Posts Tagged ‘Sounak’

Journey through pictures

Saturday, November 23rd, 2013

We are presenting a series of rare photos of Geeta Dutt ji collected from various online resources. Some of the family photographs were shared by Geeta ji’s son Shri Arun Dutt ji. We are highly grateful to him for this kind gesture.

1) Meena Kapoor, Geeta Roy & Talat Mahmood with Van Shipley, whose guitar strains we hear in ‘Mera Sundar Sapna Beet Gaya’
Meena Geeta Talat

2) Geeta Dutt attending the Laxmi pooja at Hemant Kumar’s house


3) Geeta Dutt with some unknown family members


4) This may have been clicked in 1950-51 during the recording sessions of “Brindabone Shyam Nai” and “Rajani Pohalo Sakhi” – I feel so as we see Pabitra Mitra, the lyricist of both the songs, towards Geetaji’s right and towards the extreme left of the photograph, Kirtan artiste Nilima Banerjee. Maybe she was there as Sudhirlal Chakraborty’s (the composers) assistant in training Geetaji for these two Kirtan-based compositions.


5) Geeta Dutt with Hemant Kumar and Guru Dutt during recording of a song for the film Sahib Bibi aur Ghulam.

6) Geeta Dutt at Tarun’s birthday party


7) Geeta Dutt and Mohd Rafi during a recording


8) Geeta Dutt surrounded by her fans


9) Geeta Dutt and Guru Dutt celebrating Tarun’s birthday


10) Geeta Dutt

11) Geeta Dutt

12) Geeta Dutt


13) Geeta Dutt with her son

14) Geeta Dutt in a musical live performance


15) Geeta Dutt in a musical live performance


16) Geeta Dutt with Pandit Pannalal Ghosh


17) Suman Kalyanpur, Geeta Dutt, Mohd Rafi and Shailendra during a recording


18) Geeta and Guru Dutt at a birthday party


19) Geeta Dutt with her daughter Neena in her lap


20) Geeta Dutt Gujrati Non-film songs EP cover


21) Geeta Dutt reading a book


22) Geeta Dutt with her father


23) Geeta Dutt at Sangeet Kala Mandir in Kolkata


24) Zohrajaan Ambalewali, Geeta and Lata


25) In Kolkata, during the music making of ‘Ratnadeep’ (1952)

26) Geetaji with – (sitting from left) Rafi Sahab, Ranu Mukherjee, Ila Chakraborty (Bose), (standing from left) Manabendra Mukherjee, Pabitra Mitra, Nirmalendu Chowdhury, Raj Kapoor & Hemanta Mukherjee… Courtesy – Sri Susanta Kumar Chatterjee.


27) Famous actor Motilal congratulating Guru Dutt and Geeta at their reception


28) L to R, Roma Datta Roy (Roma Aunty), Amiya Roy (Grand mother, Geeta Dutt’s mom ), Amrita (Roy) Bose (Baby Aunty), Geeta Dutt, probably Lokhi Aunty, (Don’t Know ?), Lalitha Lajmi (Lalli Aunty).


29) Geeta Dutt and Nalini Jayawant


30) Geeta Dutt and Nalini Jayawant


29) Geeta Dutt and Mohd Rafi at a recording


Rare gem from the film Chaar Minar (1956) – Jhootha hi pyaar kar le

Saturday, November 23rd, 2013

Geeta Dutt

We present an extremely rare song from the film Chaar Minaar (1956) ripped from the 78 rpm disc N51801 by our dear friend Sounak Gupta.

