Posts Tagged ‘Bengali’

Ekti Kamol Phute Chillo..

Monday, April 22nd, 2013

Geeta Dutt

Letter to artists, not one but three. All related to music, specifically to this one song. Mother penned it, brother composed it and daughter sang it.

Dear Amiya ji, Mukul da and Geeta ji,
Hope you all are being well taken care by Durga Maata in the heaven.

I am writing this letter to you to remind you of one of your early creations, the Basic (non-film) Bengali song “Ekti Kamol Phute Chillo”. I discovered this gem a few years ago, thanks to a (then) school going boy Sounak Gupta . Even though I am not a native speaker of Bengali, the ever sweet language has always appealed me. Especially when my beloved singer Geeta Roy sings to it.

It was a shear talent of the mother, son and daughter trio that you created this melody. I am aware of one more song (Bhaber kheya ebar baowa) created by three of you. I wished there were more such songs for our listening pleasure.

Just wanted to let you know that through the new technologies, we are trying our best to keep these songs alive. We pray and hope that these rare gems will be cherished for hundreds of years to come.

With utmost warmest regards
Yours always
Team of

Song Name – Ekti Kamal Phutechhilo Amar Hriday Neere
Film – Private Song 1952
MD – Mukul Roy
Lyricist – Amiya Roy
Singer(s) – Geeta Roy

Ekti Kamal Phutechhilo Amar Hriday Neere,
Bidhi Taare Chinre Nilo Nithur Kothin Kare.
Rakta-Rekha Achhe Aanka Aajo Hriday-Paate,
Joriye Achhe Papri Tahar Amar Hriday Saathe.
Aaj Taare Duker Majhe Paai Je Ghumer Ghore,
Nayan Mele Aar Dekhina Byathay Uthhi Bhore.

English transliteration:

A lotus had blossomed in the waters of my heart,
fate tore it apart in its merciless hands.

The stain of blood still remains in my heart,
some torn off petals still remain with me.

In the depth of my sleep i find it in dreams,
waking up, i find nothing and am filled with pain.


Thanks to our dear friend Sounak Gupta for sharing the audio, the lyrics and the transliteration of this song.

Tribute from the Ganguly family

Saturday, November 24th, 2012

Kishore kumar at the marriage function

We were fortunate to get in touch with Shri Arjun Kumar Ganguly, nephew of Ashok Kumar ji and Kishore Kumar ji. We are presenting a tribute from him along with some information about the connection of the Gangulys and the Dutts.

It is truly an honor for a simple person like me to write about Geeta ji, who according to me was truly the voice of Bengal. Her voice had the pathos and the soul. Instead of being trying to be technically correct and overtly mechanical, her singing was natural, free and straight from the heart. She was never fettered by technicalities of music, her voice matched the true emotions of the song perfectly. It was nice to know that S.D.Burmanda was pioneer in nurturing her career. She was indeed a great singer and a great human being.

Kishore Geeta

She was the voice of several leading actresses like Meena Kumari, Madhubala, Nargis, Geeta Bali, Mala Sinha, Shyama, Shakila to name a few. She was a nonchalant singer who somehow did not get the due she deserved in Mumbai, possibly for some strange political reasons. Yet, she left her indelible mark in the history of Indian music. There is absolutely no doubt about this. We all are proud of her, truly an effortless singer.

It would be have been great if they both (Kishoreda and Geeta ji) had sung more duets together. Their styles were so much similar and sound so wonderful in the fifteen odd duets they have sung.

It is nice to see that you are using the internet as a medium to keep Geeta ji’s memories alive,may your tribe increase.
Arjun k. Ganguly

Not many know about the Ashok Kumar and Geeta Dutt connection. For the film Padmini (1948), they sang a lovely duet together.

Geeta Dutt, Ashok Kumar : Sapera been bajaayo re : Film – Padmini (1948) MD: Master Ghulam Haider, Lyrics: Wali sahab

Parineeta (1953) was produced by Dadamuni and Geeta ji sung one of the most enchanting songs of her career for this film.


