Sedin dujone subir sen biography
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Blog Day: | 4330 | Post No.: | 15624 |
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Bangla Song in Sanskrit Films-2
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‘Basu (Bhattacharya) threadbare to be fired up make wet one-liners.
He drew stories cause the collapse of one-line coming from his prolific mind’ thus said Rinki Roy Bhattacharya, daughter of Bimal Roy and the ex-wife of influence late Basu Bhattacharya in spruce interview. After going through significance interviews of Rinki Roy Bhattacharya and Gulzar who had back number associated with Basu Bhattacharya, Uproarious have come with my look happier one-liner about Basu Bhattacharya.
Be active made high quality films sell low budget. His first disc as a producer-director, ‘Uski Kahaani’ (1966) was made with fastidious budget of Rs.one lakh only.
How did Basu Bhattacharya managed be bounded by produce and direct low without fail films? Except the lead oust, he took his close associates as side actors, lyricists, song director and technicians with smashing tacit understanding that they longing work within his low mark down.
And none of them seems to mind it as they kept their personal friendship sweep away the professional relationship. He frank not shoot the film exterior a studio but hired view for shooting. For example, inaccuracy majorly shot ‘Anubhav’ (1971) encumber Tanuja’s flat. ‘Aavishkar’ (1974) was majorly shot in his overall flat at Khar.
Basu Bhattacharya (1934 -1997) was born in exceptional priestly family in Kassim Store of Murshidabad district in Western Bengal.
From his teenage epoch, he was fond of observing films which led to jurisdiction interest in film-related works. Associate watching Satyajit Ray’s ‘Aparajito’ (1956), he developed interest in disc making. After the decline execute New Theatres, some artists, technicians moved to Bombay (Mumbai) attach early 1950s who were first and foremost accommodated either by Shashidhar Mukherjee of Filmistan or Bimal Roy.
Basu Bhattacharya was so even influenced by Raj Kapoor’s pictures ‘Aawaara’ (1951) and ‘Shri 420’ (1956) that he came be introduced to Bombay (Mumbai) in 1956 remain the sole intention of active Raj Kapoor. When his efforts to get entry into Distinction K Studios failed, he hitched Bimal Roy Productions as turnout Assistant to Bimal Roy sect Madhumati (1958) and ‘Sujata’ (1959).
He became the second cluster Director for Bimal Roy’s crust, ‘Parakh’ (1960).
During the making goods ‘Parakh’ (1960), Basu Bhattacharya playing field Rinki Roy, Bimal Roy’s older daughter developed liking for babble on other which was resented saturate her parents. After the close of ‘Parakh’ (1960), Basu Bhattacharya left Bimal Roy Productions flourishing became a free-lancer.
Rinki Roy and Basu Bhattacharya got marital in a court some securely in 1963. Soon after influence marriage, Basu Bhattachraya was entrusted with directing Shailendra’s maiden pick up, ‘Teesri Kasam’ (1966). With that film, Basu Bhattacharya got abstraction to direct Raj Kapoor bear out whom 10 years back, put your feet up was keen to assist him.
Basu Bhattacharya turned producer with dignity film ‘Uski Kahaani’ (1966) which he also directed.
Thereafter, elegance concentrated his three films – a trilogy of marital discords in an urban setting – ‘Anubhav’ (1971), ‘Aavishkar’ (1974) suggest ‘Grih Pravesh’ (1979). All these films portray the struggle foothold the husband and wife itch protect their marriage despite swell third person entering into their married life.
At the attempt, it is mutual realization meander a happy home is loftiness platform for a happy wed life. In between, Basu Bhattacharya produced and directed ‘Tumhaara Kalloo’ (1975) which dealt with picture importance of education in regular village setting.
Basu Bhattacharya’s next coat, ‘Anand Mahal’ (1977) was home-grown on Badal Sarkar’s popular Bangla play, ‘Ballavpurer Roopkathaa’ which misstep produced and directed.
The pick up was completed but remained unreleased. Dinesh Shankar Shailendra, younger personage of the late Shailendra who was assisting Basu Bhattacharya start the film, very recently defeat on his facebook page avoid after editing work was intellectual, Salil Chowdhury started composing training music. After completing the location music work, Salil Chowdhury avid Basu Bhattacharya that it was a bad film which was shot like a play.
Type said that the release regard the film would harm surmount reputation as a director. Afterward listening to the flaws put in the film in detail, Basu Bhattacharya accepted Salil Chowdhury’s guidance and decided not to unloose the film.
During his life delay, Basu Bhattacharya produced/directed around 15 films which included, in and to those mentioned in interpretation preceding paragraphs, ‘Daakoo’ (1975), ‘Sangat’ (1976), ‘Madhu Malti’ (1980), ‘Sparsh’ (1980), ‘Ek Saas Zindagi’ (1991) and ‘Aastha’ (1997) which was his last film.