Chaar Minaar

Lyricist – Vishwamitra Adil, Music Director – Sardul Kwatra

The Crescent Moon..and the dreams forever…

Saturday, July 20th, 2013

Geeta Dutt

“Geetadi had come to Calcutta for three or four days to attend a few musical programmes arranged by my close friend, Barin Dhar (this was around the mid sixties, after the demise of Guru Dutt). Hearing the news of her coming, I went to the hotel where she had lodged along with music composer Rotu Mukherjee with a request that she should record songs in Rotu’s composition that year. Geetadi agreed as soon as we placed our request. She was very happy with the proposal and with a lot of enthusiasm she rehearsed her new song, “Aha Swapna Swapna Sobkichhu Aaj Lagchhe”, which was penned by me and tuned by Rotu.

From the hotel itself, I gave a call to the office of HMV to inform that Geeta Dutt had agreed to record Bengali songs for Basic Disc this year. Informing that she would be here for another two or three days, I asked the official for a date. The business institution HMV, without wasting a second answered, “We are not interested in recording Bengali songs of Geeta Dutt.”

We were not given a recording date and I had to lie to Geetadi, telling that in the coming fifteen days, there was not a single slot free for recording at the HMV studio. I and Rotu left Geetadi’s room”, thus recalls eminent lyricist Pulak Banerjee.

Around fifteen years later, a Basic Disc of Haimanti Shukla (released in Pooja, 1979) contained four songs, three tuned by Manna Dey and the fourth, by Rotu Mukherjee. The fourth song was, “Aha Swapna Swapna Sobkichhu Aaj Lagchhe” – yes, the song Geeta Dutt was supposed to record in the mid sixties, the song, an artiste of her stature (who during a period may have even cancelled projects directed towards her, due to lack of time – considering her then busy schedule) had enthusiastically learnt from her junior composer, eagerly willing to record!


Today, I feel as if everything is a dream and just the crescent moon is spending this sleepless night with me, as a close companion…


Allured by the sweet smell of the Bakul (Maulsari) flower, the wind seems to have tuned its Monochord, and is moving around, like a Minstrel…


I can feel the swing (rhythm) of its sweet song, with just the crescent moon as my companion in this sleepless night…


My long-unfulfilled wishes now seem to have got an opportunity to take shape and are appearing before my eyes…


But in the crowd of the new dreams that are arising in my mind, my expectations (for fulfilling them) seem to rise and rise…


In this phase, in its dreams, my mind goes on painting so many pictures, with just the crescent moon accompanying, in this sleepless night…


Please click on the triangle next to the song name below to listen to the song


Whosoever may have finally been selected to record this song, I hear this song only in Geeta Dutt’s voice! This song just can’t be anyone else’s. Just hear Haimanti’s rendition. She is an excellent artiste; no doubt and she has her own style of singing. But in this song, who knows why, in my ears she still sounds like Geeta Dutt. Friends, please hear and judge, I do not intend to force anyone to believe what I feel – rather, why should I? I feel some divine connection with my beloved Geetaji when I hear this song (so what if it has actually been recorded by someone else) and keep hearing again and again, often with tears flowing down my cheeks.

Just consider the time when this song was first presented before Geeta Dutt – say, 1965-66 (yes, I am sure it was one of these two years, the reason – let that remain untold right now, I am afraid, some associated naming can hurt other’s feelings. Just keep in mind that Geetaji was once again ‘allowed’ to record Bengali songs in 1967) and the condition of her mind then. A shattered person in every respect, having lost her love, almost lost her career, deprived of basic needs of life – have read from authentic sources that she was even deprived of her own wealth, not even the basic amounts, with which she could live a life up to some standards with her children, and one, who had just come out of a severe nervous breakdown. An artiste she is, whatsoever be the circumstances, how could she have survived without her Art (not to forget, she had recorded her ever-famous song, “Aaj Ki Kaali Ghata” in 1966, when she is already in a financial crisis, free of any payments, as Kaifi Azmi had once recalled – that proves how great an artiste she was – not the money, but the pleasure of being associated with her Art was what, mattered for the inner soul of Geeta)? Geeta Dutt was then gradually trying to come back to her career, singing in public functions now and then, wanting to explore, whatever little may have been remaining for her, in her life.