Song – Chaand hain wohi
Film – Parineeta 1953,
MD – Arun Kumar Mukherjee,
Lyricist – Bharat Vyas,
Singer – Geeta Dutt


Geeta ji also sang two more songs of this film (Chali radhe rani and Gorey gorey haaton mein) as version songs. She continued to sing many songs for Ashok Kumar starrers like Saajan (1947), Padmini (1948), Mashaal (1950), Nishana (1950), Aadhi Raat (1950), Tamasha (1952), Sholey (1953), Baadbaan (1954), Lakeerein (1954), Bhai Bhai (1956), Bandi (1957), Ustaad (1957), Howrah Bridge (1958), Farishta (1958), Kangan (1959), Hospital (1960).

Geeta Kishore

We already have a detailed article on our main website here which describes the connect between Kishore-Geeta as singing stars.

Geeta ji sang with Kishoreda (and a vintage composer/singer Arunkumar Mukherjee sahab) for the Bengali film Samar (1950). The song is full of zeal and energy.

Geeta Kishore

Geeta Dutt, Kishore Kumar, Arunkumar Mukherjee: Sundari lo sundari : Bengali Film – Samar (1950)

Burmanda later on used the same tune again for the film Munimji (1955) for the song “De diya tu le le dil” (sung by Geeta ji).

Eight years later for Kishoreda’s home production Luko Churi (1958), she sang this lovely duet with him.

Luki Churi

Geeta Dutt, Kishore Kumar – Sudhu Ektu Khani Chawa

Kishoreda’s first wife was Bengali singer and actress Ruma Guha Thakurta aka Ruma Ghosh. Geeta ji sang a lovely song with her.

Ruma Devi

Geeta Dutt, Ruma Guhakarta : Monje amaar kemon kemon kore : Film – Palatak (1963), MD – Hemanta Mukherjee, Lyrics – Mukul Dutta

Kishoreda sang in two movies of Guru Dutt productions- Baazi and Jaal. In the film Jaal, he also sang duet with Geeta ji, which many consider to be one of their best duets. Kishoreda also sang for the shelved movie Gauri (which was to launch Geeta ji as the singing star). So, that is also another angle of Dutt-Ganguly association.

Of course, Geeta ji sang several melodious and lovely songs for Madhubala, second wife of Kishoreda. They were a perfect pair of charming actress and soulful singer.

Kishore Madhubala


We are grateful to Arjun Kumar ji for paying this tribute on our special request. We are grateful to our dear friend Arghya Dutta for getting us in touch with Arjun ji. Thank you both. You guys have made this day so much more special for us.

Exclusive: In search of a hidden treasure…

Saturday, November 24th, 2012

Geeta Dutt

Sometime in the sixties… Eminent artiste of Tagore songs from Bengal, Sagar Sen is performing in Rabindra Sadan… A grand occasion it is, and the programme is being recorded on video tape. So how does this relate to Geetaji…?
Thus were the audience in the first row of Rabindra Sadan, gracing the occasion that day – GEETA DUTT, Kanan Devi, Protima Banerjee, Debabrata Biswas and Ashoketaru Banerjee – some greatest stalwarts of the music of the era. Sagar Sen as expected continued to sing Tagore’s melodies, one after the other, in his usual amazing manner. The programme is about to end, and the artiste is about to sing one of his finest renditions ever – “AAJ JOTSNA-RAATE SOBAI GECHHE BONE, BASANTER EI MATAL SAMEERANE”…

Geeta Dutt



This time he calls upon his senior artistes seated in front, to come up onstage so that the programme may end with a chorus performance of the song. Who knows with how loud an applause Rabindra Sadan may have reverberated on the proposal? Kanan Devi goes up… Followed by the rest, but Geetaji is still seated. Sagar Sen speaks out, “Geetadi, aapnio aashun” (Geetadi, you too, please come). The nightingale goes up onstage. The historic programme ends with the six stalwarts singing Tagore’s “AAJ JOTSNA-RAATE SOBAI GECHHE BONE, BASANTER EI MATAL SAMEERANE”…
Kanan Devi speaks a few words, before the programme finally concludes.

