.
I do not think I will be able to publish it as book, as it would entail the permission of the authors of the books and articles mentioned at the end of the post. My article is based on the information derived from the sources mentioned.
About meeting deadlines, Akji knows better. Thank god I could do this in time. But Akji had to rework on the last part which was done in a hurry. Hope I would be able to finish the second part in time.
@71,
Siddharth was in 1972. The original song from ‘Neel Akasher Neeche’ and its repetition in Siddharth and the realted details would be included in part two.
Thanks once again Josephji.
Anupji @ 29,
Thank you for your wishes.
I will await your return for views.
Purakesh Maiti @ 36,
Yes it is lengthy article and it was only the first part. I greatly appreciate your patience and effort I going through the entire writing. And I am glad that you found it informative and interesting.
Thank you for the nice words of appreciation.
@ 40
Thank you very much Mr. Avinash Shravane.
Mr. Shankar Prosad Basu @ 41,
Thanks for your appreciation.
Mr Venkateswaran @ 42,
Thank you for your appreciation and blessings.
My respects to you.
Venkatraman ji,
Geography, history, music– all forming part of this excellent article. The singer and his struggles to reach the top, his personal and family problems have all been brought out lucidly. Hemanta da had a unique soothing voice. He was a top MD in his own right, who also sang under the baton of many stalwarts of his time. Singer,MD, film producer, director, a leader who fought for others. Perhaps except acting he had done everything connected to movies. You have done extensive research for this post. Thank you for shedding light on many unknown facts.
It is news to me that he had sung in Tamil movies also. Can you give any clues?
Eagerly waiting for the next part.
Mumbaikarji @ 43,
Thank you very much. I am glad that you have joined me in paying your tributes to Hemant Kumar.
Hemanta Mukhopadhyay’s Bengali songs are too good and we did not have very many occasions to present them earlier. And you are right he was great human being too. One of my friends have written to me to highlight this aspect in the next part.
I had sent the link to all my friends and well wishers like on the previous occasions. There was hardly any response from them on my previous posts. Since the post was on Hemant Kumar, I think they responded in such numbers. I know Akji had to respond to them. I would be careful next time. But some of them are even new to me.
@ 44
Thank you for your wishes.
You can address me as per you convenience.
I have no problems whatsoever as long as I can recognize that it is addressed to me.
Thanks once again.
KB
If you see comments below video it will be clear. The uploader had no original clip and resorted to this. Dilip Kumar was a poor choice. It was picturised on Dv Anand. Film was produced by a cooperative unit of film workers and did not do well.
@ 46
Thanks a lot Ayan for your appreciative words.
Mr. Ram @ 51,
Thanks for your appreciation.
Mr. Joydeep basu @ 52,
Thanks for the profuse praise, coming from a die-hard Hemanta admirer.
Mr. N Krishnan @ 49,
When you wrote ‘may more people from the younger generation read to feel proud and get inspired’, you hit the nail on the head. Your comments made my day. That was precisely my intention; to carry the life and career of Hemant Kumar across to as many people as possible.
Thanks for joining me in paying tributes to a great legend, whom so many people adore.
Pradeepji @48
‘Coastal Karnataka, like God’s Own Country Kerala,I s beautiful in the rainy season.’
Very true. And that is why I always choose July-August for my visits that side. But this year I will have to miss out on that. May be next year I can make it and have lunch meet with you.
Here are the links to the songs,
Jhir jhir jhir jhir badrwa barse o kaari kaari…
PARIWAR, 1956.
HK, Lata; Shailendra.
https://www.youtube.com/watch?v=1DkdlQNFBbs
Ek do teen, Ek do teen,.
HK, Asha Bhonsle and chorus.
https://www.youtube.com/watch?v=X55NhTZ-gKs
@ 50,
‘I live in a beautiful village. River ( Mother) Nethravati flows along the border of our farm, five minutes walk from home. When in full fury during the heavy rains, the flood waters reach our outer courtyard. The Arabian Sea is about 30 km from my place, i.e. at Mangaluru/ Mangalore.’
You are very fortunate to be able to live under the care and custody of mother nature. I live amidst a concrete jungle, enjoying the mercies mother earth provides in a limited way.
Well, back to the songs
Laharon pe lahar, ulfat hai javaan
Raton kii sahar, chalii aao yahaan
Both the versions are good. Thanks for the mention.
Posting the links to the songs,
CHHABILI had Nutan singing solo and duet with Hemant kumar, lyrics S Ratan, music Snehal Bhatkar
Lehron pe lehar
Ulfat hai jawan…
Two versions:
Solo _ HK.
https://www.youtube.com/watch?v=G66R-tQrBdA
Duet _ HK, Nutan.
https://www.youtube.com/watch?v=McsW5ptUfF4
Mr Amlan Chakrabarty,
Welcome to SoY.
KB @74,
If you watch the video on the YouTube, please read the uploader’s comment. He has ‘recreated’ the video on Dilip Kumar. There are many famous songs picturised on minor actors, ‘recreated’ on major stars. Dilip Kumar-Madhubala is the most popular pair for such recreations, but uploaders are always transparent.
Pradeepji @53,
And now the link to the song from JHANAK JHANAK PAYAL BAAJE, 1955.
Soothingly romantic. Even the picturisation is unhurried, pleasant to view. A pair of excellent dancers like Gopi Krishna and Sandhya would tempt one to add a few vigorous dance steps even if the song has no scope for it.
Nain so nain nahi milao…. Hemant, Lata, chorus; Hasrat Jaipuri. Vasant desai
https://www.youtube.com/watch?v=Zy73MGPEBTc
A mind blowing duet.
@58,
Thanks posting the lesser heard, short version,
And now the link,
https://www.youtube.com/watch?v=TOtQ4pUBQYY
Soft and soothing version.
Pratik @ 55,
Thanks a lot.
Chitra Nair @ 62,
Glad that you enjoyed the article. Thanks.
Susmita Gangopadhyay @ 63,
Thank you for appreciation.
Amlan Chakraborty @ 75,
Thank you. I am happy I could live up to the expectation of another Hemanta Mukhopadyay fan.
Maheshji @ 57,
Thanks for your greetings.
You might have come late but you have come with a bouquet of perfect, flawless words of praise.
I am overwhelmed. And I am glad that I could produce a befitting article as a tribute to Hemant Kumar on his centenary year. Thanks to you for joining me in paying tributes to him.
No I have not come across any such discography till date. But when you say that you vividly remember, then it must have been there and later removed due to some flimsy reason or the other. I have for my reference the discography and list of songs compiled by Jaydeep Chakraborty and Sanjay Sengupta (acknowledged at the end of the article).
Yet I would look for it again.
Thanks once again.
Lakshmi Srinivas @ 80,
Thank you for your detailed response. Glad to know that you devoured every word and listened to the songs.
Thanks for your support and appreciation.
Venkataramanji:
Congratulations! AKji has rightly said that no one else could have done justice to a post on God’s own voice. This first instalment of a veritable scholarly tome has left us salivating for more. Others have already pointed out your wonderfully neutral style of writing that weaves unembellished facts into a colourful tapestry. All that is left for us readers is to enjoy and to post those songs that you have exhorted us to do. So here are three Salil Chowdhury’s Bengali NFS classics: the first is ‘Runner chhuteche’ (1951):
https://www.youtube.com/watch?v=CKZx169NTdo
The second is the original (1952) version of ‘Paalki chole’, a later version of which was recorded by Salil Da and Hemant in 1977:
https://www.youtube.com/watch?v=zYCQB0iH6dQ
And the third is ‘Dhitang dhitang bole’ (1954):
https://www.youtube.com/watch?v=xaKWd3a6o74
As an aside, I would point out that the image in the link for the song ‘Laga us se lau tu’ from Banphool (1945) is from a 1971 movie of the same name starring Jitendra. Here is an alternative link:
https://www.youtube.com/watch?v=dAWv7-wbh78
NV @86
“And you are right he was great human being too. One of my friends have written to me to highlight this aspect in the next part.”
A person is known for, how his or her subordinates think about him, I have heard both Ravi and Kalyanji speaking about him with great love and respect.
‘I had sent the link to all my friends and well wishers like on the previous occasions. There was hardly any response from them on my previous posts. Since the post was on Hemant Kumar, I think they responded in such numbers. I know Akji had to respond to them. I would be careful next time. But some of them are even new to me.”
I cannot understand why you have to be apologetic about an achievement.
Here is not very popular but a nice song.
Tera hi aasra hai o do jahan wale
https://youtu.be/7t_Sibp59LI
Mr G Viswanath,
Welcome to SoY. Mr Venkataraman would be responding to you.
G Vishwanath @ 69,
Thank for your encouraging words.
“So many names, and I hope you have not missed out any!”
Not exactly missed out, but had to leave out; in course of one’s journey in life and career, there will be many a people of consequence. And it is not possible to mention all the names and incidents too. That calls for a book.
BTW, I wrote an article on M S Subbulakshmi in this blog MS Subbulakshmi: A journey from Kunjamma to Meera (12/11/2016). If interested you may go through the piece.
Thanks once again for visiting SoY and my article.
Venkataramanji,
Canasyaji has put it it so well that I will just second what he has stated about this post! What a treat! I came late to the party but even before I read the post, I forwarded it to a WhatsApp music group of relatives, some of whom have spent significant portions of their lives in Calcutta. One of them forwarded it to his friends and this is what his comments were: ‘Excellent write-up. Pls send Part 2 once you receive it. Huge demand from my musically inclined Kolkata friends.’
Am eagerly awaiting Part 2.
Giriji @ 86,
Thanks a lot for patiently going through the article, perhaps the lengthiest piece in SoY.