My attempt at translating the song may have been far from perfection, but whatever little it is, friends, try to follow the lines, each time remembering Geeta Dutt’s condition then. At the verge of those shattering days of her life, when she is trying to put herself and her career back to shape, wasn’t her recent past (the past two or three years of her life from then) seeming just like a dream? Isn’t she still spending sleepless nights, thinking how she should proceed so that she can raise her children to her satisfaction? Hasn’t the sweet wind, so long seeming to have stopped blowing, just begun to sing it’s tunes in her ears, blowing gently, rejoicing her plans for a comeback? Isn’t she losing track, while keeping in mind all her dreams, all expectations from her own self, as she steps back to the battlefield of life, in which, she has accumulated wishes to win?

Who knows, with all these thoughts in mind, perhaps tears had been flowing down Geetaji’s cheeks as she was read out and made to rehearse “Aha Swapna Swapna Sobkichhu Aaj Lagchhe” – maybe her soul was finding company in the song, she was finding her own self amidst the song! At the verge of all this, the song, which by then had been fully rehearsed, was ‘snatched away’ from her. To me, it seems like a great distance being created between one and her closest associate – a close friend, a soul’s mate. Whenever I think of this song and the incident associated with it, I seem to visualize Geetaji, at first all alone… Then rejoicing a close friend’s arrival as she learns the song and seemingly finds her own self in it… And finally, the given gift (the suddenly-arrived close friend – the song) snatched away from her (HMV refusing to record her Bengali songs) and Geetaji going back to her initial phase of loneliness, of desperation… Do not know if I would have felt the same if it had been some other sort of song. This very feeling makes me too emotional while I hear this song… I find Geeta Dutt in it… Whosoever might have finally recorded it, for me, “Aha Swapna Swapna Sobkichhu Aaj Lagchhe” remains Geeta Dutt’s and will ever remain hers!

Today, that she is no more with us, it is perhaps useless to think in this way. Whatsoever may have happened, I have nothing to do today. But just as years pass by, we complete spending thirty nine-forty-forty one years without Geeta Dutt, yet rejoicing her melodies, deriving our pleasure and joy in life, from her dulcet renderings, I find myself guilty today. Do not know who else would share the same feeling… The very person, through whose melodies we find our happiness in life even after four decades of her demise – in those sleepless nights, had just wanted to dream of a bright day ahead – in the silence of the night, had just wanted the crescent moon as a companion – and we deprived her of even that?


We are grateful to our dear friend Sounak Gupta for this excellent research based article as a tribute to Geeta ji.

Kobe Kon Tara Jwola Raater Chhayay…

Thursday, July 18th, 2013

Pulak and Geeta

Lyricist Pulak Bannerji and Geeta Dutt

The majority of Geeta Dutt’s songs for Bengali films were with Hemanta Mukherjee. She also has a significant repertoire of non-film songs in Bangla, many of which were with composers Kanu Ghosh and Sudhin Chakraborty. Among her non-film Bengali songs, her most songs are with Kanu Ghosh, about a dozen in total. She explored a variety of themes and styles in the songs that she recorded with him. The song kobe kon taara jwala raater chhayaay is a melodious romantic piece, because of the westernized score and Geeta Dutt’s treatment of it, sounds absolutely different and fresh.

Song Name – Kobe Kon Tara Jwola Raater Chhayay
Film – Private Song 1964
Composer – Kanu Ghosh
Lyricist – Pulak Banerjee
Singer(s) – Geeta Dutt


Kobe Kon Tara-Jwola Raater Chhayay,
Ghum-Bhanga Naam-Hara Phuler Mayay,
Aamra Dujane Eshechhi, Dujanare Bhalobeshechhi.
Aadh-Phonta Mallika-Lata Shune Gechhe Dujanar Kotha.
Pallabe Moushumi Jemon Hashe Taari Anuraage Heshechhi.
Paakhira Jemon Kore Palok Jhoray,
Dinguli Taari Mato Jhorechhe Haoway.
Kul-Bhanga Sagarer Gaane,
Ajanare Chhunye Gechhi Prane.
Paal-Tola Dheugulo Nadir Mato,
Taari Kalotaane Bheshechhi.