Geeta Dutt

No, this was not what I saw (rather, I had the fortune to see). On the night of September 22nd, 2012, Doordarshan Kolkata broadcasted a programme, the viewers of which saw this historic event happening! A teacher of mine, who had the opportunity to watch it, gave me a vivid description of the programme… Such was it!

Geeta Dutt

Was it a programme recorded by Doordarshan? Tushar Bhatiaji, with whom I shared the above a few weeks ago comments, it may have been recorded by someone in private earlier, reasoning that Doordarshan came to Bombay in 1972 and even later, in Calcutta – when Geetaji is no more. Tusharji says (if I may share his view that he shared with me through personal message) – “I’ll give my life to see this one!” Perhaps he spoke out the heart of the millions of admirers of Geeta Dutt and her music, all over the world!

Geeta Dutt

It is our misfortune that Doordarshan does not share any recordings from their archives in personal with anyone… Waiting for that holy day when the programme would be broadcasted again and someone would be recording it from television!


We are grateful to our dear friend Sounak Gupta for writing this special article for us on this special occasion.

Blast from the past – Sonar Harin : First cabaret songs in Bengali

Friday, November 23rd, 2012

Geeta Dutt Hemant Kumar

Geetaji was the first artiste to sing club songs in Bangla films. We have a scanned copy of the Booklet of the film (featuring lyrics of the songs, Geetaji’s name, etc). We all have heard and know “Ei Mayabi Tithi”, “Tomar Duti Chokhe” – but this would be seeing the already known ones from a new point of view – as landmarks in the history of Bangla film music, being the first club songs used in Bangla films.

Cover page

Cover page

Casting page

Casting page

Lyrics page for Ei Mayabi Tithi

Lyrics page

Song Name – Aei Mayabi Tithi Aei Modhur Geeti
Film – Sonaar Harin (1959)
Composer – Hemanta Kumar Mukhopadhyay
Lyricist – Gouri Prasanna Majumdar
Singer(s) – Geeta Dutt

Aei Mayabi Tihi Aei Modhur Geeti,
Aar Ki Pabo Konodin Balona Ogo Ekti Raater Atithi?
Dure-Dure Thako Keno Balona,
Shoyna Go Tomari E Chhalana,
Bujhina E Ki Reeti.
Chaao Ki Go Aei Bhora Phagune,
Pure Mori Maramer Aagune?
Kare Debo E Preeti?

Record label

Record label

Lyrics page for Tomar duti chokhe

Lyrics page

Song Name – Tomar Duti Chokhe
Film – Sonaar Harin (1959)
Composer – Hemanta Kumar Mukhopadhyay
Lyricist – Gouri Prasanna Majumdar
Singer(s) – Geeta Dutt

Tomar Duti Tomar Duti Chokhe.
Ooi Je Mishti Hashi,
Amay Kachhe Deke,
Bole Bhalobashi.
Sonaar Harin Paliye Beray,
Dhora Taare Jaay Ki?
Bandho Khanchay Bondhi Pakhi,
Akaashtake Paay Ki?
Keno Bajao Maya Banshi?
Tomaar Amaar Jeebane Aar,
Aei Raat Ki Aashbe?
Amaay Tumi Emon Kore,
Aar Ki Bhalobashbe?
Kachhe Daako,
Aaj Thako Pashapashi.

Record label

Record Label

We all know about many such songs from later films, but when one looks back to see that the pioneer of the trend out here in Tollywood Music is none but Geeta Dutt!


We are grateful to our dear friend Sounak Gupta for sharing these extremely rare images and the song lyrics with us on this special occasion.

