Anil Biswas

On May 31, octogenarian composer Anil Biswas, fondly known as Anil Dha, passed away in New Delhi. His contributions to the evolution and enrichment of film music are well known. He died at the ripe age of 89 after scoring music for about 90 films.

Born on July 7, 1914, in a small village of Barisal district of the then East Bengal (now Bangladesh), he showed unusual talent for music at the age of four, and by the time he was 14 he became an accomplished tabla player. It was his mother’s idea to put him through serious musical training. It is not known who his teacher was, but the classical and folk influences in his work are clear. During his childhood and early teens, he worked with amateur theatre groups as a child singer. As an adult, he became a political activist and was repeatedly jailed for his revolutionary activities. He went to Kolkata after the death of his father in 1930 where he came in contact with flute maestro Pannah Lal Ghosh, who later became his brother-in-law. At age 16, Biswas got his first job at a tea stall. Like some other great composers of Indian cinema, he also slept on footpaths many times when he had no place to spend the night.

Anil Biswas was very impressed with Bengali folk melodies and the songs of Rabindranath Tagore and Qazi Nazarul Islam. He received early assignments at Rangmahal Theatre, Kolkata, where he identified with singing, lyrics, dialogues, music, orchestration and acting. Later, he worked with Qazi Nazarul Islam and also scored music and acted in several commercial stage productions. Biswas moved to Mumbai in 1935 where he was first employed by Ram Daryani’s Eastern Art Syndicate and later by Sagar Movitone and its successor National Studios (1940-42), and finally by Bombay Talkies (1942-46) before turning freelance.

In the decade of the ’30s, orchestration was Pankaj Mullick’s favourite research area but Anil Dha is credited with the creation of what may be regarded as the first Indian orchestra of twelve pieces. It was moviemaker Hiran Bose who urged Biswas to move to Mumbai where he could do better. The song ‘Tere pooja ko Bhagwaan banaa mun mandhir aalishan’ in the movie Bharat ki beti (1935), was the composition that propelled the singer-composer into the headlines.

His best known compositions are among the most effective film adaptations of theatrical music, with 12-piece orchestras and full-blooded choral effects in Ameerbai Karnataki’s songs of Gyan Mukerjee’s film Kismet (1943), and even more in Mahboob’s early films in the late 1930s and early ’40s. It was widely known that Biswas composed the enduringly popular songs of the film Basant, but gave credit for these to his brother-in-law Pannah Lal Ghosh due to family compulsions. His recitative prose songs in the film Roti (1942) helped give the film its parable dimensions.

In some of his more traditional compositions, Anil Biswas indicated his affiliation with newly emerging trends in film music, which allowed combining a free atonal counterpoint with folk structures. He was the most important composer to come out of Sonar Bangla with a number of enduringly popular compositions completed as early as 1942. By then, his compositions had touched the apex of popularity and he was accepted as a person who possessed the fundamental recipe for box office success. Not only was he a prolific composer, he was also a complete musician.

At the beginning of his career, Anil Biswas teamed up with director (who later became a producer) Mehboob Khan from 1937 to 1942. During this period, he scored music for eight memorable movies including Jagirdar, Watan, Aurat, Behan and Roti. This was one of the strongest professional and enduring associations ever formed between two great artists in the history of Indian cinema. So close and intimate were they with each other that Anil Biswas called Mehboob ‘Mawaali;’ a term he affectionately used for Mehboob every time the director addressed him as ‘Bengali.’

Biswas also composed for K.A. Abbas’s films Munna and Mahesh Kaul. He was also music co-director for the movie Begunnah, using the name Haribhai. When he distanced himself from Bollywood, Anil Biswas scored background music for Indian state broadcaster Doordarshan’s pioneering TV series Hum log (1984-85) and a number of Film Division’s documentaries in the period between 1979 and 1991.

Anil Dha was one of the pioneers who introduced western orchestration, using indigenous instruments both in the songs as well as in their melodic interludes. This new trend slowly gained popularity and acclaim. The influence of Bengali folk music in his compositions was starkly evident in the songs he composed for a large number of films with occasional touch of classical strands. His most popular compositions were those which reflected the hues of his native Bengali melodies he creatively employed in his work.