Transliteration :

Sometime, in the shadows of a star-filled night,

In the thought of some nameless flower, that keeps one from sleeping,

We two have come, and loved each other.

The half-blossomed mallika plant has heard our conversation.

In the warmth of jovial reaction of seasons on the leaves, we have smiled.

The way birds shed feathers,

Our days have shed in the breeze of time.

In the song of the ocean,

We have reached the unknown in our hearts.

We have floated away in the melody of the waves in the river.

Geeta Dutt’s Bengali non-film output is not very massive, but again, it is characterized by variety and amazingly versatility of treatment.


We are grateful to our dear friend Sounak Gupta for help with the lyrics and its transliteration for enjoying the song.

Classical songs with a touch of feelings..

Thursday, April 11th, 2013

Geeta Dutt

Indian film and non-film music has a great base in the heritage of the Indian classical music. A saying in Sanskrit defines “Raaga” as “Ranjayati Iti Raagah”… It means, whatever “Colours Up” our mind is a “Raaga”. A Maestro may define “Raaga” in assorted ways giving importance to the grammar of Indian music but this is perhaps the best definition of “Raaga” for an amateur.

Although it is said that Geeta Ji’s was not a voice which had gone broad as a consequence of painstaking practice of Classical Music, she had sung few Classical Based songs with excellence. Geeta Ji was indeed a singer whose singing was always “effortlessly effective” and the fact remains unchallenged even in cases of certain complex classical rooted numbers! By her inherent talents, Geeta Ji truly “Colours Up” our minds in her renderings of “Raaga Based” Songs…

Presented below is a non-comprehensive list of “Classical Based Songs” rendered by Geeta Ji. One can never deny that the singer truly has a very special appeal on us through every Raaga she sings!

Raaga : Sharang

The “Sharang Raaga” is thought to have been derived from the “Shalag Raaga”. Although it has traditionally been considered as Rain Raaga, it also expresses other moods! Experiments on Sharang have created many subdivisions of the raga, few of them being “Shuddha Sharang”, “Gaud Sharang” and “Brindabani Sharang”. “Brindabani Sharang” is a popular Raaga used in Hindi Films seems to be influential in certain songs of Geeta Ji too.

We also see the use of “Gaud Sharang” in one of Geeta Ji’s songs. Whenever some situation in a film required expression of overflowing jovial restlessness, the composers had full faith in “Sharang”…

1. Jhanan Jhanan Jhanwa (Geeta Dutt) (Mangala-1950) (Brindabani Sharang)(Composer : M.D.Parthasarathi)

Whilst “Jhanan Jhanan Jhanwa” goes on, we see the young and frolicsome Mangala performing her daily chores and having completed making butter, tasting a bit to confirm its sweetness… Then the excited girl calls for her Lord, the naughty Krishna to taste… By her admirable rendering, Geeta Ji (and of course Bhanumathi on-screen) creates a delightful scene… The music director, very appropriately makes use of the restless “Brindabani Sharang” in this beautifully worded song, to incite the listeners. And Geeta Ji, through her ever-colorful and free-flowing voice, lets us understand the emotional status of the on-screen Mangala, right at the beginning of the film…

2. Dekho Jadu Bhare More Nain (Geeta Dutt) (Aasman-1952) (Gaud Sarang)(Composer : Omkar Prasad Nayyar)

The song “Dekho Jadu Bhare More Nain” too we once notice the fast tempo just as in “Jhanan Jhanan Jhanwa” or “Rang Birangi Phoolon Ki”. An appreciable synchronization of various instruments such as the violin and the flute adds beauty to the song too. Is this also not a romantic song as the above… Imaginations guided by deep emotions? Geeta Ji renders the song as excellently as she did the former ones! Jumping from one note to another in “Drut Teentaal” so freely! Does the song not force out a childish friskiness from our hearts?