Behind most of the career of the celebrities there is a struggle; both on the personal front and the professional front. I felt that I should present them to portray the man and the musician. Else the portrayal would have beeen incomplete.
Hemanta tried his hand as an actor, not in any film, in a Bengali drama organized by the film fraternity during Durga Puja in Bombay. Bela Mukherjee was in charge of the production, and Hemanta was in charge of the music. The name of the play was ‘Bhadate Chaay’ – (Tenant required) and Hemanta, sporting a French- cut-beard, played the role of one of the tenants, a ‘Crossword-puzzle Babu” .
The only Tamil film for which he was the music director, jointly with A Rama Rao, was ‘Kanavane Kankanda Thievam” (1955). The title credits displays his name as Hemanta Kumar in Tamil. However the Hindi remake, Devta (1956) had C Ramchandra as the MD.
Posting the only Tamil song rendered by Hemant Kumar, (other details not known)
Idhaya Veenai Thannaiye naam
https://www.youtube.com/watch?v=JpnJMuuzzis
Thanks for the appreciation
N Venkataraman ji @ 103;
Yes, there is one and only one song by Hemant Kumar in a Punjabi movie…
DUNIYA DEY MALIKA TERI DUNIYA AJEAB HAI
https://www.youtube.com/watch?v=qr4p6kDPayU
Ashwin ji @102:
Thanks. With at least one aspiring Hemant Kumar in every street and every moholla, Hemant Kumar is a big name in Bengal. Here is ‘Aa gupchup gupchup pyar karen’ by Surojit Guha (with Sangita Melekar), one of my favourite HK clones (and I do not use the word in a pejorative sense; he is a devoted fan, left a good job to do the professional concert circuit in India and abroad full time singing only Hemant’s songs, such is the demand. I like him a lot. Another one that I had come across in the same mould is Babloo Mukherjee in Bangalore, but he is more senior, now semi-retired, I think):
https://www.youtube.com/watch?v=rHCF_Ka9B0Q
Dr Pradeep Shetty ji @ 78:
I missed your comment. You had already pointed out the ‘doctored’ image in Banphool song! I keep forgetting that late comers to the party have this disadvantage: they must watch out and not repeat what had already been said earlier. But I do not grudge your early start. You are such a storehouse of information, not only on films and songs in all Indian languages, but also on a lot of related trivia that makes your comments among the ones that I always look forward to.
N Venkataraman ji ;
The soft voice of Hemant da was very pleasant to hear….and this made made him sing a sholok as insignia for B R Chopra house productions right from 50s onwards …..be it Naya Daur, Ek hi Rasta, Kanoon and so on.
B.R. Films ….insignia
https://www.youtube.com/watch?v=apJInPnUzYU
N Venkatraman ji, Mumbaikar ji,
Hemant Kumar, a (large hearted) / great gentleman.
Mehmood, before attaining the stardom, went through severe hardships in his struggling days. Married at a very young age ( to Madhu, Meena Kumari’s sister) and with a kid, he came out of his father’s house to live independently and to stand on his own feet. He sold poultry items. Worked as a spot boy, a chauffeur ( to P L Santoshi… sometimes, assisting him on the sets), assistant set designer ( to Kamlesh Sehgal), assistant cameraman ( Arjun Desai), assistant editor ( D N Desai) etc. He was a part of the back row dancers in ANARKALI and NAGIN.
Mehmood, somehow, succeeded in being selected to be a part of the chorus for NAGIN. Hemant Da was recording O zindagi ke denewale.. at Filmistan studios. His assistant Ravi Shama found him so besura and out of tune, he promptly removed him from the chorus. Repeated pleadings by Mehmood fell on deaf ears! But, Hemant Da, when he became aware of the facts, and knowing about the fire straits of Mehmood, let him be in the chorus. The only condition was that he should not sing, but only lip sync!
The non singing by Mehmood didn’t affect the outcome of NAGIN’s music. Rather, it went on to be a musical blockbuster. And, poor and needy Mehmood got his payment!
Come 1969, Ravi used Mehmood’s voice in the song Tujhko rakhe Ram tujhko Allah rakhe in ANKHEN.
( Dede dede,bAllah ke naam par de de
International Fakir aaye hain..)
From the book
MEHMOOD _ A MAN OF MANY MOODS
Hanif Zaveri.
Ravi,on many occasions, had spoken about how, after being an assistant to Hemant Da, he was encouraged by his mentor to become an independent music director.
It would be timely to mention the beautiful bhajan from Ravi’s first film as a composer:
Darshan do Ghanshyam naath more akhiyan pyasi re..
Hemant Kumar, Sudha Malhotra, Manna Dey; Gopal Singh Nepali ( Sant Soordas according to the makers of SLUMDOG MILLIONAIRE!!)
We, on the blog, have also discovered/ discussed the Manna Dey solo version.
.
to be read as..
..Ravi ( Shankar) Sharma
..dire ( fire ×) straits _ O ri autocorrect ! Teri leela badi nyari!
…(b ×) Allah ke naam..
…how, ( many years) after being assistance to..
Missed to mention
NARSI BHAGAT , 1957.
So many of them!!
Venkatraman ji,
Thanks for the wonderful and detailed post on Hemant Kumar.
He had a divine voice. You have selected a very apt title ‘Hemantayan’.
Your every comment is so informative and articulate, so it’s not surprising that this post is turning out to be so popular and forcing people to come out and comment.
All the distinguished readers have posted such excellent comments and I second that.
Thanks once again to you and AKji.
Looking forward to the next part.
Vasudevan @ 68,
‘Was Hemant Kumar a better singer or a composer?’ you have answered the question.
@ 25,
Yes your observation is right.
Except for the song “Jaane wo kaise log the jinke pyar ko pyar mila” – Pyasa (1957) (#25), where Hemant Kumar sang for Guru Dutt, all other songs he rendered under the baton of S D Burman were for Dev Anand. If you include the 35 seconds version of the song ‘Yaad aa rahi hai wo nashilee nigahe’ then SDB-HK songs add up to 14. Rahulji has mentioned the song @ 8 and the songs posted @ 34.
Needless to say your pick of five songs are all top class. It cannot be otherwise, when two legends combine to produce a magic for another legendary actor.
You have mentioned a duet with Lata Mangeshkar from Patita (1953), music Shankar-Jaikisishan. In fact Hemant Kumar sang for Dev Anand under three more MDs.
Ustad Ali Akbar Khan, Aandhiyaan (1952), a duet with Asha Bhosle
Shankar-Jaikishan, Patita (1953). A duet with Lata Mangeshkar (mentioned by you)
N Dutta, Milap (1955) – a solo (posted by Bhatiaji @ 14)
There is another short 45 second song, Hemant Kumar rendered for Dev Anand, in the film Kashti (1954) under his own music direction.
Thus in all 18 songs Hemant Kumar rendered for Dev Anand.
Incidentally Dev Anand’s birthday is on 26th September and Hemant Kumar bid adieu to this world on 26th September.
I am posting the links to the last three songs you have mentioned. All sheer magic.
Hai apna dil to awara – Solva Saal (1958)
https://www.youtube.com/watch?v=_4FC7hlqsZQ
Na tum hamen jano..na ham tumhen jane
https://www.youtube.com/watch?v=LFa9nAq68Wk
Yaad kiya dil ne kahan ho thum.
https://www.youtube.com/watch?v=PvwnvoUOa-Q
Ranganji @ 56,
Thanks for the posting the song Dil ki umange hai jawan.
Nice narrative.
@60,
‘SOY river system has breached barriers on both shores with addition of content from 14 first time entrants and a substantial number from the eastern India. With such a rush to join, blogmaster under great strain had to combine them in a single message twice above.’
I have addressed the point in my reply to Mumbaikarji. (@86)
Thanks for posting the two songs, ‘Teri Duniya Mein Jeene Se’ (solo), Saanvale Salone Aaye (duet with Lata) @ 64.
Ak ji, Venkatraman ji , Dr. Shetty ji ….and friends;
Old memories dies hard. They seems to have high purchasing power…and needless to say that those can only be purchased by emotions.
Remembering Radio Days of the 50s and 60s …..when NFS and Bhajans had a time slots to entertain every member of the family . Those were the days when….Bhala tha kitna apna bachhpan .
Hemant Kumar : Bhala Tha Kitna Apna Bachpan Bhala Tha Kitna : Non Film Geet : L Fayyaz Hashmi…..
https://www.youtube.com/watch?v=ABuOBMIbmlQ
Hemant Kumar – Madhuban Me Na Shyam Bulao NFS
https://www.youtube.com/watch?v=aroDz01ilJ4
to be contd….
Rahulji @ 77,
Thank you for wishes.
Your point, on silent readers, noted.
Thanks for additional information on the film Ek Hi Raasta and on the Marathi version of the song.
The song ‘Chali gori pee se milan ko chali’ was posted by Bhatiaji @14.
Hemant rendered two more songs, a short solo and a duet with Lata Mangeshkar in the film.
Posting the short solo;
https://www.youtube.com/watch?v=B69xBscamzc&feature=emb_title
I think it is a back to back song, the short solo by Hemant Kumar-‘ Bhola Bachpan Dukhi Jawani’ followed by solo by Lata Mangeshkar solo,’ So Ja Nanhe Mere Tu To Soja’
Venkatraman ji;
Back tracking history….in 1953 a movie by the name…Rami Dhoban….was released which had quite a number of songs by Hemant and Geeta dutt. The songs were sort of bhajan and had the magic touch of soul stirring redention ….all composed by Hiren Bose. It really need a teamwork to produce best.