A prolific composer, he scored melodies for 90 films in his 30-year (1935-65) long film career. His first ambitious attempt to create a name in music came when he scored music in Roti. Cinema buffs still remember the haunting tune of Sajna sanjh bhayee aan milo, which he composed in raaga Khamaj. A blend of folk and classical, his songs retain their enchantment even after 50 years of their recording in films like Tarana, Anokha Piyar and Aarzoo. The spices of Biswas’s music were originality and use of orchestra on the basis of western system of harmony and contrapuntal notes.

Some of his most popular songs included Dil jalta hai to jalney day recorded in the voice of Mukesh for the film Pehli nazar (1945); Yaad rakhna chaand taro is sohni raat ko (Anokha Piyar –1948), Koyee piyar ki boli bol gaya (Arzoo –1950); Kis ki lagi julmi najaria and Seenay mein sullagte hain armaan (Tarana –1951); Raahi matwale tu chher eik baar (Rahi-1952) and Barkha rut bairi hamaar (Hamdard-1953). Doubtless, there are many more popular songs of the late composer which, for want of space, cannot be listed here.

A modest, unassuming, but highly creative and competent composer, Anil Biswas spent the eve of his life as a recluse in New Delhi almost in isolation, where he died on May 31 almost unsung.

Bulo C. Rani

Composer and singer in Hindi films called Bulo Chandiram Ramchandani, born in Hyderabad (Sind), now Pakistan. Joined Ranjit Studio (1939) as assistant to Khemchand Prakash, making his debut as a singer in Prakash’s compositions for Chaturbhuj Doshi’s Mehmaan (1942) with the popular number Rootha pyar mein. Later assisted and sang for Gyan Dutt (Shankar Parvati, 1943). Composed a series of popular hits in the 40s, e.g. his second film Moorti with Badaria baras gayi sung by Khursheed, Hamida Bano and Mukesh. Best-known and most successful film is Kidar Sharma’s Jogan, where he set several Meera bhajans to new scores, esp. Sundarata ke sabhi shikari adapting Pandit Indra’s lyric. Worked with Ranjit Studio throughout his career which lasted until the studio’s closure. Last films were often stunt B movies directed by e.g. Aakkoo. Occasionally participated in AIR programmes in the 70s.

Listen!

Thukra kai hamein youn na ja – Genre – Film – Film Name – Madhur Milan – Year – 1955 – Singer – Lata Mangeshkar – Music Director - Bulo C. Rani

Husnlal Bhagatram

“Chup chup kharey ho zaroor koi baat hai, pehli mulaqaat hai ji pehli mulaqaat hai” sung by Lata Mangeshkar and Premlata for film “Bari Behen” in the year 1949 was certainly one of the most popular melodies of its time.

I still remember, during my childhood days, open air evening theatre and Ramlila were the most popular media of entertainment for practically all sections and classes of society. Before the start of the show musicians kept the waiting audience occupied with some popular melodies from films or otherwise. And, invariably every day there used to be one song, “Chup chup kharey ho.”

Many years have passed. Lata Mangeshkar sang thousands of songs and made a number of records. The name of co-singer Premlata can merely be found in a few gramophone records, which cannot be played.But, the fact remains the melody has withstood the test of time. A large number of early music composers shaped the destiny of Lata Mangeshkar, but among the foremost was the duo – Husnlal-Bhagatram. The musical duo had created the everlasting melody “Chup chup kharey ho.” They had commenced their music journey with film “Chand” in the year 1944 starring Begum Para and Prem Adib.

Its song “Do dilon ko ye duniya, milne nahin deti” (sung by little known Manju) became an instant success. Soon to follow was “Pyar Ki Jeet” (1948) starring Suraiya and Rehman. It too became a musical super-hit. Some of its songs in the voice of singing-star Suraiya, “Tere nainon ne chori kiya, mera chhota sa jiya, o pardesia”, “O door jaane waley” and “Koi duniya mein hamaari tarah” are still considered hot favourites. The beauty of the virgin tonal quality of voice explored by the composers in these melodies is indeed superb. Then there was an all-time popular song of Mohammad Rafi in this film, “Ik dil key tukre hazaar hue koi yahan gira”. Also, there were some fascinating duets sung by Surinder Kaur, the melody queen of Punjab, Meena Kapoor and Ram Kamlani.