A Touch Of Sharang

1. Piya Aiso Jiya Mein Samaye Gayo Re (Geeta Dutt) (Sahib Bibi Aur Ghulam-1962) (Composer : Hemant Kumar)

Don’t we feel, while listening to “Piya Aiso Jiy Mein Samaye Gayo Re” and visualizing the scene where Chhote Bahu (actress Meena Kumari) waits on for her husband to come, restlessness? Although not as much as the “Aasman” or “Mangala” song does, this song indeed brings an excitement to our minds when we hear it. Hence we find a touch of “Sharang” or being more specific, “Brindabani Sharang”. But the song only partially follows the notes of the “Kafi Thaat” to which the particular Raaga belongs to. Hence we can not refer to it as a Raga-Based song despite the influence of “Sharang”!

Raaga :Multani

It is believed that the “Multani Raga” was created by Shekh Bahauddin Jawkria of Multan. It is a peaceful Raaga and follows the notes of “Todi”. However “Multani” does not use Rishabh and Dhaibat during Aarohan, which “Tori” does. Also, if “Tori” begins from Uttarmandra then “Multani” begins from Abhirudgata (Nishad before the Starting Shadaja of “Tori”). Unlike “Todi” and her sisters “Saheli Todi”, “Gujari Todi”, etc who like to go to temple early morning and sing Bhajans, the cousin “Multani” prefers the daytime heavy classical. As yet, one song by Geeta Ji has been found to have a “Multani” base.

1. Lag Gayi Aankhiyan (Geeta Dutt & Mohammad Rafi) (Jeevan Jyoti-1953) (Compser : Sachin Dev Burman)

This song goes on a light folk base with Geetaji, Rafi Sahab, Burman Da and last but not the least the harmonium player creating the magic! The singers are successful in conveying the feeling of the song. The composer very appropriately uses the Raga to render this folk-based song. Burman Da very effectively mingles the folk style and the Raaga to create this immortal song and Geeta Ji renders it in the most auspicious way, so does Rafi Sahab who gets comparatively fewer lines to sing.

Raaga : Aashavari

“Aashavari”, sung in the “Third Prahar” of the morning, is Raaga which bestows seriousness or sometimes, sadness. It is supposed to have originated in Orissa. “Aashavari” shares similarities with Raaga Jaunpuri, but is not as complex as the latter. The most popular “Raaga” of the “Aashavari Thaat” in Hindi Film Music is “Darbari Kannada”. However, Hemant Kumar chooses to use the “Thaat” in its purest form and gives us two songs to enjoy in the evergreen voice of Geeta Ji!

1. Na Yeh Chand Hoga Na Taare Rahenge (Geeta Dutt) (Shart-1954) (Composer : Hemant Kumar)

When we hear “Na Yeh Chand Hoga Na Taare Rahenge” from “Shart” we realize how deep a saying can be. Its captivating tune, which applies the grave “Aashavari” reminds us of depth… Does it not? The feeling of the song is furthermore helped to be exposed by the slow paced rhythm. Of as usual, Geeta Ji, who always sang “Straight from the Heart”, sings this song submerged into depths of feeling and we get an evergreen hit! By means of its clearly engraved tune, this song succeeds in forecasting a reassuring avowal of enduring love…