KAUN ALBELI AKALI JAMUNA NAHAYE RE. RAMI DHOBAN (1953). HEMANT KUMAR.
https://www.youtube.com/watch?v=__w0czDRESA
SAU BARAS PER PRITAM AAYE HO. RAMI DHOBAN(1953).HEMANT KUMAR., GEETA DUTT
https://www.youtube.com/watch?v=XDmZZDnrYnE
MOVIE. — RAMI DHOBAN (1953).
LYRICS. — HEMANT KUMAR.
SINGER. — HEMANT KUMAR, GEETA DUTT.
M/D. — HIREN BOSE
https://www.youtube.com/watch?v=hpjv72-ZNgg
….to be contd.
Joseph ji, Dr. Shetty ji;
Enjoy this rare song ….heard rarely…again belonging to radio days !!!
YE ZINDAGI HAI IK SAFAR – A RARELY HEARD SONG-hemant kumar- prem dhawan -anil biswas (RAHI1953)
https://www.youtube.com/watch?v=DYNkZo0BWo0
Canasyaji @ 98 ,105
Thank you for your ably articulated words of appreciation.
Although I have mentioned about Salil Chowdhury’s association with Hemanta Mukherjee, I refrained from posting their iconic Bengali NF songs, expecting some of his admirers from this part of the country to post them. That way, I thought, I could give enough space to the readers for engagement. But none came till now. I am extremely pleased to find three of the songs in your comments. Thanks a lot. However, I posted the Hindi version of the Gnayer Badhu (Gaon ki Raani #14) just to give the feel and flavor.
Between 1949 an 1960 seven records containing 11 songs, composed by Salil Chowdhury, were recorded in the voice of Hemanta Mukherjee.
1949 – Gnayer Badhu (both sides), lyrics Salil Choudhury
1950 – Abhak Prithibi (side 1) and Bidrohi (side 2), lyrics Sukanta Bhattacharya
1951 – Runner (both sides), lyrics Sukanta Bhattacharya
1951 – Dhaan Kataar Gaan (side 1) and Naoka Bawar Gaan (side 2), lyrics Salil Choudhury
1952 – Palkir Gaan (both sides), lyrics Satyendranath Dutta
1955 – Dhitang Dhitang Bole (side 1) and Pathe Ebaar Naamo Saathi (side 2), lyrics Salil Choudhury
1958 – Path Harabo Bole Ebaar (side 1) and Duranto Gurnir (side 2), lyrics Salil Choudhury
Yes , the image in the link is from the 1971 movie. Praeepji has pointed out the mismatch. Thank you for the new link.
I find Surojit Guha wears a dhoti and Shirt Punjabi (that is how it is referred to in Kolkata) like Hemanta.
Thank you once again Canasyaji.
Ashwinji @ 102,
Thank you for your appreciation and pro actively sharing the article in your whatsup group. Glad that your friend/ friends liked it.
It is upto AKji to decide the date of publication of the second part.
Thanks once again.
Siddharth @ 109
Thanks for your appreciation.
Keeping in mind the length of the article and the mix of songs therein, I did not expect such a response.
I consider myself fortunate and I am overwhelmed.
Pradeepji @ 61,
Posting the song ‘Shivji bihane chale palki sajai ke….Bhabuti lagai ke…’
The dance was performed by Sachin Shankar ballet group. Sachin Shankar (1924-2005) was the disciple and cousin of Uday Shankar. In this song you can see him in the role of Shiva. And recently in the post ’Songs and Contra songs’ Mumbaikarji, Bhatiaji, Hansji and Rahulji were discussing about the actress Ameeta. And the female dancer in the song was Ameeta.
It was a marriage song for Lord Shiva, penned in a mix language of Bhojpuri and an eastern UP or Bihar dialect by Shailendra. Canasyaji and Akji can give the correct information. The song reminded me of the Gajan songs, a type of folk song of East Bengal especially sung in the Sylhet (Srihatta) region. In Shiva’s Gajan, Shiva is married to Harakali on the Gajan day and the sannyasis form the barjatri (bridegroom’s party) dance to a typical melody. I presume S D Burman might have based this song on that melody. Hemant Kumar has proved that he can be just as fun and peppy as the situation demanded.
https://www.youtube.com/watch?v=GI4HFfktdKg&feature=emb_title
@ 79
Chandan ka palna Resham ki dori… from SHABAB, 1954?
Shakeel Badayuni, Naushad.
3 versions:
Hemant Kumar solo.
Hemant Kumar and chorus.
Hemant Kumar, Lata Mangeshkar and chorus.
https://www.youtube.com/watch?v=H0l1qQVTfHA
Pradeepji @ 107 ,108
Mumbaikarji mentioned about Hemant Kumar the gentleman. One of the readers, Basudev Sen wrote to me to pen something about the human side of Hemant Kumar in my next part. You have provided a good account of this aspect. Thanks a lot
Thanks for posting the song from Narsi Mehata (1957).
So many people have said it that one more voice probably won’t matter much – but Hemantayan is really a most exhaustive and well-written article on one of our most-loved artists.
I’m writing this with another ‘motive’ also. As you have done so much research, may be you can answer my ‘unanswerable’ question!
In your article last year on duets of Hemant Kumar, at item 5, you listed “Aa ja zara” as one of his most popular songs of that time. You may be aware that the song was an adaptation of “Cherry Pink” rendered by Eddie Calvert on his “golden” trumpet in the early fifties. That does not take away from the excellent adaptation and music is so universal!
Around the same time, I heard the most famous Spanish music of all time – “La Paloma” composed by Yradier around 1860. I heard it in 1957 and it seemed to ring a bell in my mind – I seemed to have heard some Hindi song (only first line and that too without lyric) may be 3-4 years earlier with a similar tune. And if my memory is not playing a trick, it could be in the voice of Hemanta. But even though I still enjoy listening to La Paloma on any instrument/in any voice, I never heard that Hindi song the first line of which still plays in my head!
At that time there was no PC, no You Tube, no Google search – else I’d have found my answer! But when all these came, my search proved futile.
Can you please tell me if such a song exists or is it a quirk of my memory?
Very well written.. enjoyed reading.
Wow! Thanks N. Venkataraman ji for this well researched in-depth article on Hemant Kumar. I was unaware of a lot of info on his life. Each day adds to my knowledge of HFM of which I seem to know so little! Eagerly awaiting Part 2.
Amitabha Ghosh,
Welcome to SoY. Venkataramanji would be of course responding to you. About La Paloma, it is such a universal music that there are are bound to be Hindi film songs resembling it. Someone on SoY sure would be able to recall.
Purnima,
Welcome to SoY.
Amitabha Ghosh @ 121,
Every voice, every opinion matters to the author of this write-up.
And thanks for the emphasis on “on one of our most-loved artists”
T o put the records straight, the author of this article and the author of the article ‘Hemant Kumar’s duets with ‘other’ singers’ are different. The article you had mentioned was penned by AK, the master of this blog.
“I’m writing this with another ‘motive’ also. As you have done so much research, may be you can answer my ‘unanswerable’ question!”
Sorry to disappoint you. I did not rack my brain; if it doesn’t strike at once then it is futile trying again and again. Simply put I do not have the answer.
I was introduced to ‘La Paloma’ played by Andre Rieu also rendered by Engelbert Humperdinck by our veteran colleague K S Bhatia. He or if anybody else (like Ashwin Bhandarkar or Sadanand Warrier) has the answer to your query, definitely they will respond.
Thanks once again.
Jawahar @ 123,
Glad that you found it good.
Thanks for your appreciation.
Purnima @ 122
Glad to know that you enjoyed reading the article.
Thanks for your appreciative words.
Bhatiaji
I was slow in keeping pace with flow of comments. Hence the delay in responding.
@104
Yes, you are right.The song ‘Duniya dey malika teri duniya ajeab hai’ from the 1964 film ‘Kiklee’ was the only Punjabi song rendered by Hemant Kumar. I understand that the other artist was Sulakshna Pandit. If the information is correct, then Sulakshna Pandit must have been of 10 years of age then, singing for a child artist. The lyrics were penned by Bekal Amritsari and , music was by Harbans Singh.
Thanks for the post.
@ 106,
B R Films insignia; that is interesting.
It did not strike me before.Yes, now I got it.
Hemant Kumar was the music director was the MD for B R Films first production ‘Ek Hee Raasta’ (1957).
Since then his voice must have been retained in the insignia.
Lucky Charm?
A special thanks to you for this minute observation.
Bhatiaji,
@ 112
‘ Old memories dies hard. They seems to have high purchasing power…and needless to say that those can only be purchased by emotions.
Remembering Radio Days of the 50s and 60s …..when NFS and Bhajans had a time slots to entertain every member of the family . Those were the days when….Bhala tha kitna apna bachhpan .
Your narratives are as good as the songs you post and go well with songs.
Both the Non film songs of the 40s made a good hearing. The trio Kamal Dasgupta, Faiyaz Hashmi and Hemant Kumar they combined to create many magical songs.
Bhala Tha Kitna Apna Bachpan Bhala Tha Kitna – 1946
Madhuban Me Na Shyam Bulao- 1944
@ 114 , 115
Thanks for posting some of the less heard, but highly enjoyable songs from Rami Dhoban (1953) and Rahi (1953)
Mumbaikarji @ 99,
The link to the song ‘Tera hi aasra hai o do jahan wale’ posted by you is not working.
Here is a fresh link
https://www.youtube.com/watch?v=_esMGoW8NoQ
Yes, it a nice song from the 1956 film ‘Arab ka Saudagar’. Hemant Kumar was the MD
Ravi had penned a few songs for this film.