The film “Bari Behen” released in the year 1949 was a class apart in the history of Indian film music. Not only “Chup chup kharey ho”, the other seven numbers also made an impact. The heart throbbing Lata numbers are just great. In “Chaley janaa nahin” and “Jo dil mein khushi ban kar aaye”, Lata was perhaps at her best as the melody came straight from the singer’s heart. It virtually makes the listener cry, as an outcome of eternal pleasure. The quality of a diamond-cutter in master violinist Husnlal, in particular, can be visualised through these two everlasting melodies. The Punjabi style dholak played by the musician Shankar (of the Shankar Jaikishan duo) was again a notable feature.

Afterthe grand success of the music of “Bari Behen”, Shankar Jaikishan formed the team for Raj Kapoor’s all-time great film “Barsaat”, replacing Ram Ganguly, who composed for Kapoor’s “Aag”. Thus, a new music chapter in Indian cinema’s history was launched, but the fact remains that Husnlal and Bhagatram were the first to introduce the trend of music composer duos in the Hindi film industry.

They were the younger bothers of Pandit Amarnath, who himself was a musician of eminence but died young. He is still remembered for the music of film “Mirza Saheban” (1947) starring Noorjehan and Trilok Kapoor. Pandit Amar Nath is also credited with training child prodigy Master Madan.

Zest for violin

Both bothers had their initial music training under their elder brother and thereafter under Pandit Dilip Chand Vedi, a highly respected personality in the field of classical music.

Husnlal’s zest for the violin took him to Ustad Bashir Khan. His command over the violin can be seen in different compositions. His first passion was playing it in the classical tradition. More than a composer, he was known as a devoted and committed violinist. In giving shape to Lata’s tonal chord for a song, Husnlal used to play the tune on the instrument. Years after his demise, I was made to understand by Nirmalaji, his beloved wife that before retiring at night he would invariably play the violin, whatever be the time. His favourite raga was Malkauns.

The duo had joined elder brother Amarnath in the creation of some of the admirable melodies for Noorjehan for the film “Mirza Saheban”. “Kya ye tera pyar tha”, “Aa jaa tujhe afsana judai ka sunayein”, “Haath seeney pe jo rakh do, to karaar aa jayey”, “Tum aankhon se door huye neend aakhon se door” (with G.M. Durrani). The list of memorable songs of Noorjehan whether sung in undivided India or later in Pakistan is certainly incomplete without these numbers of “Mirza Saheban”.

If a collection of immortal film duets were to be prepared, it would be incomplete without the incredible “Sun merey sajnaa, dekhoji mujhey bhool na janaa” based on raga Pahari and sung by Lata Mangeshkar and Mohammad Rafi for “Aansoo” (1952). Due to the length of the song, it was recorded on both sides of the 78 rpm record. The duo also composed for B.R. Chopra’s maiden film “Afsana” (1950). In this film Lata’s song “Abhi to main jawan hoon” is considered by some, abetter version of the same song sung by Mallika Pukhraj.

An account of Husnlal-Bhagatram will be incomplete without “Suno suno ai duniyan walo, Bapu ki ye amar kahani”. The singer-in-making, 24-year-old Mohammad Rafi, became a celebrity overnight with this recording. The lyrics were by Rajinder Krishan and composed by the duo within a record 24 hours soon after the sad demise of Mahatma Gandhi. More than a million copies of a set of two 78 rpm discs of this recording were sold within a month.

What better popularity in the annals of music history — film or otherwise — one can expect? However, destiny unfolded another event. The complexities of relationships and subsequent rejection by the industry compelled Husnlal to leave Bombay and reside in a dilapidated building in the congested commercial area of New Delhi’s Paharganj for the remaining short span of life. He taught music to his disciples at times offering them meals and tea instead of charging any fee.

One of his renowned disciples was Neelam Sahni.On a chilly morning of 28th December, 1968 when he went out for his routine morning walk he had a cardiac arrest on the way. He fell down near Gole Market. Some passer-by took him to the then Willingdon Hospital (presently RML) where he was declared as “an unknown body found brought dead.”

The fate of his elder brother Bhagatram was no better. For his survival, he worked as an accompanist with different composers. He too died unsung in 1973 – Satish Chopra (TheHindu.com)