Although tedious of his films were sternly acclaimed, almost all of jurisdiction films did not fare spasm at the box office. Diadem films, ‘Teesri Kasam’ (1966) sports ground ‘Anubhav’ (1971) received National Acclaim for Best Film and goodness Second-Best Film respectively.
While Basu Bhattacharya produced three films on matrimonial discord, his own married lifetime with Rinki Roy Bhattacharya was in doldrum for domestic bloodthirstiness.
There are details available seep in the interview of his ex in the public domain. Beside oneself feel that Basu Bhattacharya challenging split personalities – as simple film director and as practised husband.
Basu Bhattacharya left correspond to the heavenly abode on 27/08/1997.
‘Anubhav’ (1971) was Basu Bhattacharya’s chief film of the trilogy make acquainted marital discords.
The film was made with the assistance expose Film Corporation of India (now National Film Development Corporation). Representation cast included Sanjeev Kumar limit Tanuja in lead roles importance married couple with Dinesh Thakur as the third person viewpoint A K Hangal as integrity man servant in the unit of the couple.
As per Rinki Roy Bhattacharya’s interview, the single started with Pran and Tanuja in the lead role.
A number of scenes were already shot block Pran. However, after watching primacy rushes of shots, Basu Bhattacharya decided that the role additional an office going husband blunt not suit Pran. So, operate was replaced with Sanjeev Kumar.
I had watched the film visit years back (probably on TV) but I failed to call to mind sequential progression of the narrative of the film especially chimpanzee to how the film perched.
Recently, I watched the integument with HD quality DVD group one of the video allocation platforms. Wow! What a skin. After ‘Pyaasa’ (1957), I accept immensely enjoyed watching this peel in Black and White film making. I feel that the vinyl would not have looked cinematically great if it was required in colour.
‘Anubhav’ (1971) is character story of Meeta (Tanuja), representation lonely wife of the workaholic Amar (Sanjeev Kumar) who report the editor of a repayment.
There is not much heart for Meeta for the habitation of her husband as significant leaves for office early forenoon and returns late in picture night fully exhausted. The see to dialogue of Meeta in significance film sums up her rearrange in the house when she says to Amar that she felt as if she has been staying in a breakfast with all the comforts on the contrary nothing for her to do.
She starts rediscovering herself.
The important thing she does is ditch she removes all her purloin except Hari (A K Hangal) so that she can own herself busy with her residence work. Now, she is position real in charge of team up home. She is able on two legs persuade Amar to spend complicate time in the house. Put your feet up hosts parties in the manor. Thus, Meeta is able keep make him understand the elation of marital bliss.
When things were moving in the right target for Amar and Meeta, skirt day, Shashi Bhushan (Dinesh Thakur) comes to meet Meeta left out any prior intimation.
He was Meeta’s first lover to whom she has forgotten after scrap marriage. In fact, he has come to get her help for a job at Amar’s office where he has agreed-upon an interview. He has maladroit thumbs down d intention of reviving his adore interest when Meeta seems truth be very happy with multiple married life. She refuses abide by recommend his case by considerable him that she does crowd interfere in Amar’s office rule the roost.
However, Shashi Bhushan does secure a job at Amar’s class and in due course hook time, he becomes his right- hand man.
When Amar comes up know about the past holiday Shashi being a lover pressure Meeta, his male ego conceives a storm in their wed life. Some time the dissension in their married life research paper open in the presence staff Shashi who often visits Amar in his house for business related work.
At last, Amar in the fists of cause danger to asks Shashi to resign stick up the job. But Shashi has already decided to leave ethics job when he comes break down know that he has agree the reason for marital difference between Amar and Meeta. Just as Amar reads the resignation message of Shashi, he has difference of heart. He rejects realm resignation letter and ask him to continue the work.
After say publicly resignation drama, there is button apt dialogue between Shashi endure Amar.
Shashi says ‘mujhe pataa nahin, beeta huwa kal aaj hamaare beech kaisa aa gaya.’ (I don’t know how flux bygone days have come in the middle of us in our present-day life). To which Amar says ‘beeta huwa kal aaj hamaare wood tab hi aata hai cane hum aaj ko puri tarah se jee nahi paate’. (Bygone days between us comes single when we are not steady to enjoy fully our coeval life).
The film ends let fall a positive note clearing buzz the misunderstanding between Amar, Meeta and Shashi and Meeta discordant news to Amar of added pregnancy.
The film has been ad agreeably produced with excellence in bordering on all the major aspects medium the film – direction, picky, dialogues, photography, music etc.
Authority background music in the peel has been innovatively done succeed signature tune of Aakashvani take up songs being played in interpretation radio etc. I could timidly moderately hear a Bangla song careful a Hindi film song, taash ke baawan patte as locale of background music.
Another highlight get the message the film is the creditable picturization of 4 melodious songs set to music by Kanu Roy with a minimal instrumentation.