The lyricist of this song Shamshul Huda Bihari was born in Arrah, Bihar in 1922. He lived in Madhupur in the present day Jharkhand state. He was fluent in Hindi, Urdu and Bengali. He obtained his Bachelor of Arts degree from one the most prestigious colleges in the country Presidency College, Kolkata. It was in Kolkata that he developed an interest in sports and even played football for Mohun Bagan. However, his real passion was poetry and that brought him to his brother in Mumbai around 1947.
After Ananda Math,, Hemanta Kumar was given the task of composing music for Shart. The first song recorded did not get the approval of Bibhuti Mitra, the director and Sashadhar Mukherjee. According to Hemant Kumar, Sashadhar Mukherjee assigned S H Bihari with him, since he was fluent in Bengali and Hindi. S H Bihari was an underrated poet. The two most romantic and well-remembered songs of ‘Shart’ – ‘Na yeh chaand hoga a tare rahenge’ (#17), and ‘Dekho wo chaand chhup ke karta hai kya ishaare’ were penned by S H Bihari.
After Shart a partnership developed between S H Bihari and Hemant Kumar. In the next three years they worked together in 12 films- almost 80 songs. S. H Bihari worked almost exclusively with Hemant Kumar during this period. Their partnership resulted in the creation of gems like ‘ Chaand se poochho sitaaron se poochho’ (Daaku Ki Ladki, 1954), ‘Chhupa le daagh-e-jigar’ (Bahu, 1955), ‘Tum jo mile o sanam (Hamara Watan, 1956), ‘Tera hi aasra hai o do jahan wale’ & ‘Mohabbat ka nateeja’ (Arab Ka Saudagar, 1956), ‘Dil chhed koi aisa naghma’ (Inspector, 1956), ‘Ye hansta hua karvaan’ (Ek Jhalak, 1957), ‘Nayi manzil nayi raahen’ (Hill Station, 1957).
‘Dil chhed koi aisa naghma’ is composed by Hemant Kumar and penned by S H Bihari
The song was based on Jaunpuri. And there is also a beautiful Lata Mangeshkar version of this song.
The film’Inspector’ was the 10th highest grosser in the year 1956.
https://gaana.com/song/dil-chhed-koi-aisa-naghma?autoplay=true
Venkatraman ji,@103
Thank you for providing the link to Hemanth da’s Tamil song.
When I saw “Kanavane kan kanda deivam” I must have been around 9 or 10. I didn’t know about the MD of the film. But I remember the most popular song in the movie which is recalled by many even now . P. Susheela sang it and it opened the doors for her to become a great in playback singing.
Unnai kan theduthe by P.Susheela picturised on Lalitha:
https://m.youtube.com/watch?v=t7obk2bXYe4
The last Hindi film song that hemanth Kumar rendered was for the film Heeralal Pannalal (1978) and music was composed by RD Burman.
“Hemamtayan”…What a brilliant write-up !!!! The perfect centenary gift for a stalwart Hemanta Mukherjee..It’s a quite difficult task to write comment on such e masterpiece..
The sectional division of the article helps us to know the minute details of how he became Hemanta Mukherjee,and enriches me as i go on and on through this absorbing article…But then I realised too that i was unaware of a lot of information about his life..
The song selections are unique as usual.. though many of them i have never heard ,except the Hindi version of ‘Gnayer Badhu’ and the duet song with Bela Mukherjee but I dont know why,I knew it was the voice of Sujata Chakraborty from ‘atal joler ahwan’..
The song references in sec -3 are well known and famous..
It’s really a hard researched work and possible only for a person,who has immense love for music…kudos
Eagerly waiting for the next part to.come..
I was too amazed, awestruck to express myself. Thanks to the Almighty for giving Venkatramanji and AKji to SOY.
A befitting tribute to the adorable, Godly voice and composer Hemant Kumar. Going through the post and listening rare songs is enlightening and delightful.
I pray for Venkatramanji’s healthy, long life, happiness and eternal creative association with SOY.
My salute!
Shachindraji,
You are using some very generous words for me too. This was Venkataramanji’s post, but thanks a lot anyway. I am grateful.
Mousumi Ghosh @ 134,
I am happy that you like the article. I deeply appreciate your encouraging words. Coming from someone who is into music, it meant all the more to me. Again, please accept my sincere thanks.
Shachindra Prasadji @135,
I am really inspired by your kind and generous words.
Thank for your best wishes.
Vasudevanji @133,
Besides Hiralal Pannalal (1978), Hemant Kumar rendered songs for the following films also.
Chor Ho To Aisa (1978) – R D Burman
Subhas Chandra (1978) – Aparesh Lahiri
Daabedaar (1982) – Laxmikant-Pyarelal
Aadarsh (1983)- 2 songs – Drishtant Thakral
You said @ 68
‘Third posting same topic I have not done before.”
And this is fourth posting (@133) in this article.
And for your information you have posted 4 comments before in two articles, 5 comments in another article.
And you have even posted 8 comments and 11 comments in two other earlier articles.
Nice see to see you active.
on 139
Vanakkam Thank your Mr Venkatraman
Venkataraman ji,
Today I got the opportunity to read the article fully. Wow! Great efforts you’ve put into it. So detailed, so nicely sectioned, and so fluent. Very very impressive.
It’s quite exhaustive.
Joining very late, I don’t think I should share any song, but waiting eagerly for the next part.
You must be working for that part too, I’m sure.
All the best.
Anup
🙂
Anupji @ 141,
Thanks a lot for your warm words of appreciation.
Why, what is stopping you from posting songs?
You can always post songs upto 1960.
I understand you too are busy with Anil Biswas’s series in your blog.
All the best and Thank you once again.
Venkataramanji
Your overarching knowledge is bursting at the seems from the trend and volume of comments. Can I call it 90 percent perspiration and 10 percent inspiration. You have written enough to make it a book or a coffee table booklet. I am adding another nice song from the film Detective, sung by Hemant da and Asha Bhonsle. Music Mukul Roy. I saw the film in Delhi.
Mujhko tum jo mile – https://youtu.be/x7IX8NaLb0I?t=114
I am posting a video consisting of many duets of Hemant Kumar and Geeta Dutt in the hope at least one of them is appearing here for the first time. Uploader has given details of the song as part of video.
Best of Geeta Dutt and Hemant Kumar
https://youtu.be/dseJqu6XfAg?t=83
Today solar eclipse was witnessed world over by many nations …..some lying in umbra and penumbra zones got to witness full and partial eclipse. There are very effective scientific research studies that includes the behavior of animals , birds and even plants. What happens to surajmukhi flower is a very interesting. A YouTube search is interesting to know more about it. ……Meanwhile it is important that life must move on in the blessing and shadow of this great SUN. Close your eyes and hear this beautiful song sung by Hemant Kumar. Memories of bygone eras brings many charms that can only be encashed by emotions.
‘Suraj re jalte rahna’
https://www.youtube.com/watch?v=0u-wW3E4jXc
Thank you N. Venkataramanji for giving us such a detailed and vivid write-up on Legendary Hemant Da. Very often you may be a big fan, but do not know much about the early life of the person you may like and admire. I must say that I lived his life along with him through your pains-takingly detailed description. I did not know a few songs. I am surprised though that you picked the Mohar song in this list, and it surely made me happy. I admired Hemant Da more because he had no qualms in singing for his competitor music composers, and happily sang songs composed by them. Look forward to part 2. Warm regards, Sangeeta
Hemant Kumar and Bhupen Hazarika… Two very distinct and different voices.
Hear them together here:
Aanka baanka e pather du pashei…
Lyrics _ Pabitra Mitra.
Music _ Bhupen Hazarika.
1957.
https:// youtu.be/ qZ_zpQdjKoU
36 years later, Bhupen Hazarika used the same tune in the superlative album album, RUDALI.
Maula O Maula ,Maula…
Gulzar.
1993.
https://youtu. be/ 5MU2pd3ARTU
Ranganji @143, 144,
The blog is bursting at seems, when the SoY family comes together; and this not the first occasion.
Inspiration, obviously;
SoY members provide the inspiration that really drives me.
And I provide the perspiration.
And add to that desperation, passion and the pressure which is always self-inflicted.
That completes the recipe.
Pradeep Kumar and Hemant Kumar (under his own baton and for other MDs) must have worked together in more than 20 films and most of them before 1960.
Thanks for the nice duet of HK-GD from Detective and their other duets.
The MD of the film Mukul Roy was the brother Geeta Dutt.
Mukul Roy composed a few songs which were inspirations from Western songs. The song “Do Chamakti Aankhon Mein” by Geeta Dutt is an adaption of the Herry Belafonte hit “Jamaica Farewell”.
Bhatiaji @ 145,
Thanks for nice short write-up on yesterdays solar eclipse; and for the recall of the appropriate song on the occasion.
Sangeeta ji @ 146,
Thank you for your generous appreciation.
I think, Hemant Kumar sang for Madan Mohanji in only three films. And the song ‘Kho gaya jaane kahaan’ from ‘Mohar’ is a beautiful song composed by Madan Mohanji for Hemant Kumar and one of my favourites.
Posting another nice solo.
Lele dard parayaa, Chhote Babu (1957) lyrics Chandrashekhar Pandey
http://www.youtube.com/watch?v=NvYZxz5a3Sw
Thanks once again.
Venkataramanji @148,
Even if you say it I would find it difficult to relate Do chamakati aankhon mein to Jamaica Farewell. But I really like this Bengali adaptation by one Dr Basu, both the tune and the emotion:
Pather Prante (Jamaica Farewell) cover version by Dr Basu
Pradeepji @ 147,
Thanks for mentioning the gem ‘Aanka baanka e pather du pashei’, a NFS duet by Hemanta Kumar and Bhupen Hazrika in the year 1957. Here is the link.
https://www.youtube.com/watch?v=R7Kqe6TSF_s
I think the tune had two more Non film versions, one in Assamiya, ‘He dola he dola’ and its Bengali version both rendered by Bhupen Hazarika.
