Woh Din Kahaan Gaye Bataa : Anil Biswas
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Barnali & advil (Adi)
Thanx to dolly for the banner.
Woh Din Kahaan Gaye Bataa : Anil Biswas
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Barnali & advil (Adi)
Thanx to dolly for the banner.
Thanks Barnali. Let us salute the legend indeed.
Which year was he born? I remember he came to many episodes of SRGMP.
He was born in 1914. In fact according to him (he had told in an interview)...he was the oldest musician in India.
He used to come during the SRGM days. Infact there was acontroversy too. when he found that Talat saab's picture was not there in the backdrop where many other legends pictures were there, he called over Sonu Nigam and told the same. From next episode onwards, even Talat saab's picture was put on the wall
Which year was he born?.
Thanx Sahana for pointing it out. hav added the info too to the article. yes its incomplete otherwise😳
He used to come during the SRGM days. Infact there was acontroversy too. when he found that Talat saab's picture was not there in the backdrop where many other legends pictures were there, he called over Sonu Nigam and told the same. From next episode onwards, even Talat saab's picture was put on the wall
He was born in 1914. In fact according to him (he had told in an interview)...he was the oldest musician in India.
He used to come during the SRGM days. Infact there was acontroversy too. when he found that Talat saab's picture was not there in the backdrop where many other legends pictures were there, he called over Sonu Nigam and told the same. From next episode onwards, even Talat saab's picture was put on the wall
Thanks adi for the link:
Anil Biswas - A Tribute
Veteran Music Director Anil Biwas who gave music for memorable films such as Roti (1942), Kismet (1943), Anokha Pyaar (1948), Waaris (1954), Pardesi (1957) and Char Dil Char Raahein (1959) passed away in Delhi on May 31.
Anil Biswas was born in 1914 in Barisal, now in Bangladesh. Being a talented tabla player, he worked initially in amateur theatre as a child singer. His student days saw him becoming a political activist, going to jail repeatedly as he associated himself with terrorist insurgency movements in Bengal.
He received early musical assignments from Kazi Nazrul Islam at the Megaphone Gramaphone Company. Followed several Calcutta Theatre Stage Productions notably at the Rangmahal Theatre where he scored the music and did some acting as well. He moved to Bombay in 1934 where he was first employed at the Eastern art Syndicate. He then joined Sagar Movietone and then its successor National studio from 1940 - 1942 wherein he gave the music for three outstanding Mehboob Khan films - Aurat (1940), Bahen (1941) and Roti (1942). His recitative prose songs in the last mentioned film helped give the film its parable dimension and came close to an indigenous Brechtian mode. He then shifted to Bombay Talkies where he worked from 1942 - 6.
His biggest success at Bombay Talkies was Kismet, coming the following year. The film itself was a tremendous success running for over three years at Calcutta. A lost and found crime drama, one of the major reasons for its success was Anilda's evergreen musical score. By now trained singers were entering the Film Industry giving Music Directors opportunities to try out newer sounds. The songs in Kismet be it the patriotic Door Hato O Duniyawalon Hindustan Humaara hai or the sad Ghar Ghar Mein Diwaali or the soothing lullaby Dheere Dheere Aa sees Anilda make splendid use of Amirbai Karnataki's full throated voice. The last named song, a duet with Ashok Kumar, often had Anilda jokingly comment that perhaps it was the only song that Dadamoni sang in tune! Some other films that Anilda gave music for at Bombay Talkies include Dilip Kumar's maiden film Jwar Bhatta (1944) and Milan (1946).
Ani Biswas's best-known compositions are among the most effective film adaptations of theatrical music with 12 piece orchestras and full-blooded choral effects. In fact Anil Biswas's contribution to film music is multi-faceted. Beyond all the musical masterpieces that Anilda composed, he was also responsible for being the man behind such voices as Surendranath, Parul Ghosh (his sister married to renowned flutist Pannalal Ghosh), Sitara Devi, Mukesh, Talat Mehmood besides monitoring Lata Mangeshkar's early career. It was Anilda who taught Lata and other singers the techniques of breath control while singing and putting emphasis on syllables that came on the beat of the song. It was Anilda who not only discovered Mukesh but encouraged him to come out of being a K.L. Saigal clone and it was he who insisted that Talat keep the tremor in his voice which other composers saw as a flaw. As it was, it was this quiver in his voice that made Talat the unique singer he was. This is best illustrated in two outstanding songs among many others that he sang under Anilda's Baton - Ae dil Mujhe Aisi Jagah Le Chal (Arzoo (1950) and Seene Mein Sulagtein Hain Armaan (with Lata from Tarana (1951)). It is also said that Anilda was responsible for the basic structure of film songs that we know today and was a pioneer in using the counter melody and the use of Raag Maala.