A rare video clip of the second part of this song is here

2. Tum Aur Hum (Geeta Dutt & Hemant Kumar) (Fashion-1957) (Composer : Hemant Kumar)

In “Tum Aur Hum” we hear the application of fast rhythm over “Aashavari”. We also have both Geeta Ji and Hemant Kumar singing! In case of “Na Yeh Chand Hoga” the two are not actually juxtaposed but individually declare enduring love whereas this song has the two lovers together. Perhaps the togetherness brings in the excitement and the composer uses a “Drut Taal”. Geeta Ji with her carefree singing and Hemant Kumar with his extremely romantic voice successfully renders this beautiful song which is nothing but musically declaring imaginations, profoundly rooted in deep emotions…

Raaga : Jaunpuri

Supposed to have originated from Jaunpur in Uttar Pradesh, “Raaga Jaunpuri” from the “Aashavari Thaat” is not much differentiated from the purest form of the Thaat or “Raaga Aashavari”. It is usually performed in the “Third Prahar” of the day. One of the early songs of Geeta Ji’s is seen to have been greatly influenced by “Raaga Jaunpuri”.

1. Ghunghat Ke Pat Khol Re (Geeta Dutt) (Jogan-1950) (Composer : Bulo C Rani)

“Ghunghat Ke Pat Khol” is an extremely significant song in Kidar Sharma’s “Jogan”. It is heard in the very beginning of the film and gives us a sketchy idea of the focal theme of the story. It’s nothing but a divine imagery of uniting with the Lord. In her virgin voice young Geeta Roy beautifully renders the song and captivates her listeners in a moment. Legendary singer Juthika Roy had been famous singing this Bhajan and so did the beautifully worded and composed song add to making Geeta Roy a legend.

Raaga : Jogia

“Jogia” is a Raaga from the “Bhairav Thaat”. It is sung in the “Second Prahar” of the day which is early morning. “Jogia” creates a highly divine atmosphere and has been appropriately used in a devotional song sung by Geeta Ji early in her career for “Jogan”.

1. Uthat Chale Avadhoot (Geeta Dutt & Co-Singer) (Jogan-1950) (Composer : Bulo C Rani)

This song has been used in two scenes of “Jogan”, both demonstrating pains of separation. In the first, Devotee Meera moves away from a particular place where the lead actor met her. The second usage of the song has been in the scene where Meera Devi takes her final departure in order to perpetually unite with her Lord. Young Geeta Roy creates a very emotional environment by her rendering of this song and so does the on screen Dilip Kumar with his skills in acting. We are not able to find video/audio of the second part as of now.



Raga : Maand

“Raaga Maand” is believed to have its origin in folk music of Rajasthan. It is a Raaga used to create a highly devotional atmosphere. Bulo C Rani had given Geeta Ji a song based on “Maand” in “Jogan”. It is the very famous Bhajan “Aeri Mein To Prem Deewnai”. The warmth of “Maand” shines through the song and its beauty induces a longing for divine love.

1. Aeri Mein To Prem Deewnai (Geeta Dutt) (Jogan-1950) (Composer : Bulo C Rani)

“Aeri Mein To Prem Deewani” as used in “Jogan” is a Bhajan being sung by Meerabai which continuously grabs the attention of the agnostic hero of the film. It is important to note that it is actually Geeta Ji who immediately attracts our attention by the charming rendering of this beautifully worded song.


Part: 2


Concept and research : Sachin Godbole

Development and poetic expansion : Sounak Gupta

We are grateful to our dear friends Sachin and Sounak for coming up with this authentic research based article on classical based songs of Geeta ji.

Pujite Maheshe Heri.. on the occasion of Maha Shivratri…

Sunday, March 10th, 2013

Shiv Parvati

Pujite maheshe heri prano-dhone,
shibo-sheere dite bari bari bohe du-nayane…
Tripurari kori dhyan,
hride jaage se bayan,
akulo pagal pran,
rakhite nari jatane…
Katore karuna karo,
he shankaro pooja dharo,
ashutosh dukho haro,
kripakana bitarane!