Bhupen Hazarika after completing his doctoral studies at the Columbia University returned to India in 1953. He was drawn towards the left movement and joined the Indian People’s Theatre Association (IPTA). He became the Secretary of the Reception Committee of the Third All Assam Conference of IPTA, held in Guwahati in 1955. His association with Hemanta Mukherjee was through the IPTA.
In 1956 he went Bombay in connection with an Assamiya film, ‘Era Bator Sur’, he was directing. Besides he was also the script writer, music director and the lyricist for the film. His wife Priyambada Patel choreographed the dances for the film. The story was based on the exploitation carried out on the labourers of tea gardens in Assam.
Since Hemant Kumar had good relations with Lata Mangeshkar, Bhupen Hazarika wanted Hemant Kumar to approach Lata Mangeshkar with the proposal to sing a few songs for the film, and Lata readily accepted the offer. Lata rendered two solos. Hemant Kumar rendered a duet with Bhupen Hazarika and a triad with Lata and Bhupen Hazarika. The duet with Bhupen Hazarika was a folk based song ‘Gum Gum Megh Garijilo.
https://www.youtube.com/watch?v=xNY7TBmyo2A
In 1957 the song was recorded in Bengali (penned by Pabitra Mitra). One side of the record (GE24862) was the song ‘Aanka baanka e pather dui pashei’ and on the other side was this song ‘Gum Gum Megh Oi Garajai’.
https://www.youtube.com/watch?v=kkTaNb4-fIE
The Assamiya version is too good.
AKji @ 151,
I mentioned the song from my recall. I should have listened to the piece again before mentioning.
I listened to the Geeta Dutt song now and realized that only the first line has a resemblance to the Jamaica farewell.
The cover version by Dr. Chandak Basu posted by you is indeed fantastic.
Actually in the mid sixties a new trend was set by Ranjan Prasad in Bengali modern songs- ‘Jeevan Mukhi Gaan’.
He was the first to trancreate and render ‘Jamaica Farewell’ in Bengali. Dr. Basu has rendered Ranjan Prasad’s version.
Here is a link where you will find more details about Ranjan Prasad.
http://www.ranjanprasad.com/
Shibdas Bandopadhyay penned another version which was harmonized by Calcutta Youth Choir under the direction of Ruma Guha Thakurta.
Sagar Nadi Kato Dekhechhi Desh
https://www.youtube.com/watch?v=ZZpl-kO-mc0
NV @131
Thanks for all the information about S H Bihari, he did some good songs with OPN too.
Did you notice the number of twin songs?
Hemant Kumar may beat all playback singers in twin songs, Rafi might have more numbers but percentage wise I think HM would beat him.
Mumbaikarji @ 154,
I am getting used to your En Vy.
Yes, half of Bihari Shaheb’s total songs and films were with four composers. Hemant Kumar, Ravi, O P Nayyar and Laxmikant-Pyarelal. I think his most successful association was with O P Nayyar.
Materials are available to do a post on him. I would love to, but would not commit, because I am very poor when it comes to keeping commitments. Well S H Bihari was born in 1922. Let me see; if I can get a write-up ready by 2022. I would intimate AKji.
And that was good observation on the twin songs of Hemant Kumar.
Thanks
Tamil, Punjabi, Assamiya songs of Hemant Kumar have been posted.
Now a Marathi song from ‘Naikinicha Sajja’ (1957). Hemant Kumar was the MD.
Produced and diected by Balaji Pendharkar.
Baburao Pendharkar, Master Vinayak, Hansa Wadkar and others acted in this film.
There were six Marathi songs and two Hindi songs in the film.
Lata Mangeshkar rendered 4 solos, two in Hindi and two in Marathi.
She also rendered a duet with Hemant Kumar.
I am not aware of the details of the other three songs.
Presenting the Marathi duet with Lata Mangeshkar, lyrics Raja Badhe.
https://www.youtube.com/watch?v=HPHjy4-HcFU
The melody of the song was adapted from a Bengali song from the film ‘Asamapta’.
The lyrics for the two Hindi songs rendered by Lata Mangeshkar were penned by Shamsul Huda Bihari.
Posting one of the solos.
Jiya nahi lage mora- a beautiful song based on Jayjaywanti (I suppose)
https://www.youtube.com/watch?v=gr1EdzYaoJQ
Venkataramanji
Sorry for coming so late. Your article has already got all the praise which it duly deserved. It is a precise clinical analysis of Hemant Kumar’s life and career and for me there is no need for any other biography. Though I dont understand much of Bengali, I agree with your remark that his Bengali singing was much superior to his Hindi singing. Song number 20 from Shap Mochan is just simply out of this world. This song clearly shows what Bengali listeners lost due to his engagement in Hindi film industry. You have also listed NFS, some of which were new to me. NFS like ‘kitna dukh bhulaya tumne pyari’ show his special talent in this field. I think in this area also he was not used as per his potential.
I would be failing in my duty as a friend, if I dont give suggestions for what was needed to be added. First thing is that this Hemantayan should have been in 3 parts if not 4. In the first, along with biography Bengali era could have been covered along with Bengali NFS. The next two could have been on Hindi era. This squeezing in two parts has perhaps resulted in loss of soul which was present in AK’s write-ups on Hemant Kumar. Also some kind of gist of meaning of Bengali songs should have been there for people like me who are aplenty here at SOY. But, I think there were time constraints for you. You are also adding a lot through comments, which hardly anybody else does on SOY.
I actually rate Hemant Kumar very high as a Music Director. Dinesh Jain hinted about this, because many tend to rate him lower, though as a singer mostly he gets his due, despite his low output in Hindi singing.
For songs, I would like to add songs on the lighter side which he rendered superbly. Lalten and Inspector both came in 1956. First, ‘phoolon ke haar lelo’ from Inspector. This song is such a contrast from ‘dil chhed koi’.
https://www.youtube.com/watch?v=w8wzqN0TdiU
‘Dil se hain shehzade hai surat bhale mawali ki,
khali pocket rakhte hain par photo geeta bali ki.’ – Lalten
https://www.youtube.com/watch?v=VHrFbGGHDww
‘Dil ka tattoo ad jata hai gali dekh ke yaar ki’ (with Geeta Dutt) – Lalten.
https://www.youtube.com/watch?v=tDqGrancje8
A very well researched article about Legendary Hemanta Mukherjee.
I grew up listening to his sings but didn’t know so much about him. Thanks for giving us all the detailed information on him.
Shakuntala Datta,
Welcome to SoY.
Thank you Mr Venkataraman for such a comprehensive post on my all time favourite singer. The one song that turned me into a fan was ‘Yeh nayan dare dare’. I was mesmerized by the resonance in his voice. Much later I became aware of the Bengali original ‘Ei raat tomar aamar’, which also led to another great HFS ‘Tumhara intezaar hai’ from Khamoshi.
The next song which confirmed me in my devotion to Hemanta’s voice was ‘Yeh raat yeh chandni phir kahan.’
Hemanta’s solos are in a class by themselves, but the magic of his voice gets highlighted in the duets. His deep rich voice complements the female voice like no other male singer. AK did a post on his duets with Lata Mangeshkar and it had some of the best songs ever recorded in Hindi film music.
Eagerly looking forward to the next article in the series.
Hansji @157
Thank you for your encouraging words.
Appreciation from regular members of SoY is something I would attach special importance to.
I value your frank opinion and advice, which I would keep in mind for my future posts.
Thanks for posting the songs from ‘Inspector’ and ‘Lalten’.
‘Inspector’ was one of those few films which did well during the latter half of the 50s.
‘Lalten’ did not do well at the box office. But the songs were good.
I would give a list of films for which he was the MD, and also films for which he sang under other MDs baton.
Thanks once again
Shakuntala Dutta @158,
Thanky you for your nice words.
Subodhji @ 160,
Thank you for words of appreciation.
The songs that you have mentioned from ‘Kohra’ and ‘Khamoshi’ are among his iconic songs. They will definitely find a place in the next part. Yes, his duets with Lata are beyond doubt good. I am glad to find there are many admirers of Hemant Kumar in SoY.
Raja, you have not only thrown a spotlight on Hemanta Mukhopadhyay, as a result you have also beautifully illuminated the various associated Bengali and Indian music persona of an era that very few of us know about.
You have really created a treasure trove for us all which, I hope, will serve as a happy hunting ground for all future Indian music lovers and researchers.
My only gripe is that the article doesn’t have your picture. As one of your personal photographers, can I offer one to SoY for the article?
Kudos and can’t wait for the 2nd. part…
Santanu,
Welcome to SoY.
Santanu @ 164,
Thank you very much for your appreciation.
I am glad that you found the article informative.
Here in SoY we are in virtual relationship. Although we have been associated with SoY for many years, most of us haven
Venkataraman ji
Thanks for such an excellent tribute.
Hemant ranks among the greats. When you feel like please write about Hemant’s journey as a film producer.
Regards
Ashok Kumar Tyagiji,
Thanks for your appreciation.
I will be covering Hemant Kumar’s in house productions in the second part.
Brahma’s son Daksha’s daughter Dakshayini ( Sati/ Shakti) married Shiva against her father’s wishes. Daksha conducted a great Yajna for which everyone other than Shiva were invited. Dakshayini goes there in spite of Shiva’s objections. Daksha not only ignores her, but also vilifies Shiva in front of the large gathering. She jumps into the Yajna kunda and immolates herself. Since she had activated her Chakras before doing so, her body is not burnt.