After his stint with Bombay Talkies, Anilda freelanced and his work in the 1950s include Music for films by Filmistan (Heer (1956)), Mahesh Kaul (Abhimaan (1957), Sautela Bhai (1962)) and KA Abbas (Rahi (1952), Munna (1954), Pardesi (1957) and Char Dil Char Rahein (1959)).
Feeling disillusioned with the changing trends and the tragic end of his younger brother and elder son in the year 1961, Anilda shifted base to Delhi. He took charge of Chief Producer (Sugam Sangeet) at AIR, Delhi on 1st March 1963 and served upto June 1975 (though with a break in between). He was also vice-chancellor of Jawaharlal Nehru University for 2 years. In between he did the odd film like Mahesh Kaul's Sautela Bhai before retiring with Motilal's Chhoti Chhoti Baatein in 1965. The film although failing at the box office is still remembered for his singer wife Meena Kapoor's rendering of Kuchh Aur Zamana Kehta Hai. Incidentally Anilda's one grouse with the Film Iindustry was that it never gave Meena Kapoor (Rasiya re - Pardesi) her due. He always used to say that here was a voice with base, huskiness and sex! But the Film Industry just didn't know how to use it!
Anilda later scored the music for Doordarshan's pioneering TV series Hum Log (1984) and a number of documentaries for Films Division.
Some of Anilda's other prominent films include Gramophone Singer (1938), Jeet (1949), Aaram (1951), Humdard (1953), Faraar (1955) and Angulimal (1961).
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Birth: 1914. Birthplace: Barisal , now Bangladesh. Profession: Music Director, Bollywood. Death: May 31st , 2003. Anil Biswas was the "uncle" of Indian film music, "if R. C. Boral was its father". He was born in a small village in Barisal, now in Bangladesh in the year 1914. He grew up listening to the folk songs of the fishermen — bhatiyali. Yes, S. D. Burman's famous "sun merey bandhu ray" was an honest rendition of the melody that the fishermen of Bengal instinctively produce as children of the water gods. At home it was his mother's sweet and melodious voice that aroused in young Anil an interest for music — particularly bhajans. The Bengal of the early 20s had a robust cultural ambience. Anil's dream of singing the praise of the Creator took him to the various gurus. However, Mahatma Gandhi's movement for freeing India from British rule made him give up music. As a young freedom fighter he was forced to flee home because of his anti-British activities. A term in jail made him give up the dream of dedicating his life to the freedom struggle. He became part of a revolutionary political party and spent a significant amount of time in jail and then as a fugitive. He escaped to Calcutta and did various odd jobs until he finally got a job at the Rang Mahal Theatre, where he composed music for plays in which he also sang and acted. Like most great men his career as the "uncle" of Indian film music began from the pavements of The City of Joy. Hunger and want saw him do the rounds of the recording studios for a possible opening as a singer or a tabla player. Lady luck took him to the Hindustan Recording Company where Kundan Lal Saigal and Sachin Dev Burman had already established themselves as musicians. They took a fancy to the famished young boy with the voice of a koel. He moved to Bombay as was convinced by Hiren Bose who was a director.Like most young people with big dreams but small means, too decided to try his luck in what is still the most happening city of India. After a short period of struggle he was able to establish himself as the king of melody of Indian cinema. He got his first big break ' Dharam ki Devi' in 1935. That was followed by much success with over a hundred films, including the superhit, 'Kismat'. Anil Biswas has been credited with being the first music director to be aware of the unique features of the film medium and making sure to let that transcend into his music. His music was touched with the sounds of folk and the introduction of classical music and Rabidrasangeet has been at times attributed to him. Anil Biswas left Bombay, and made a home in Delhi where he first directed the National Orchestra at All India Radio till 1975 before taking up an advisory assignment with the Jawaharlal Nehru University. To Anil Biswas also goes the credit for composing the background music for Hindi television's first soap opera, "Hum Log". He was the man whose melody forced filmmakers to leave the shores of Bombay for the plains of Delhi. Mehboob Khan and Devika Rani were among the first to recognise his exceptional talent. When he joined Devika Rani's Bombay Talkies he could not claim credit for the musical score of National Studio's "Basant" to avoid contractual complications. The credits showed Pannalal Gosh, the legendary flute-player, as having scored the music for this film. Incidentally, Pannalal was married to Anilda's sister Parul, who too had a good voice like their mother. She sang a number of songs for Anilda. The success of "Kismat" in 1943 saw Anilda's popularity reach the zenith of his career. The film that ran for over three years in a single cinema house in Calcutta, broke records and established Ashok Kumar as the first evergreen hero of Indian cinema. The three-plus-year record-run was broken by "Sholay" in the seventies. But that was because of the gripping tale and not the music. Anil Biswas could claim to have launched the careers of many a superstar of his era. The music for "Juar Bhaata", Dilip Kumar's first film, was done by him. In 1945 he established Mukesh as a front-rank playback singer. Indeed, who can forget the soulful rendition of "dil jalta hai to jalney dey" by Mukesh in "Pehli Nazar"? By giving a break to Talat Mahmood in "Arzoo", 1949, he gifted to the Indian film industry a truly golden voice — about which it could be said that "music, when soft voices die, vibrates in the memory". "Ai dil mujhe aisi jagha ley chal jahan koi na ho" turned Talat Mahmood into an icon. The tune had come from the soul of Anilda. Somehow, he could never relate to the commercial dominance of aesthetics and culture. He literally gave it all up at the peak of his glory in the Hindi film industry and accepted a low profile job in All India Radio, Delhi. He wanted lead a quiet faceless life away from the cacophony that is today applauded as music. A place in this world "jahan koi na ho". He gave music for memorable films such as Roti (1942), Kismet (1943), Anokha Pyaar (1948), Waaris (1954), Pardesi (1957) and Char Dil Char Raahein (1959) .He passed away after a brief chest ailment on 31st of May , 2003 not before establishing the celluloid of Hindi Music Industry and leaving an rock impression behind.