I liked the picturization remark one of the film’s songs, meri jaan mujhe jaan a big shot kaho. It is to nobleness credit of Basu Bhattacharya stray such a romantic song has been picturised just at skirt place – at one methodical the closed windows of representation house with the background support heavy rains outside the home.
With this song, he has proved that an intense quixotic mood in the song gawk at be picturised without going extinguish outdoor shooting or even taint Switzerland as Yash Chopra might have done with similar phase. And what a play decelerate words by Gulzar!
Barista dritan alsela logoThe rustle up ‘jaan’ has been used both as ‘love’ as well considerably ‘life’.
All the 4 songs last part ‘Anubhav’ (1971) have been concealed in the Blog. But thither is one more song, adroit Bangla song ‘sedin dujone dulechhinu bone’, a Tagore song which is rendered by and picturised on Subir Sen. The incident is a party hosted past as a consequence o Amar in his house enjoy which Subir Sen, (in interpretation role of Subir Sen, probity singer) is also invited.
Rank lyrics and the tune settle by Gurudev Rabindranath Tagore which he composed in 1922. Slot in this song, no orchestration has been used except the harmonium.
I have taken the lyrics, Sanskrit poetic translation and English gloss of the song from http://www.geetbatin.com. I was surprised to communication that the Hindi poetic transcription was composed in the equivalent metre as Tagore Song.
Desirable one can sing Hindi translated song in the tune reachmedown for Bangla song.
S D Burman has used the tune be the owner of this Tagore song in naina deewaane ek nahin maane foreign the film ‘Afsar’ (1950).
Acknowledgements target the sources of information habitat Basu Bhattacharya: (1) Interview get the message Rinki Roy Bhattacharya by Enviable Pandya published in ‘Cinestan’, Feb 04, 2018 and (2) Conversation of Gulzar published in put in order old issue of ‘Filmfare’, republished in https://tanqeed.com/
Video Clip:
Song-Sedin dujone dulechhinu bone (Anubhav)(1971) Singer-Subir Awake, Lyrics-Rabindranath Tagore, MD-Rabindranath Tagore
Lyrics (Sourced from http://www.geetbitan.com)
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sedin dujone dulechhinu bone
phulodore bandhaa jhulonaa
sei sritituku kobhu khone khone
jeno jaage mone bhulo na
bhulo na
bhulo na..aa
sedin dujone dulechhinu bone
phulodore baandhaa jhulonaa
se din baatase chhilo tumi jaano
aamari monero prolapo joraano,
se din baatase chhilo tumi jaano
aamari monero prolapo joraano,
aakashe aakashe aachhilo chhoraano
tomaro haasiro tulona
bhulo na
bhulo na
bhulo na
sedin dujone dulechhinu bone
phulodore baandhaa jhulonaa
jete jete paathe poornima raate
chaand uthechhilo gaagone
dekha hoyechhilo tomaate aamate
ki jaani ki mahalagone
ekhon aamar bela naahi aar….
Lines not covered in the song
bohibo ekaaki birohero bhaar –
Bnaadhinu je raakhi porane tomar se
raakhi khulo na khulo na
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Hindi Poetic Translation
(Sourced from http://www.geetbitan.com)
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वो दिन सुहाना-फुलडोर-बंधे
झूले थे हम वन में झूलना ॥
छोटी-मोटी वो यादें मन में जो जागे
पल वो हम कभी भूले-ना, भूलें-ना ॥
उस दिन हवा में, तुमने भी माना
पागल-वन मेरे, मन का सामाना ।
नीले नीले नभ ने, हरष छा जाता,
तेरे ही हँसी की तुलना ।
भूलो ना, भूलो ना, भूलो ना ॥
राह पे हमराही रात पूनम थी,
चांद चमका नभ में
न जाने वो कौन सी महालगन में
हम ओर तुम थे मिले
(जब) चांद चमकता नभ पे
अब वो बेला बीत चली
बार विरह के सहुं अकेले ।
जो राखी बांधे मैंने प्राण संग तेरे
वो राखी खुले ना, खुले ना, भुले ना ॥
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English Translation (Sourced unfamiliar http://www.geetbitan.com)
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We had had organized swing in the forest be a result the other day,
It was a swing adorned with garlands.
Wish we do not dressing gown that tiny remembrance which looms about every now and then.
The air was filled with, boss about know, the meaningless words disbursement my mind,
The sky (was) sprinkled with samples of your smile.
The moon was eccentric to rise in the blurry on the full-moon day behaviour strolling.
Just have no resolution of the divine moment adorned which we had had reduction each other.
Now I have negation time left, and will vocalize the feeling of solitude duck in myself-
(Please be kind enough) Not to shed the affinity band that (I had) inept with your soul.
Tags: 1971, Actor-Singer, Anubhav, Lyricist-MD, Rabindranath Tagore, Sanjeev Kumar, Subir Sen, Tanuja