An enraged Shiva ( as Veerabhadra ) decapitates Daksha . ( Later, to forgive him and replace his head with a goat’s.
His anger unabated, he does the destructive Tandav , uninhibited, non stop. Afraid that the whole universe will be destroyed, the Gods appeal to Vishnu, who, then, cuts Dakshayini’s body into 51 parts with his Chakra. The places where these various parts fell are called Shakti Peethas. Mostly situated in different states of India, a few are in Sri Lanka ( 1, Nainetivu), China ( Manas Sarovar ), Bangladesh ( 3 ), Nepal ( 3 ) and Baluchistan ( 1, Hinglaj , where Shakti’s head parts had fallen. )
Totally 51 in number, plus one ..Vindhyavasini ,where Sati opted to live in Dwapar Yug as Mahamaya, daughter of Nanda and Yashoda , whom Kans tries to kill thinking the child was his nemesis!
MARUTIRTHA HINGLAJ is a 1959 Bengali movie produced and directed by Bikash Roy ,who played an important character in it. Based on a travelogue by Saint writer Kalikananda Abhaduta. it depicted the pilgrimage by a group of devotees to Marutirtha Hinglaj ( Hinglaj shrine in the desert)… the trials and tribulations, the inner discovery of each person.Hinglaj Mata or Hingula Devi is revered by the local Muslims as Naani Maa and they join the Hindus for, what they call Naani Ki Haj.
MH starring Uttam Kumar ( in a highly unusual role) , Sabitri Chatterjee, Anil Chatterjee, Pahari Sanyal and Bikash Roy had superlative music by Hemanta Da.
Here is HK’s rendition of Shiva Namavali Ashtaka, composed by Adi Shankaracharya.
Hold your breaths, the chorus has Lata Mangeshkar, and, possibly, Geeta Dutt. Can it get any better?
Hey Chandrachoor Madanantaka Shoolapani…
https:// youtu.be/ juzWiN_6mac
The movie has some more gems.
Will come back with the links to 2 renditions of SNA by Pankaj Mallik, another one by HK himself, 2 from South Indian movies.
Pradeepji @ 169,
Thank you for posting the details of Marutirta Hinglaaj. And the fabulous HK’s rendition of Shiva Namavali Ashtaka, composed by Adi Shankaracharya.
Posting the link
Hey Chandrachoor Madanantaka Shoolapani…
https://www.youtube.com/watch?v=lkbFGyBbOhk
Looking forward to your other songs/versions.
N V ji,
I was sure you are going to like Hey Chandrachoora.
Every evening, during my Pooja rituals,I am playing it.
Another HK version…
Tusharthirtha Amarnath.
httpps://youtu.be/Y7_juUKabwA
Pankaj Mullik lead chorus under his own music direction twice.
NARTAKI, 1939.
https://youtu.be/ rZyPLP4JnnyeE
YATRIK, 1952.
https:// youtu.be/ ifyupmCuP8Q
SATYA HARISHCHANDRA, 1965, was a Kannada ( Rajkumar, Pandari Bai) and Telugu ( NTR, S Varalakshmi) bilingual. P Nageshwar Rao gave excellent music . All of the nearly 2 dozen songs are remembered to this day.
https://youtu.be/qTxlnJOmMFE
( Ghantasala, P Leela).. Kannada.
https:// youtu.be/ ZlgWOPDfoAU
( Ghantasala, S Varalakshmi, the heroine. She was a singing star.)
In the last two, only the mukhda is Shiva Naamavai Ashtaka.
We find many versions of SNA on the Youtube.
PS..My links all work on a mobile device.
Decades back, Salil Choudhary wrote an article for The Illustrated Weekly on Heman Kumar. Hemant Kumar and Salil Choudhary used to take part in public programmes of music in Bengal in their days of youth. As he says in the article, Hemat Kumar’s name inspired such awe among participants that they preferred to give their performance before Hemant Kumar sang.
Hemant’s resounding voice had the strength and openness of Pankaj Malik and yet it had overpowering sweetness. The songs composed by him also had the same winning characteristics of melodiousness.
This song from Siddharth is perfect representative of Hemant’s songs.
https://youtu.be/hHmD8E9nj_8
Pradeepji @ 169,
You have given a nice introduction with the story behind the Shakti Peethas and followed it up with a good forward to the film ‘Marutirtha Hinglaj’. Yesterday night I was happy to see your write-up and the mention of the Hymn / Strotra ‘Hey Chandrachuda Madanatka Shoolapane’ .I wanted to post a link depicting the actual scene from the movie and add some more details, in my haste I posted the link without the actual video clipping and the details.
I posting the clipping from the film and the details,
https://www.youtube.com/watch?v=HN8rgIXZpIM
You will find Anil Chatterjee (as Rooplal), Bikash Roy (in the role of Avadhoot), Pahadi Sanyal (Popatlal Patel), Chandrabati Devi (as Bhairavi), Savitri Chatterjee (as Kunti). I could not identify the child artist. Uttam Kumar is not there in this song.
The journey of a group of pilgrims headed on a long journey through the desert to reach a goddess’s shrine at Hingla and the nearby volcanic shrine of Baba Chandrakoot/ Chandragup, both holy sites promise that a pilgrim can be washed of all his sin provided that he/she work out his penance through the harsh desert journey, and confesses his/sins sins truthfully upon reaching the shrine. The Chandragup mud volcano is worshipped as an embodiment of Lord Shiva.
The place associated with song is the Chandrakoot or Chandragup mud volcano.
PS: Since the article was as it is too long, I could not include some more details. Thank you Pradeepji for bringing into discussion the song and the film.
Pradeepji @171,
I was expecting the songs to be posted except the one from Nartaki which went off my radar.
You say the links are working in your mobile, where as they do not respond in our mobile device or computer. Well I would provide the links.
The 1959 film ‘Marutirtha Hinglaj’ was on the desert pilgrimage to Hinglaj and the 1978 film ‘Tushartirtha Amarnath’ was a pilgrimage to the snow-clad Amarnath. The 1978 film had only the first three hymns/stanzas of the ‘Hey Chandrachuda Madanatka Shoolapane’ and there is a Shiva Dhyana Mantra starting with the line ‘Dhyaye Nityam Mahesham Rajatagirinibham Charuchandraavatamsam’ inserted between the first two hymns. Here is the link,
https://www.youtube.com/watch?v=Y7-juUKabwA
The Hymns (s) was used as a title song for the film by the MD Gopen Mullick.
‘NarTaki’ (1940/41) was produced by NewTheatres both in Bengali and Hindi. Debaki Bose wrote the story and was also in charge of the direction for both the version. The Pankaj Mullick & Chorus version of the song the ‘Hey Chandrachuda’ from Nartaki had only the first two Hymns.
https://www.youtube.com/watch?v=rZyP4JnnyeE
Directed by Kartik Chattopadhyay and based on the story by Probodh Kumar Sanyal, Yatrik (1952) too was a double version film in Bengali and Hindi from New Theatres. The story of the film depicts a group of pilgrims on an arduous trek in the high Himalayas. This version had the first two hymns and the eight hymn.
https://www.youtube.com/watch?v=W6Bt8Kd0RpY
At last Lord Shiva had opened his third eye. Your link to the Kannada version of the song from Satya Harischandra is working. You will notice that it is the only link which has a different colour (brown) and when you move the arrow indicator to the link you will find the hand sign with the index finger pointing at the link, waiting to be clicked.
Coming to the song the only first two lines of the first two hymns have been used as the first stanza of the song. The same goes for the Telugu Version too.
Thank you once again Pradeepji.
Naresh Mankadji @ 172,
Thanks a lot for visiting the post.
Yes Nareshji, you are absolutely right. He was the most sought after artist all over Bengal. He loved to be among his fans. He rarely refused to perform in public functions. And in those days most of them were whole night functions. He enthralled his audience belting out songs after songs during his innumerable live concerts. And he used sing at least 25 to 30 songs in a single program. He knew how to win over an audience. There was something Promethean about him.
I would like to give two incidents from his life.
The first one was during his budding days, when he had just started singing in AIR and a couple of records had come out. On the recommendation of his friend he got a chance to perform at a public function at the University Institute Hall in Calcutta. In those days Pankaj Mullick was the most sought after artist and generally he used to be the last artist. AN excited and expectant Hemanta arrived at the hall at 4 pm and artists, one after the other, were called to perform. When it was his turn to perform, Pankaj Mullick arrived and poor Hemanta was forgotten. However he had the consolation of listening to his idol, sitting in the wings. However a disappointed Hemanta returned home dreaming that one day he too will be in the limelight. This was in the early 40s and by the turn of the decade he had carved a place for himself in the performance circles. At one stage he was the Joint Secretary of the artists’ association, fighting for their rights and fair remuneration.
Now let me quote an incident narrated by Suparanakanti Ghosh, son of MD Dr.Nachiketa Ghosh. The period was late 50s. And Hemant Kumar was shuttling between Bombay and Calcutta and sometimes Madras too. His schedules were filled to the brim. Nachiketa Ghosh had come to Bombay to record the songs of the Bengali film ‘Indrani’ (1958). Whenever Nachiketa Ghosh came to Bombay he used to stay at Hemanta’s house. Hemanta had two solos and one duet with Geeta Dutt and the recording was scheduled for the next day morning. Late in the evening both of them were having a hearty chat, when Nachiketa Ghosh noted that Hemant Kumar’s vocal chords were in perfect condition and requested Hemanta to give his best the next day. Hemant at once suggested that they should have early dinner and resign to bed for the night. Early in the morning, soon after sunrise Nachiketa was awakened by Hemant Kumar with piping hot tea. Later in the day they went to the studio at the appointed time and the solo song ‘Surya dobar pala’ required only a single take. Nachiketa Ghosh was very pleased. He had observed in the morning that Hemant Kumar’s bed was without a single crease and seemed unslept. He enquired whether Hemanta had spent a sleepless night worrying about next day’s recording. Hemanta with a mischievous smile answered that he had two programs that night and he had returned home just after the sunrise, prepared tea for both and woke him from his sleep. Nachiketa Ghosh was astounded and was wondering after two strenuous overnight programmes how could anybody’s voice sound so smooth and perfect. That was Hemanta/ Hemant Kumar. He had a god gifted voice which seldom failed him.
