Hemanta Mukherjee Quick Fact:
Hemanta Mukherjee is an entertainer and Most famous Singer, music director, producer. Read Hemanta Mukherjee biography and real-life story.
Born: 16 June 1920 Benares, Benares State, British India
Died: 26 September 1989 (aged 69) Calcutta, West Bengal, India
Occupation: Singer, music director, producer
Years active: 1935–1989
Hemanta Mukherjee’s Biography:
Hemanta Mukherjee otherwise called Hemant Kumar (16 June 1920 – 26 September 1989); was an Indian music executive and vocalist who sang in Bengali, Hindi and other Indian dialects. He is additionally one of the most well known craftsmen of Rabindra Sangeet. He won two National honors for the classification best male playback artist.
Hemanta Mukherjee ‘s Early life:
Hemanta was conceived in Varanasi, in the place of his maternal granddad who was a main doctor. From the fatherly side his family began from Jaynagar. They relocated to Kolkata in the mid 1900s. Hemanta grew up there and went to Nasiruddin School and later Mitra Institution school of Bhawanipore zone.
There he met his long-term companion Subhas Mukhopadhyay who later turned into a Bengali writer. During this time, he built up a kinship with the prominent essayist Santosh Kumar Ghosh. Around then, Hemanta composed short stories, Santosh Kumar composed lyrics and Subhash Mukhopadhyay sang tunes.
In the wake of passing the middle of the road assessments (twelfth level), Hemanta joined Bengal Technical Institute at Jadavpur to seek after Engineering. Nonetheless, he quit scholastics to seek after a profession in music, in spite of protest from his dad. He quickly attempted writing and distributed a short story in the lofty Bengali magazine called Desh, yet by the late-1930s he was submitted completely to music.
Hemanta Mukherjee ‘s Early music vocation:
Affected by his companion Subhas Mukhopadhyay, Hemanta recorded his first melody for All India Radio in 1935. The principal line of the tune was “Amar Ganete Ele Nabarupi Chirantanii.” Hemanta’s music profession was essentially guided by the Bengali performer, Sailesh Duttagupta. In his initial life Hemanta used to pursue the well known Bengali artist Pankaj Mullick. For this he was nicknamed as “Chhoto Pankaj”.
In a meeting on TV in the mid 1980s, Hemanta had referenced that he had likewise gotten old style music preparing from Ustad Faiyaz Khan’s understudy Phanibhusan Banerjee, however his tutelage was stopped by the Ustad’s unfavorable demise.
In 1937, Hemanta cut his first gramophone plate under the Columbia mark. The tunes (non-film) on this plate were “Janite Jadi Go Tumi” and “Balo Go Balo More” whose verses were by Naresh Bhattacharya and music was formed by Sailesh Duttagupta.
From there on, consistently Hemanta kept on chronicle non-film circles for the Gramophone Company of India (GCI) till 1984. His first Hindi melodies were “Kitana Dukh Bhulaya Tumne” and “O Preet Nibhanewali”, discharged in 1940 under GCI’s Columbia mark. Music for these tunes were made by Kamal Dasgupta; verses were by Faiyaz Hashmi.
Hemanta’s first film tune was in the Bengali film Nimai Sanyas discharged in 1941. Music was scored by Hariprasanna Das. Hemanta’s first pieces for himself were the Bengali non-film tunes “Katha Kayonako Shudhu Shono” and “Amar Biraha Akashe Priya” in 1944. Verses were by Amiya Bagchi.
His first Hindi film tunes were in Irada (1944 film) in 1944 under Pt. Amarnath’s music bearing. Hemanta is viewed as the preeminent type of Rabindra Sangeet. His initially recorded Rabindra Sangeet was in the Bengali film Priya Bandhabi (1944). The melody was “Pather Sesh Kothaye”.
He recorded his first non-film Rabindra Sangeet circle in 1944 under the Columbia name. The melodies were “Aamar Aar Habe Na Deri” and “Keno Pantha E Chanchalata”. Before that he had recorded the melody ” Aamaar mallikabone ” in All India Radio/Akashvani be that as it may, shockingly, the record has gone into insensibility.
His first motion picture as a music executive was the Bengali film Abhiyatri in 1947. Albeit a significant number of the tunes Hemanta recorded during this time got basic approval, significant business achievement evaded him until 1947. Some contemporary male vocalists of Hemanta in Bengali were Jaganmay Mitra, Robin Majumdar, Satya Chowdhury, Dhananjay Bhattacharya, Sudhirlal Chakraborty, Bechu Dutta and Talat Mahmood.
Hemanta Mukherjee ‘s Family:
Hemanta had three siblings and a sister, Nilima. His senior sibling, Tarajyoti, was a short-story author in Bengali. The most youthful sibling, Amal Mukherjee, created music just as sang (Ehy Prithibithey Sharita Jibon) for some Bengali motion pictures, most remarkably Hospital and Abak Prithibi. He recorded a couple of Bengali tunes during the 1960s and furthermore made music for one out of the most vital versions – “Jiboner Anekta Path Eklai.” – Of Hemanta
In 1945, Hemanta wedded Bela Mukherjee (passed on 25 June 2009), an artist from Bengal. In spite of the fact that Bela had sung some prominent tunes in the motion picture, Kashinath (1943), with music by Pankaj Mullick, she didn’t effectively seek after her melodic profession after marriage.
They had two kids: a child, Jayant, and a girl, Ranu. Ranu as Ranu Mukhopadhyay sought after a music vocation in the late 1960s and mid-1970s, with to some degree constrained achievement. Jayant is hitched to Moushumi Chatterjee, an Indian film on-screen character who was mainstream during the 1970s.