A fan’s tribute: Vol. 5

Wednesday, November 21st, 2012

Geeta Dutt

Having been brought up in a middle class Bengali family in a small township of Assam, listening to Hindi songs was a taboo in our house for a long time. So, quite naturally, I became familiar with Rabindrasangeet and Modern Bengali songs of Hemanta, Manna, Dhananjay, Shyamal, Manabendra, Sandhya and others first and then, much later I started exploring the Hindi singers, who then gradually became more obsessive for me over the years. Recalling my childhood days, I remember, my father used to bring cassettes of Bengali songs of different artists every now and then, and whenever a new cassette used to come at our house, we used to listen to that repeatedly for 2-3 days! Difficult to believe such days existed in today’s world of i-Pods and mp3 players. Anyways, one day we got an ensemble cassette of Geeta Dutt (in Bengali, it was written “Dutta”, whether it was goofed up with the Bengali surname or done intentionally, I don’t know) and remember, Lata, Asha, Kishore and Rafi had yet to make their entries in our house by that time.

So came my first reception to the songs of Geeta Dutt- the immortal creations like Nishi raat banka chand aakashe, Ei sundar swarnali sandhyay, Tumi je aamaar, Shudhu ektukhani chawa etc etc. First impression is the last impression, they say, and it was for me as well. Geeta Dutt sketched out to be a singer of soft, melodious and sometimes slow songs for me for a long time. And trusting my father to the full, I had confirm belief that Geeta Dutt must be one of those “good singers” like Hemanta or Shyamal and not a “notorious lot” like the Hindi film singers ☺

Of course, in 1996, after listening to the first Geeta Dutt Hindi film songs collection, things changed. But, surprisingly, for many music lovers, Geeta Dutt is remembered more in Bengal for her soft, slow and soothing melodies and quite contradicting to her popular, club song singing image (especially in the fifties) in Hindi movies.
Geeta Dutt’s Bengali repertoire is indeed very different from her Hindi image. When you listen to her in songs like “Koi door se awaz de” or “ Mujhe jaan na kaho meri jaan”, you might sometimes desperately wish why but why the music directors did not give her more of such songs?

Whereas, in Bengali, I sometime really miss more of her peppier and foot tapping numbers which she sang in Hindi. (Though she has the distinction of singing the very first cabaret song in Bengali film.) Even in Hindi, the sober, serious shade of Geeta Dutt was utilized more by the lot of Bengali MDs like Hemant, Salil, Timir Baran,Kanu Roy and S D Burman; with a big exception from Avinash Vyas who gave some sparkling gems of deep emotional songs to Geeta Dutt. Pankaj Mullick never worked with Lata or Asha, but he gave as many as five songs to Geeta ji in Zalzala(1952). The forties and the early fifties really belonged to this marvellous lady. She even bettered Kishore Kumar in the latter’s strong forte- naughty songs- in “De bhi chuke hum” for the film Jaal (1952); she was as if dominating the male singer with sheer confidence there! The kind of confidence with which she used to pull off those numbers those days, are beyond expressing in words.

Geeta Dutt’s Bengali work has that sharp distinction of being in a different segment altogether. Of course, she was very busy in Mumbai (then Bombay) in those days of the fifties, but still could manage to find times to record for Bengali non film albums and some highly memorable movies like Harano Sur, Hospital, Luko Churi. Guru Dutt started making a Bengali movie called Gouri in around 1954 for launching Geeta as a heroine, but the movie was never completed. S D Burman was the music director and some songs were recorded. Very recently, the song “Jaani bhromara kaino” (which was never released on records) was discovered through great contribution by SIRC.

S D Burman also used Geeta in other Bengali films like Samar(1950)- which was a remake of Bombay Talkies’Hindi movie Mashal released in the same year.

This 23rd November would be Geeta ji’s 82nd birth anniversary. A lady with great talent and versatility introduced so many concepts those days which were beyond imagination. One of her song in Jaal Saaz was banned also those days for being too bold. She broke traditions and orthodox in Hindi and stuck to them with equal ease in Bengali- amazing!!
The brand of Geeta Dutt is just like her- blend of spirit and soberness- excelling in each of them!
My salute to the Original Queen of Playback Singing in India.