While worshiping lord Mahesha, I witness my beloved, while pouring holy water over the lord, my eyes are filled in tears. While I meditate on the lord, my heard witnesses my beloved – I am unable to keep my eager soul at rest. Have mercy on this suffering soul, o Shankara! Accept my worship. Ashutosh, may I get rid of all sorrows, through your mercy!

Record Number : N 76032
Release Year : 1956
Film : Mahakabi Girish Chandra
Song : Pujite Maheshe Heri
Lyricist : Shyamal Gupta
Music Composer : Anil Bagchi
Artistes : Geeta Dutt

Wishing every one on this great occasion of Maha Shivratri.

Om Namah Shivay !

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.

Exclusive: Pankaj Mullick sahab on Geeta Dutt

Thursday, November 22nd, 2012


TAKEN FROM page 160 of his autobiography (translated from Bengali)

…”.I was the music director in the Hindi film ‘Zalzala’ (a film by German Director Paul Zils) which was made according to Rabindranath’s ‘Char Adhyay’. Talented singer Geeta Roy (later ‘Geeta Dutt’ after marriage to actor-producer Guru Dutt) had given some playback in the film. Even today when I hear the beautiful voice of Smt. Geeta, I feel pain remembering her untimely departure. I have already said before, in order to learn the songs of ‘Zalzala’, at a point of time, she used to come to my house on regular basis. I too had gained immense pleasure in teaching her those songs «

Geeta Pankaj Mullik


Geetaji came from Bombay to Calcutta (in 1952 she was already one of the busiest singers in Bombay… Still she came to Calcutta)… Stayed on over here… Regularly went to Pankaj Mullick’s house… Learnt the songs like no less than a student… Successfully pleased the mentor… Recorded the songs… And finally (as she always did) pleased all of us!………. Pankaj Mullick selected Geetaji to sing in “Zalzala”… In the films where he has been MD… Only NT singers have sung… Even in Zalzala… The only other female singer was the eminent Utpala Sen… She too was from NT… Only Geetaji was a Non-NT person… Moreover… The recordings of the Zalzala songs were done in Calcutta… So Pankaj Mullick could easily have selected some vocalists from Calcutta to record those songs… BUT he chose Geetaji… Who had to come from Bombay to Calcutta to learn, reherse and record those! That PROVES, Pankaj Mullick was indeed FASCINATED by Geetaji’s renderings! So! Geetaji is a great favourite of pioneer Pankaj Mullick too… That shows… Geetaji was effortlessly effective in rendering songs of the early maestros as well!……….

Here are the five masterpieces from this film:

1) Oh Duniya waalo

2) Bujho bujho aye dilwaalo

3) Kabhi inko chaahe

4) Jaanewale de gaye

5) The best of the album ” Mujhe dekhakar woh jab muskurayenge”

Tribute by Bela Mukherjee, wife of Hemant Kumar sahab

Monday, November 19th, 2012

This is the small write-up (translated). Remembrances of Geetaji from Bela Mukherjee’s writing. Bela Mukherjee and Hemant Kumar were close family friends of Geetaji-Guru Dutt.

Geeta ji Bela Mukherjee, Hemantda

(Bela Mukherjee-Geeta Dutt-Hemanta Mukherjee-Sri Arup-Saroj Sengupta)