Success and migration to Mumbai:
In the mid-1940s, Hemanta turned into a functioning individual from the Indian People’s Theater Association (IPTA) and began a relationship with another dynamic IPTA part — musician and writer Salil Chowdhury. One of the primary main impetuses behind the foundation of IPTA was the Bengal starvation of 1943 and the inaction of the British organization and rich Indians to avert it.
In 1947, Hemanta recorded a non-film tune called “Ganyer badhu” that had music and verses by Salil Chowdhury. The six-minute tune recorded on different sides of a 78 rpm plate was sung at a changing pace and did not have the ordinary structure and sentimental subject of a Bengali melody.
Around a similar period, Hemanta began getting more assignments for music piece for Bengali movies. Some were for chief Hemen Gupta. At the point when Hemen moved to Mumbai a couple of years after the fact, he called upon Hemanta to make music for his first directorial adventure in Hindi titled Anandmath under the Filmistan flag. Reacting to this call, Hemanta relocated to Mumbai in 1951 and joined Filmistan Studios.
The music of Anand Math (1952) was a moderate achievement. Maybe, the most eminent melodies from this motion picture are ‘Vande mataram’ sung by Lata Mangeshkar, which Hemanta set to a walking tune. Following Anandamath, Hemanta scored music for a couple Filmistan motion pictures like Shart in ensuing years, the melodies of which got moderate ubiquity.
At the same time, Hemanta picked up notoriety in Mumbai as a playback vocalist. His tunes playbacked for on-screen character Dev Anand under music executive Sachin Dev Burman in films.
Hemanta Mukherjee’s Career rise:
By the mid-1950s, Hemanta had combined his situation as a noticeable artist and author. In Bengal, he was one of the premier examples of Rabindra Sangeet and maybe the most looked for after male vocalist. In a service composed by Hemanta Mukherjee to respect Debabrata Biswas (1911–1980), the amazing Rabindra Sangeet type, in Calcutta in March 1980, Debabrata Biswas unhesitatingly referenced Hemanta as “the subsequent saint” to promote Rabindra Sangeet, the first being the incredible Pankaj Kumar Mallick.
In Mumbai, alongside playback singing, Hemanta cut a specialty as an arranger. He made music for a Hindi film called Nagin (1954) which turned into a significant achievement owing to a great extent to its music. Melodies of Nagin remained graph toppers consistently for a long time and finished in Hemant getting the lofty Filmfare Best Music Director Award in 1955.
The extremely same year, he scored music for a Bengali motion picture called Shapmochan in which he played back four melodies for the Bengali entertainer Uttam Kumar. This began a long organization among Hemant and Uttam as a playback vocalist entertainer pair. They were the most well known vocalist entertainer team in Bengali film throughout the following decade.
In the last piece of the 1950s, Hemanta made music and sang for a few Bengali and Hindi movies, recorded a few Rabindra Sangeet and Bengali non-film tunes. Practically these, particularly his Bengali tunes, turned out to be mainstream.
Hemanta Mukherjee’s Movie creation:
In the late 1950s, Hemanta wandered into motion picture creation under his own standard: Hemanta-Bela preparations. The main motion picture under this pennant was a Bengali movie coordinated by Mrinal Sen, titled Neel Akasher Neechey (1959).
Back in Bengal, Hemanta scored music for a film titled Palatak in 1963 where he tried different things with blending Bengal society music and light music. This demonstrated to be a significant achievement and Hemanta’s organization style changed discernibly for a considerable lot of his future movies in Bengal, for example, Baghini, and Balika Badhu.
In Bengali movies Manihar and Adwitiya, the two of which were significant melodic just as business triumphs, his sytheses had a light old style tinge. In 1961, for recognizing Rabindranath Tagore’s introduction to the world century, Gramophone organization of India highlighted Rabindrasangeet by Hemanta in a huge bit of its dedicatory yield.
Hemanta went on a few abroad show visits including his excursion toward the West Indies. By and large, during the 1960s decade he held his situation as the significant male vocalist in Bengal and as a writer and artist to be dealt with in Hindi movies.
During the 1960s he was the transcendent and lead male voice in a considerable lot of Tagore’s melodic dramatizations like Valmiki Pratibha, Shyama, Sapmochan, Chitrangada and Chandalika. With Kanika Bandopadhyay (1924–2000) and Suchitra Mitra (1924–2010), who were the lead female voices in these, he was a piece of the Rabindra Sangeet triumvirate that was prominent and regarded.
Asoktaru Bandopadhyay, Chinmoy Chattopadhyay, Sagar Sen, Sumitra Sen and Ritu Guha were the other driving examples of Rabindra Sangeet around then.
Hemanta Mukherjee’s Later vocation:
In 1987, he was named for Padmabhushan which he declined amiably, having just turned down a past idea to get Padmashree during the 1970s. In this year, he was openly congratulated in Netaji Indoor Stadium in Calcutta for finishing 50 years in melodic adventure, where, Lata Mangeshkar gave him the token in the interest of his fans and admirers.
Despite his maturing voice, he turned into the Best Male Singer in 1988 for his interpretation in the film “Lalan Fakir”.
In September 1989 he ventured out to Dhaka, Bangladesh to get the Michael Madhusudan Award, just as to play out a show. Following coming back from this outing he endured another cardiovascular failure on 26 September and kicked the bucket at 11:15 pm in a nursing home in South Calcutta.
Hemanta Mukherjee’s Awards:
- Filmfare Award for Best Music Director 1956 · Nagin
- National Film Award for Best Male Playback Singer 1987, 1972 · Lalan Fakir, Nimantran
- Sangeet Natak Akademi Award for Creative and Experimental Music 1986