We are grateful to our dear friend and a huge fan of Kishoreda, Shri Arghya Dutta for writing this special tribute on our request. Arghya has his own blog page here.
He has also written articles on Kishoreda on our sister website dedicated to the great singer/actor/composer Kishoreda.

A touching real life incident

Monday, October 22nd, 2012

Geeta Dutt
This is a very touching real life incident about a non-film song sung by our beloved Geeta ji.

As narrated by our friend Soumya Roy ji.

Let me share with you a story I had heard from (composer) Anal Chatterjee’s mouth. Btw, Sir Salil (Choudhury) had three famous proteges all of whom blossomed into first class music directors in Bangla modern music without copying Salil’s style. They were Anal Chatterjee, Prabir Mazumdar and Abhijit Banerjee.”Koto gaan … haaralam” is an Anal Chatterjee score of unmatched beauty.

In his own words, this was a song composed in 1964 at a time Geeta Dutt’s personal life was in shambles and the lady had become a wreck and a recluse. With a lot of effort Anal had managed to get Geeta to hear the song. So tremendous was its impact that she heard it just once and was ready to record. She cried through the entire recording, streams of tears flowing endlessly down her cheeks and throat smudging the inked lyric sheet mounted on the metal stand below the recording mike beyond legibility. But Geeta didn’t need to see the words any more – it was a song that reflected her life …..

Details of the song:
Song : Kato Gaan Haralam Tomar Maajhe (Private Song)
Composer : Anal Chatterjee
Lyricist : Prabodh Ghosh
Singer : Geeta Dutt

The lyrics of the song are as follows:

Kato Gaan Haralam Tomar Maajhe,
Aajke Keno Go Balo Shei Gaan Dola Dey Shokal-Sanjhe?
Tumi Nei Shur Nei Kande Je Akaash.
Phuleder Mone Nei Oolir Bilaash.
Tabu Keno Shey Diner Dokhin Bataash Dhara Diye Jaay Aajo Shakol Kaaje?
Jakhon Jeebane Mor Choiti Jharar Bela Shey.

Takhan Keno Go Balo Basanta Phule Phule Hashe?
Aei Raat Aei Gaan Swapnamaya.
Keno Aar Daake Michhe Shei Aaleya?
Keno Aaj Bone-Bone Shey Aalo-Chhaya?
Bholaay Mon Aeki Natun Saaje?

A native Bengali speaker may be able to understand and appreciate the finer nuances of the words in this song, but for the rest of us it is pretty difficult to grasp the same. Hence we requested our friend Sounak Gupta, a school going kid (and a huge bhakt of Geeta ji) to help us with the meaning of the song.

Sounak put his heart and soul in this song and has come up with this detailed analysis of the song and its deeper meaning. It is our pleasure to share the same with you.

Lyrics (Line 1) : Kato Gaan Haralam Tomar Majhe,

Literal Translation (Line 1) : Lost So Many Songs Amidst You,

Meaning (Line 1) : On the allegorical plane, “Gaan” which literally means “Song” may be considered as inspiration (or rather, hope to live)… The person says that (one may consider ‘her’ in this case) her departed beloved was her inspiration and provided her hope to live. In poetic words, the hopes for living have been “Lost” amidst the beloved.

Lyrics (Line 2) : Aajke Keno Go Balo Shei Gaan Dola Daey Sakal Kaaje?

Literal Translation (Line 2) : Why Today That Song Sways In My Mind In Whatever I Do?

Meaning (Line 2) : In such a time, when she can not get her beloved back, she reminisces the days when her beloved inspired her continuously (that means, the days when he was on the earth). This memory brings down gloominess in her mind.