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Anil Biswas was born on 7th July 1914 in the Barisal District Town of East Bengal. During childhood he displayed talent in tabla playing and singing. He also used to appear in a local amateur theatre as a child star. In his youth days, he actively participated in the freedom movement and faced imprisonment. The artistic urge induced him for moving to the cultural hub – Kolkata. On approaching Qazi Nazrul Islam's Indian Theatre Association he was appointed at the Rang Mahal Theatre as music composer. He also performed occasional stage acting. For a short while he was also associated with the Gramophone Company.
In 1934 he moved he moved to Bombay where he seek an employment with the Eastern Art Syndicate. He was associated in composing music for 'Baal Hatya' and 'Bharat ki Beti'. His first independent music composition was for 'Dharam ki Devi' (1935) in which he also acted and sung 'Kuch Bhi Nahin Bharosa..'. In the following year he composed music for Director Ram Daryani's and Golden Eagle Productions in association with the famous theatre stage music composer Jhandey Khan Sahib. After joining Sagar Movietone in 1936 Anilda initially assisted composer Ashok Ghosh in films 'Manmohan' and 'Deccan Queen'. These were produced mainly to compete with the New Theatres's films with K.L.Saigal. Surendra's song in film 'Deccan Queen', 'Birha Ki Aag Lagi Morey Man Mein..' in response to Saigal's song in Devdas 'Balam Aao Baso Morey Man Mein..'.
These were followed by his exclusive music composition 'Jagirdar' in 1937 with Zia Sarhady's songs. Surendra and Bibbo were singing stars at the Sagar Movietone. 'Hum Tum Aur Woh' was his next film in 1938. In the year 1940, Mahboob directed 'Ali Baba' in Urdu and Punjabi versions. Not knowing Punjabi, Anil Biswas was initially reluctant in composing music for the Punjabi version, but on being criticized through press for being Bengali, he took the challenge with the help from the song writers Shah Aziz, Arshad Gujrati and the dialogue writer Lala Yaqub. Dr. Safdar 'Aah' Sitapuri wrote songs for the Urdu version. Anilda experimented with English 'cantala' where one line overlaps the other in contra-melody. Mahboob used to call Anilda as 'Bangali' and Anil called him 'Mawali'. Mahboob was 8 years elder to Anilda. Dancing actress Sardar Akhtar and singer Wahidan Bai of Agra acted in 'Ali Baba'. Later Mehboob Khan married Sardar Akhtar as his second wife. Asha Lata was also an actress at Sagar. Anil Biswas married her but it could not last as a life long partnership and was snapped by mistrust. Asha Lata had two sons and daughter - Shikha Vohra. In 1961 her elder son who was much loved by father Anil died in an accident. Coming back to 'Ali Baba' - it's music and songs were much liked by the era cine-goers of that era.
