First Indian to compose music in Hollywood quit engineering, called Voice of God by Lata; it’s not AR Rahman, RD Burman

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Composer Hemant Kumar was the primary Indian to be invited to compose for a Hollywood movie method again in 1972

You ought to have been named Hemant Kumar since you sing so properly, the tetchy heroine of the night-long caper movie Solva Saal (1958) snaps on the interloping hero after being gratuitously serenaded by him in a Bombay suburban practice whereas she is attempting to elope together with her beau. This was refined reward for the singer of ‘Hai apna dil to awara’, Hemant Kumar.

The tribute was properly deserved for the singer-composer for his prowess spanned Bengali and Hindi movies and whose well-modulated baritone was the voice of superstars of each industries, particularly Uttam Kumar and Dev Anand. And then, he grew to become the primary Indian invited to compose for a Hollywood movie – Conrad Rook’s Siddharta (1972), primarily based on Herman Hesse’s novel, and in addition used two of his Bengali songs in it.

Born on today (June 16) in 1920 in then Benares in a household of modest means, Hemanta Mukhopadhyay was in music from his early years and deserted his engineering schooling for music.

A uncommon mixture of a gifted musical composer, who wove in classical strains, and a playback singer, with a gently soothing voice, he recorded his first (Bengali) music in 1940 and the primary Hindi music a pair of years later.

But, whereas well-established in Bengali movies in the Nineteen Forties, he may not make a simultaneous mark in Hindi movies. It was solely in the early Nineteen Fifties that he was called to Bombay to give music for Anand Math (1952), and got here to nationwide prominence for each his spirited compositions and renditions of ‘Vande Mataram’ and ‘Jai Jagdish Hare, Jai Jagdish Hare’ in it.

His subsequent two movies flopped, and a disheartened Hemant Kumar, as he had change into on the suggestion of veteran filmmaker Sasadhar Mukherjee, was planning to head again to Calcutta however was satisfied to keep on.

Nagin (1954), with its hypnotically compelling music, particularly that snake-charmer melody on a ‘been’ – really rendered on the clavioline by Kalyanji and on the harmonium by Ravi – each his assistants earlier than they went to change into distinguished music administrators in their very own proper – cemented his place in the Hindi movie trade and in addition fetched a Filmfare Award for music.

But whereas he went on to give music – and his voice – for a number of different landmark movies, and in addition went on to remake gothic literary masterpieces like Bees Saal Baad (1962), and Kohraa (1964), and that stark drama Khamoshi (1969), his affect in Bombay began declining in the late Nineteen Sixties as his model of music and his genteel voice did not entice the eye it as soon as had. However, he continued to take pleasure in a flourishing profession in Calcutta, particularly for his Rabindra Sangeet renditions, other than movies.

Hemant Kumar, who in a while began to dye his hair as he contended that kids would not recognize love songs from a grey-haired man, additionally grew to become identified for refusing a Padma Shri in the Nineteen Seventies and a Padma Bhushan in the Nineteen Eighties “as too late,” slowed down a bit in the Nineteen Eighties due to well being points however went on. In reality, he had returned from a live performance in Dhaka in September 1989 earlier than struggling a significant and deadly coronary heart assault.

A top-notch music composer and a playback singer, like S. D. Burman, Hemant Kumar differed from the senior Burman, whose songs had been extra situational, extra widespread and enduring songs.

Take Yaad kiya dil ne kahan ho tum, picturised on a dapper Dev Anand, in Patita (1953), or the exuberant ‘Main gareebon ka dil hoon watan ki zabaan’, from Aab-e-Hayat (1955), which appears one other of the Arabian Nights-type escapade that had been as soon as Bollywood staples, the ethereal duet ‘Nain se nain naahii milao’ in V. Shantaram’s ‘Jhanak Jhanak Paayal Baaje’ (1955), and the peppy and playful ‘Zara nazron se kah do ji nishana chuk na jaye’ (Bees Saal Baad) are proof.

Then, his personal composed and sung ‘Na tum hamen jaano’ from Baat Ek Raat Ki (1962), the place Dev Anand softly croons a bit of the ‘antara’, fairly than the ‘mukhda’ over a sleeping Waheeda Rehman, earlier than starting the music.

And there was his penchant for the telling pause and alter of tone – the practically indiscernible break earlier than ‘Bichhad gaya har saathi dekar/Pal do pal kaa saath/Kisko fursat hai jo thame deewaanon ka haath’.. and the slight change of tone for ‘Hamko apna saaya tak aqsar bezar mila…’ in ‘Jaane woh kaise log the..’ from Guru Dutt’s Pyaasa (1957) and the voice shift in the transition from ‘… jaagte rahenge aur kitni raat ham…’ to ‘Muktsar si baat hai..’. from his Bollywood swan music ‘Tum pukaar lo, tumhara intezaar hai’ in ‘Khamoshi’.

It is not any surprise why Lata Mangeshkar and Salil Choudhary dubbed him “Voice of God.”

Except for the headline, this story has not been edited by DNA employees and is printed from IANS

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Nilesh Desai
Nilesh Desaihttps://www.TheNileshDesai.com
The Hindu Patrika is founded in 2016 by Mr. Nilesh Desai. This website is providing news and information mainly related to Hinduism. We appreciate if you send News, information or suggestion.

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