Lyrics (Line 3) : Tumi Nei Shur Nei Kande Je Akaash,

Literal Translation (Line 3) : You Are Absent Hence Tunes Are Absent And The Skies Lament,

Meaning (Line 3) : She laments that the departure of her beloved has broken the tune of her life and in all her imaginations (compared to “Akaash” or the sky as imagination is limitless) there is only sorrow at present.

Lyrics (Line 4) : Phuleder Mone Nei Oolir Bilash.

Literal Translation (Line 4) : The Minds Of The flowers Get No Chance To Comfort The Bees.

Meaning (Line 4) : To her the whole world seems to have become full of darkness and she visualizes that the bees, having got the sorrowful news of the end of her beloved, have given up drinking nectar from the heart of flowers.

Lyrics (Line 5) : Tabu Keno Shey Diner Dokhin Batash Dhora Diye Jaay Aajo Shakol Kaaje?

Literal Translation (Line 5) : Yet Why Do The Southern Winds Meet Me In Whatever I Do?

Meaning (Line 5) : To her it seems that the winds are carrying to her the fond memories of the days when she and her beloved were together, at all times. She questions why the winds do so.

Lyrics (Line 6) : Jakhon Jeebane Mor Chaiti Jhorar Bela Shey,

Literal Translation (Line 6) : When The Time Has Come For My Happy Days To End,

Meaning (Line 6) : She knows that this is the time since when the colourful days of her life will be over, in the sense, she will lose the joy of living. (“Chaiti” is the poetic form of the word “Chaitra” which is the last month of the Bengali calendar and she knows that “Chaiti” or an end has come to the joyful days of her life too).

Lyrics (Line 7) : Takhon Keno Go Balo Basanta Phule-Phule Hashe?

Literal Translation (Line 7) : At Such A Time Why Does The Spring Smile Through All Its Flowers?

Meaning (Line 7) : “Basanta” is the Bengali word for the colourful spring season. She laments that although this is her “Chaiti Jharar Bela” or end of happy days, “Basanta Phule-Phule Hashe” or colourful memories of the past haunt her mind. (When her beloved was present, she possessed the joy of living hence she was “Colourful” and now that he is no more, she has lost the joy of living and hence she expects everything around her to be pale but the “Colourful” phase of her life is continuously coming back into her thoughts.)

Lyrics (Line 8 ) : Aie Raat Aie Gaan Swapna-Maya,

Literal Translation (Line 8 ) : This Night And This Song Is All My Dream,

Meaning (Line 8 ) : She realizes that the colourful spring that plays hide and seek with her mind (takes her memory to the past happy days) is false like a dream and those colourful days would never return.

Lyrics (Line 9) : Keno Aar Daake Michhe Shei Aaleya?

Literal Translation (Line 9) : Why Does The False Will-O-Wisp Call Me Again?

Meaning (Line 9) : Memories of her past days appear now as false will-o-wisps to her. Hence she laments that she can not forget those colourful days although she is wishing to. She has begun to realize that thinking about her past would hence give her nothing but sorrow hence the wish to forget those days.

Lyrics (Line 10) : Keno Aaj Bone-Bone Shey Aalo-Chhaya,

Literal Translation (Line 10) : Why In The Forests Is This Game Of Light And Shadow,

Meaning (Line 10) : She questions why the sun goes on playing the light and shadow game with the trees hence not letting a complete reality (either light or shadow) take shape.

Lyrics (Line 11) : Bhulaay Ae Mon Ae Ki Notun Shaaje?

Literal Translation (Line 11) : Falsely Guide My Mind To This New Attire?”

Meaning (Line 11) : She imagines that just in the same way as above, memories of her past happy days are playing the light and shadow game with her (endlessly haunting her soul) and not letting her mind be confirmed that her beloved is no more and the “Colourful” days of her life are over (thoughts reflecting her blissful past are confusing her to such an extent that she can not identify the reality).

Thanks Soumya ji for sharing this incident with us. Thanks Sounak for all the hard work you have put.

* This post was originally posted on Monday, November 23rd, 2010. We lost some pages due to technical issue. Now we are in the process of re-publishing these articles.