Sagar Movietone was merged in 1939 with the Yusuf Fazalbhoy of RCA's newly established National Studios. Inspired by MGM's 'The Good Earth' (1937) and Mehboob produced 'Aurat' (1940) which was re-made by him in 1957 as 'Mother India' (Color). Cast of 'Aurat' comprised among others Surendra, Sardar Akhtar, Yaqoob and singing star Jayoti. Mehboob Khan desired that music for 'Aurat' be composed on the pattern of 'Ali Baba'. The story of 'Aurat' was based on Rural India life style whereas 'Ali Baba' was an Arabian Night fantacy. Anilda declined do it that way. Anilda also decided to sing 'Kahey Karta Der Barati..' himself – which was not liked by Mehboob. Both were adamant in their views and they stopped talking with each other. On lunch they would converse through Fareedoon Ji – the cameraman. Anilda prevailed and songs of 'Aurat' were very much appreciated. Anilda used to occasionally sing in his films e.g. Aasra (1941) 'Sanjh Bahi Banjare..', Bahen 'Kiye Ja Sab Ka Bhala..' and Apna Paraya (1942) 'Gori Kahe Khadi Angna..'. Another famous production of National Studios was 'Roti'. Akhari Bai of Faizabad acted in it. For songs, the studio was in contract with the HMV but Akhtari Bai (at that time) was an artist of Megaphone Gramophone Company. Four songs of Akhtari Bai composed by Anil Biswas were therefore deleted from film 'Roti'.
In 1948 came his another musical film 'Anokha Pyar'(1948) with songs of Mukesh and Meena Kapoor. She had earlier sung to the music of S.D.Burman 'Kisi Se Meri Preet Lagi..' and a duet with Chitalkar in film '8 Days' (1946) 'Ek Nai Kali Sasural Chali..'. From the paternal side Meena belongs to 'Bhaun' in Potohar, Pakistan. Later he married her. She being not available for recording, Meena's film songs appear on gramophone discs in the voice of Lata Mangeshkar. Film producers ignored the rich voice of Meena. Her few songs appear in Anilda's films e.g Lajawab 'Jab Kari Baderia..', Do Sitarey, Mehman 'Man Ka Panchhi..' , Pardesi 'Rum Jhum Barse Pani Aaj..' finally in Chhoti Chhoti Baatein 'Kuchh Aur Zamana Kehta Hai..'. Suraiyya sang for Anilda's film 'Gajrey' (1948) and subsequently in 'Jeet', 'Do Sitaare' and 'Waris'. After listening to Lata's song in film Gajrey 'Baras Baras Badri Bhi Baras Gai..', music director O.P.Naiyyar visited Anilda and respectfully congratulated him "Yeh aap hi ka kaam hai".
The decade of fifties witnessed the climax of film music evolved by Anilda. After that the poetic base of the songs followed a new trend - changing from common values to individual feelings. Anilda deployed the western instruments but generally played local tunes on them. Observing that the nursery cultivated by him was harvesting a different stuff and being dejected with the tragic death of his younger brother and elder son in the year 1961, Anilda decided to leave the commercial city of Mumbai and shift to Delhi for devoting mainly to academic work. He was appointed vice-chancellor of Jawaharlal Nehru University for about 2 years. He also remained Chief Producer (Sugam Sangeet) at AIR, Delhi during the 1963 – 1975 period. He occasionally composed for films like Sautela Bhai (1962) with Lata's song 'Ja Mein Tosey Nahin Boloo..'.and Motilal's last film Chhoti Chhoti Baatein (1965). Anilda later scored the music for Doordarshan's pioneering TV series 'Hum Log' (1984) and a number of documentaries for the Films Division.
The musical pattern of present day films has a global base and may represent cultural aspects of a minority of urban elite. It is not in unison with the heartbeats of the countryside masses. Present day music is like a beverage but has no sedative effect or tonic action. It agitates feelings and does not induce harmony. Their impact on the civil society is obvious. Anilda was 89 when he departed from us.
Source: Article By A R Qureshi, Pakistan
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Dharam Ki Devi
Fida-e-Watan
Piya Ki Jogan
Pratima
Prem Bhandhan
Sangdil Samaaj
Sher Ka Panja
Bull Dog
Dukhiyari
Gentleman Daku
Insaaf
Jagirdaar
Mahageet
300 Days and After
Dynamite
Gramophone Singer
Hum Tum Aur Wo
Postman
Watan
Comrades
Ek Hi Raasta
Alibaba
Aurat
Pooja
Aasra
Behan
Nai Roshni
Apna Paraya
Ghareeb
Jawani
Vijay
Hamari Baat
Kismat
Char Aankhen
Jwar Bhata
Pehli Nazar
Milan
Bhookh
Naiyya
Anokha Pyar
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Gajre
Veena
Laadli
Jeet
Aarzoo
Beqasoor
Laajawab
Aaram
Badi Bahu
Do Sitaare
Tarana
Doraha
Aakash
Fareb
Hamdard
Jaliyan Wala Bagh Ki Jyoti
Mehmaan
Raahi
Maan
Mahatma Kabir
Munna
Naaz
Waris
Faraar
Heer
Paisa Hi paisa
Abhimaan
Jalti Nishani
Pardesi
Sanskaar
Char Dil Char Raahen
Jasoos
Angulimal
Return Of Mr. Superman
Lucky Number
Hamen Khelne Do
Sautela Bhai
Raju Aur Gangaram
Chhoti Chhoti Baaten
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