Often a question is asked. Was Hemanta popular as a singer or composer or both? I think his voice was his asset and his popularity to a large extent was due to his singing.
NV ji,
The more I listen to the songs of MARUTHIRTHA HINGLAJ, 1959, the more I am fascinated.
You have provided the link for the excellent Hey Chandrachoora..
Do provide the links for..
1. Pother klanti bhule… Ma go…
2. Tomar bhubane…Ma go..
3. Sahasra budhiroopena..
.. Narayani namostute..
( After Hey Chandrachoora, another song that can boast of Lata and Geeta Dutt ? in the chorus.)
Pradeepji @ 177,
I can very well understand your fascination for the songs and Hymns of ‘Marutirtha Hinglaj’. I have watched the movie several times, the last time in April while writing ‘Hemantayan’. Everytime I see the movie an overwhelming feeling engulfs the self, an experience that brings the self to one’s knees and a feeling of remission from sufferings.
After a long contemplation, I did not include its discussion in the Hemantayan. I thought it would have looked out of place. However I thought of presenting one of the songs ‘Pather Klanti Bhule Sneha Bhara Kole O Maago’ in the second part, in a different context.
Few day after the appearance of the 1st part of ‘Hemantayan’ in SoY, I found Sadanand Kamathji , after responding to your request had watched the film with the subtitles in English, wrote a wonderful write-up on the movie. Along with write-up he presented the only Hindi/ Urdu song of the film. Probably you had shared that information.
I am sure you too must have watched the movie with the subtitles in English.
Responding to your request I am presenting the songs/Hymns mentioned by you. Let me start with #3.
Sahasra (Sarvasya) budhiroopena..
.. Narayani namostute..
Actually this is part of ‘Devi Mahatmyam Durga Saptasati Chapter 11’ (if I am not mistaken). If you leave out the ‘Dhyana Stotra’ and the following ‘Rishi Uvacha’ Hymn and the Phal Shruti part in the end, there are 22 Stotras popularly known as ‘Narayani Stotram’. The first stotra is recited by Hemanta just before the title credits and its music and again repeated in the voice of Lata Mangeshkar later.
Devi Prapannaarti-Hare Prasiida
Prasiida Maatar-Jagatokhilasya |
Prasiida Vishveshvari Paahi Vishvam
Tvam-Iishvarii Devi Charaa-Charasya
You will find Hemant Kumar’s version right at the beginning of the link till the 01:00 followed by the title music with accompanying Hemant Kumar’s voice till 03:00
https://www.youtube.com/watch?v=e98L6BkPJuI
and the Lata Mangeshkar’s version right at the beginning of the following link at 00:29 to 0100
https://www.youtube.com/watch?v=Jp2q46THMbY
Another select 15 Stotras, beginning with Sahasra(Sarvasya) Budhiroopena.., were recited by Hemant Kumar, lip-synced by Anil Chatterjee. This was towards the end of the film when they reach Mata Hinglaj Devi Mandir. ‘Hey Chandrachooda Madanataka Soolapane’, also lip-synced by Anil Chatterjee and rendered by Hemant Kumar earlier in the movie, when they reach Baba Chandrakoop and pay their obeisance.
Sarvasya Buddhi-Ruupenna Janasya Hrdi Samsthite
Svargaapavarga De Devi Naaraayanni Namostu Te
Sarva-Manggala-Maanggalye Shive Sarvaartha-Saadhike
Sharannye Tryambake Gauri Naaraayanni Namostu Te
Srsstti-Sthiti-Vinaashaanaam Shakti-Bhuute Sanaatani
Gunnaashraye Gunnamaye Naaraayanni Namostu Te
Sharannaagata-Diinaarta Paritraanna-Paraayanne
Sarvasyaarti-Hare Devi Naaraayanni Namostu Te
Hamsa-Yukta-Vimaanasthe Brahmaannii-Ruupa-Dhaarinni
Kaushaambhah-Kssarike Devi Naaraayanni Namostu Te
Trishuula-Chandra-Ahi-Dhare Mahaa-Vrssabha-Vaahini
Maaheshvarii-Svaruupenna Naaraayanni Namostu Te
Shangkha-Chakra-Gadaa-Shaarngga-Grhiita-Paramaa-Yudhe
Prasiida Vaissnnavii-Ruupe Naaraayanni Namostu Te
Grhiitogra-Mahaa-Chaktre Damssttroddhrta-Vasundhare
Varaaha-Ruupinni Shive Naaraayanni Namostu Te
Nrsimha-Ruupennagrenna Hantum Daityaan Krtodyame
Trailokya-Traanna-Sahite Naaraayanni Namostu Te
Kiriittini Mahaa-Vajra Sahasra-Nayanojjvale
Vrtra-Praanna-Hare Chaindri Naaraayanni Namostu Te
Shivaduutii-Svaruupenna Hata-Daitya-Mahaa-Bale
Ghora-Ruupe Mahaa-Raave Naaraayanni Namostu Te
Damssttraa-Karaala-Vadane Shiro-Maalaa-Vibhuussanne
Chaamunndde Munndda-Mathane Naaraayanni Namostu Te
Lakssmi Lajje Mahaa-Vidye Shraddhe Pusstti Svadhe Dhruve
Mahaa-Raatri Mahaa-Maaye Naaraayanni Namostu Te
Medhe Sarasvati Vare Bhuuti Baabhravi Taamasi
Niyate Tvam Prasiideshe Naaraayanni Namostu Te
Sarva-Svaruupe Sarveshe Sarva-Shakti-Samanvite
Bhayebhyas-Traahi No Devi Durge Devi Namostu Te
It is right at the beginning of the following link
https://www.youtube.com/watch?v=fwiZS6wNFQ8
Rest to follow………………….
Dear NV ji,
What a treat! You made my day.
Complete Narayani Stotram, various links, the Lata version, too ! ( I had almost mentioned it. But, then thought, let me confine myself to Hemant Da. )
NV ji,
Could you distinguish Lata’s voice among the chorus of Hey Chandrachoor and Sahasra Budhiroopena ? A rare occurrence for 1959 when she was a huge star, right?
Also, is there any way to find out whether Geeta Dutt was also a part of the chorus or she had sung a song which was not retained. I am sure you have noticed her name in the credits.
I am anxiously waiting for …’ Rest assured to follow.’
Thank you, N V ji.
Pradeepji @ 177,
Continuing from 178……….
Although Geeta Dutt’s name is there in the title credits, she did not render any solo/ in the film.
Yes, both the verses can boast of Lata & Geeta in the chorus. However Lata did have brief solo; presented earlier @ 178.
After Tirumal/ Tirimal (not Pirimal as mentioned in the subtitles) relates their sad tale, it turns out that Tirumal (Uttam Kumar) and Kunti (Sabitri Chatterjee) are not married in the eyes of the society.Piramal was an orphan, used to roam around the streets, singing & dancing, then became a conman. Kunti was a young, abandoned wife; Tirumal was hired (conman turned astrologer) hired to find the missing husband of several years. They fell in super-cute puppy-love, and decided to run away together. Tragically, they found no place where they could belong. When trying to walk in merchant class circles, they were turned away because of the caste difference; and when they tried to make money through street performance, Kunti was repeatedly propositioned. Finally, they decided to travel with the pilgrims, but left too late, and were robbed and [Kunti] raped by dacoits befor they were rescued and joined the pilgrims. The song rendered by HematKumar once again lip-synced bt Anil Chatterjee is after the lovers join the pilgrims.
Posting the song ‘Tomar Bhubone Maago Eto Paap, eki Abhishaap, Naai Pratikaar?’
I have selected the clipping of the film (Part 3), since it has the English subtitles. You will find the song at 04:33
https://www.youtube.com/watch?v=Jp2q46THMbY
Further into the journey towards Hinglaj, the song ‘Pather Klanti Bhule Sneha Bhara Kole O Maago’ is picturised.
Presenting the clipping from the film (Part 7); you will find the song @ 00:33. Hemant Kumar /Anil Chatterjee
https://www.youtube.com/watch?v=CZNIvmUuTxc
to be continued with an interesting trivia……………………..
Pradeepji,
@179,
I am not that good at identifying voices, especially in chorus. After your prodding, I listened to ‘Sarvasya Buddhi-Ruupenna Janasya Hrdi Samsthite’ again. Anil Chatterjee leads the chanting and the chorus just lending their voices for chanting the words, ’ Narayani Namostute’. Female voices could have been used for three characters, Kunti (Sabitri Chatterje), Bhairavi (Chandrabati) and Shuklal (the child artist). Kunti is not lending her voice. That leaves scope for two voices. And I could identify (with the help of my wife) Lata’s voice and the other voice in the chorus could be that of Geeta Dutt. Again @ 01:04, Hemant Kumar uses a female voice for harmonization in the background. And that voice is clearly that of Geeta Dutt.