Neer Chhoto Kshoti Nei, Aakaash To Baro – Who knows, how much of hope, this song may have established in Love! Geeta indeed possessed a beautiful voice, but her nature was even more beautiful. Prior to Lata’s arrival, Geeta was almost a monopolistic institution in the Industry, as far as music was concerned. Especially in romantic songs, she still has no peer.
The intimacy of Hemanta with Geeta and Lata, which began from the time of ‘Anandmath’, had ever increased. While he went on and on singing with Lata in ‘Shart’, ‘Jaal’, ‘Nagin’, ‘Anarkali’, Hemanta continued to sing marvellous duets with Geeta in ‘Shrimatiji’, ‘Munimji’, ‘Bahu’, ‘Bandini’, ‘Police’, ‘Hum Bhi Insaan Hai’ and other films.
Bengali films have been no exception here. Whenever he got an opportunity, Hemanta wonderfully used either of their songs in his films. In the earlier phase, it was Geeta who got more priority. Right from ‘Harano Sur’ to ‘Joutuk’ or ‘Indrani’ – every romantic situation demanded Geeta’s songs! Her songs for Suchitra Sen would madden lovers of film and music in those days!
Gradually Geeta turned out to become a close family friend. Lata would still have certain hesitations at times, but Geeta never cared for anything – she seemed to be no less than a member of our family. Earlier Geeta would come to meet us alone but after her marriage to the eminent actor and filmmaker Guru Dutt, both began coming to our place now and then.
Both Geeta and Guru were extremely moody, and on top of that, Geeta, very touchy. It is impossible for me to accurately say, how many times we have had to be confidantes in their trifling fights! Such has also happened that when on some winter night, having completed our dinner, lying on the bed we are speaking to each other under our blankets, Geeta has suddenly arrived! Knowing her through and through, we never asked how and why she came at such unexpected times – even Geeta would never give any reason. She would just get herself under the blanket and soon a chat session would begin! In an hour’s time the doorbell would ring again and we would get another guest in – Guru. Again, there was no question of asking. We would understand that they have had some petty fight, after which, Geeta, being more sentimental has come up earlier and later, her husband. Guru too, was always aware where his other half might be. So in search, he would always come up to our bungalow – Geetanjali. Our chat session would only get livelier!
As the night would go deeper and deeper, one of the two would suddenly think of returning, and breaking the chat session midway, they would leave for home smiling! No, it was not only that they came to our place only after some quarrel. Geetanjali was actually the heart of our lively chats! Besides going on and on chatting, would often play cards together! Again at times, when we would go for outings for a day or two, our team never seemed complete without Geeta and Guru.
We had felt the loss of a soul’s mate when Guru passed away. Some people are very sensitive. Just as there is no limit of their joy in each wonderful moment of life, each strike of pain and sorrow breaks them up to pieces. The danger happens at that point. When in certain circumstances, situations shake the very foundation of the hearts of these people; they lose the rhythm of life.
As far as my memory goes, a match between India and England was going on in Bombay at that time. Cricket has always been a favourite game of mine and we are there, in the gallery. Our driver, Sanat, came panting and said, ‘An accident has taken place.’ Thinking that someone at home must have faced some accident, I was anxious, but we were utterly shocked when he said next, ‘Guru Saab has committed suicide.’
Guru and Geeta’s house was close to the stadium. We immediately rushed to the place. Men from the Police in every corner of the bungalow… The very house where we had spent many colourful hours of our lives had been submerged into a veil of darkness and sorrow… Entering the bedroom we saw the hero in eternal sleep. The very person, whose laughter made us feel as if the entire world was submerged in the waves of joy, the one whose personality rightly carved for him the throne of a king in the Industry, seemed so helpless… His hand hanging out from the bed… A glass of liquor lying down… It was as if he had great hurry to leave… Even his drink was lying half consumed.
Searching for Geeta, we found that she had still not gained her senses. Two sons, a daughter… How old were the three! How would Geeta be able to manage her household with those three little children?
At the initial stage, after the departure of Guru, Geeta had lost the rhythm of her own life. She would keep indoors, refusing to leave, whatever the cause be outside. But soon she found herself without a single penny. Geeta then began to at times appear in the recording studio, she was often seen performing on stage. Situations forced her to jump back to life. Was there any other way? An artiste she was – how could she have survived without her Art? Over that she had her little children to grow.


This has been compiled from the writing of Bela ji. She had recalled Geetaji in various parts of the writing. We have put those scattered bits together. We are grateful to our dear friend Sounak Gupta for this exclusive article on the occasion of Geeta ji’s birth anniversary on 23rd November.

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.