Lata’s voice is clearly discernible in ‘Hey Chandrachooda Madanataka Shoolapane’. I have post the audio version earlier. Posting a link, you find the chanting right at the beginning of the clipping.
https://www.youtube.com/watch?v=oNBpgX2r5J4
I am not aware of Geeta Dutt rendering any other song for the film which could have been subsequently removed.
Yet could be a possibility, but I did not find anything to substantiate it.
Pradeepji,
Continuing from 180,
The trivia…..
Hemant Kumar, it seems, could not get over the hangover of ‘Nagin’ even after 5 years of its release.
He used the Clavioline for the background score in a few scenes. Presenting two clippings where you will find the use of Clavioline.
@ 08:24- Uttam Kumar plays the Harmonium, but the sound is clearly that of Harmonium and Clavioline together.
https://www.youtube.com/watch?v=BksfDwA-tGk
In the following clip between 02:00-03:42; towards the end of this piece one can easily identify the sound of the Been.
https://www.youtube.com/watch?v=765KayzBeEw
You will also find Anil Chatterjee humming the first line of the song ‘Man dole mera tan dole’ @ 09:05 of the following link
https://www.youtube.com/watch?v=e98L6BkPJuI
Dr Shetty, Venkataramanji,
I have been following your discussion on Marutirtha Hinglaj, different versions of Hey Chandrachud and Narayani namostute. Listening to Hemant Kumar’s recitation of Sanskrit shlokas is a deeply moving experience. I have never heard a pundit reciting Narayanin namostute in a Durga Puja pandal without a heavy Bengali accent (rokkhita for रक्षिता, or Khomadhatri for क्षमाधात्री). Hemant Kumar does not have any trace of accent in his shloka recitals. On DD epic serials it was painful to hear our avatars mouthing Sanskrit shlokas, Hemant Kumar was the only one who could pronounce words words like कदाचनऽ perfectly, dropping the stress at the end has a jarring effect.
The main charm of Hemant Kumar is slow recital, but ‘Sarvasya budhirupena… Narayani namostute’ left me unsatiated. He starts at a fast tempo, which becomes frenetic as it proceeds. I can understand from the picturisation that it was because of the excitement of the pilgrims at finally reaching the deity, but to my mind a slower, even tempo would have created more impact.
AKJI @ 183,
I fully agree with you on your views on ‘Sarvasya budhirupena… Narayani namostute’ recited by Hemant Kumar.
The recitation by a layman/ a guide might have gelled with situation, yet as you have rightly stated a slower even tempo could have created a more impact.
Thank you for your views.
Greetings to all on the occasion of Shree Krishna Janmashtami.
The excitement, revelry, devotion associated with the festival, the Dahi handi ( Mosaru Kudike, ಮೊಸರು ಕುಡಿಕೆ, in our parts, seem like distant visions from another life!
Govinda aalaa re, aala..
Mach gaya shor saari nagri re..
Shor mach gaya shor dekho..
Teen battiwala Govinda aalaa…
Covid 19 ke aane se sab ‘ gela’!
A beautiful depiction of Shree Krishna’s birth , childhood and early adulthood:
Jab jab hota nash dharam ka
Aur paap bad jaata hai…
PRABHU KI MAYA, 1955.
Pandit Madhur, Ravi.
https://www.youtube.com/watch?v=vhKFFO5k0uM&list=RDmMXBY6X8V_I&index=24
One non-filmi song by Hemantda
In Hemantayan part 1 it is shown that in the period 1942-60 , there are 164 songs to the credit of Hemant as a playback singer under other music directors. But to me it is not clear if here the song ‘ Hai Apna Dil …’ is counted as one song only. ‘ Hai Apna Dil …’ song 1st version has been mentioned in the comments under this post.
The point is that there are 2 songs in this movie ‘ Solva Saal ‘ both beginning with the lines ‘ Hai Apna Dil…’. We have to give credit to Hemant for the two distinct songs with this same opening line in this movie.
Hai apna dil…’/ 1958 / SOLVA SAAL / Majrooh Sultanpuri / SDB / Hemant
I give the 1st version of this song …
(1) https://youtu.be/07dfqQ0cvl8
Now the sad version (not posted in the comments) of this song…
(2) https://youtu.be/JHJ4oeUagXU
On listening to the 2 songs it is very clear that the two songs have different lyrics , different music , different tempo , different setting etc..
Whether the total number of songs under other music directors in Hindi films would go up to 165 from the 164 shown here ? I say this also because these two songs had to be recorded separately , the singing is different and so should not be counted as one single song. I could answer this question if the list of the 164 songs was available.
Listening to the 2 songs I notice that in the sad version the prelude is playing for around 50 seconds and there are atleast 6 instruments used in this prelude . In the 1st version of the song there is hardly any prelude shown in the YouTube upload . Also the main instrument used in the interludes in the 1st version of the song is the Harmonica . In the sad version of the song I notice the use of other instruments for the interludes.
The composer has used different instruments in the two songs for the two distinct situations . The pre/inter/postludes have been composed and arranged by some others and not SDB . This component of the song cannot be forgotten. This section also adds so much to the song situation . In fact in the sad version upload here , almost half of the total 223 seconds is devoted to the pre/inter/postludes.
Liking a song could mean differently for different persons. Generally no one says why he likes a song .For instance someone may be meaning that he likes the lyrics , another maybe liking the song only for the tune , another may like a song for the singing / MD , another may like the song for the type of pre/inter/postludes used in the composition .
Josephji @ 187,
That was a valid query raised by you.
Let me assure you that the two versions were counted as separate songs.
Thus the total number of songs for the period, as of now, remains at 164.
‘Chandan Ka Palna’ occurs thrice in the film ‘ Shabab’ But I have included two in my count. The third time the song occurs at the end of the film.
With new songs the figure may go up, like the song from the East Pakistan film ‘Humsafar’ (posted by Bhatiaji) was not in my list. Again Hemanta Mukherjee biography mentions three songs from ‘Shahi Bazar’. Bhatiaji posted one of them. I have included all the three songs in my count. I did not check while working on Hemantayan. Now I am in doubt. Thus the total count may get reduced. That is why I have said in my note that an allowance of (+,-) 2% may be considered.
Thank you for posting the two versions and your observations.
Do not know if this song has been posted here .
‘Zindagi pyar ki…’/ 1953 / ANARKALI / Rajinder Kishan / CR / Hemant
https://youtu.be/4D90FqpkhCM
” Hementayan” a tribute to legendry musician Hemanta Mukherjee is vivid biographical description by N. Venkat Raman. Tidy effort through extreme research work is definitely a appreciative attempt . The all time great Hemanta Mukherjee who possessed a Golden voice was not only a singer but also an excellent composer/ music director in both Bengali and Hindi films. Hemanta Mukherjee was the only singer who gained enormous popularity in songs of great Rabindranath Tagore as well as Basic BENGALI songs. Thanks to the sincere effort on presenting his life and career in detail.
I remember a basic song composed by Pratima Bandopadhyay.
https://youtu.be/6LZUQ1lW1lo
Sobhan Rakshit,
Welcome to SOY.
Hemant Kumar composition…
‘ Brindavan ka Krishn…’/ 1957 / MISS MARY / Rajinder Kishan / Hemant / Lata
https://youtu.be/yTvZuQ2-bYk
Hemant composition and singing but Asha did not sing any words .
‘ Ye hansta hua …’/ 1957 / EK JHALAK / SHB / Hemant / Hemant , Asha
https://youtu.be/0K3yhNy0Grs
Adapted from a famous western.
Here are two compositions of Hemant Kumar from ‘Ek Jhalak’ .
One is a duet and the other a solo.
( This is one more case where the first lines are the same but two different songs)
(a)’ Aa ja Zara …’/ 1957 / EK JHALAK / SHB / Hemant / Geeta Dutt
https://youtu.be/_ePTvwJ3KdE
(b) ‘ Aa ja Zara …’/ 1957 / EK JHALAK / SHB / Hemant / Hemant , Geeta Dutt
https://youtu.be/AQbQaDeR-Dg
Hemant composition…
‘ Chal badlon se …/ 1957 / EK JHALAK / SHB / Hemant / Hemant , Asha
https://youtu.be/rutRA_vdraw
Hemant composition…
‘ Ye Hawa ye…/ 1957 / EK JHALAK / SHB / Hemant / Lata
https://youtu.be/WlxYrZWFPjY
Josephji @ 189, 193-197
Sorry, I was off the SoY circuit for a week.
The song ‘Zindagi pyaar ki do-chaar ghadi hoti hai’ was not posted earlier. I had mentioned it before song #19.
Thanks for posting the song and also the songs from ‘EK Jhalak’ and ‘Miss Mary’. None of the songs were posted earlier. However the song Aa Ja Zara and its connection with ‘Cherry Pink” was mentioned by Mr. Amitabha Ghosh.
Mr Sobhan Rakshit @ 190, 191
Thanks for your nice words and your tributes to Hemanta Mukhopadhyay.
I was not aware of the basic song ‘Tandra Hara Raat Oi Jege Roy’ composed by Pratima Bandopadhyay and rendered by Hemanta Mukhopadhyay. Thanks for the song.
Hope you will find time to go through the second part.
Thanks.
‘Jhoom Jhoom Manmohan…’ / 1954 / BIRAJ BAHU / Prem Dhawan / Salil / Hemant & chorus
https://youtu.be/8AO_X7hLkcI
I have been following this for several months, and I appreciate it. I would like to post an article, but where to send it? Is their any email id for the willing contributors? Please let me know. Thanks.
Pritha Kundu,
Welcome to Songs Of Yore and thanks a lot for your appreciation. I have sent you a mail.
I want to know more about Sujata Chakraborty.