E-Paper
The Voice of God
Hemant Kumar's singing and compositions were distinctive in style and tenor, writes Manjula Negi.
Yaad kiya dil ne kahan ho tum…, Tum pukaar lo, Jaane who kaise log the jinke…, Tumhen yaad hoga, Yeh raat yeh chandni phir kahan are only some of the gems associated with Hemant Kumar, the late composer-singer who swore by classical strains to enrich his music. Kumar was awarded among others, by Indian Airlines (!) with the Best Passenger Award because he was one of the most frequent travellers (from Bombay to Calcutta and back) given his hectic schedules between the two cities and the two film industries.
But this was really before he made it big. He'd had many a flop before he hit the hit button. Hemant Kumar Mukhopadhaya was born on June 16, 1920, grew up in Calcutta. He barely managed school since music and dance were first priority in young Hemant's life.
College turned out to be worse because he landed himself a job of a singer in All India Radio - then known as Broadcasting House - and quit studying Engineering from Jadhavpur University midway. From the salary that he received at AIR, he purchased a harmonium and concentrated on learning music from Pt. PC Bose, P Bannerjee and Neerapad Mukherjee. Not only that, he also paid attention to learning Rabindra Sangeet.
Of the 262 songs that he collected in his repertoire over three decades, Hemant Kumar's first playback recording was for the film Nimaaee Sanyas in 1940. Prior to that, he'd done a single recording for Columbia Recording Company. Since it flopped Hemant turned to learn typing to get himself a job as a stenographer. But, fortunately for all concerned, he was soon dissuaded.
His first Hindi recording was for the film Meenakshi, where the music was composed by Pankaj Mullick. He followed that up with Iraada in 1944, and he got work from V Shantaram in Shiv Shakti but the film was shelved. Clearly the stars weren't willing to be appeased yet. He returned to Calcutta to work on the Bengali film Purba Raag (1947) but that too did average business. The songs however were noticed by Filmistan's S Mukherjee who called Hemant to compose for his upcoming Anand Math. The film which was based on Bankim Chandra's novel of the same name and starred the inimitable Geeta Bali was released in 1952, to a standing ovation. The film's songs were instant hits especially so the soul-stirring Vande Mataram (sung by Lata Mangeshkar, Hemant Kumar with chorus) and Jai Jagdish Hare (by Geeta Roy and Hemant Kumar).
Anand Math would have remained a flash in the pan because the films immediately following - Ferry and Daku Ki Ladki - failed miserably. And once again, Hemant prepared to leave the field when he was advised by S Mukherjee to give it another shot. "You cannot go back defeated like this. Make music like Naushad first, and then go back to Calcutta with honour." Hemant Kumar took the advice and stayed put.
And then came Nagin (1954), starring Vyjayanthimala and Pradeep Kumar. With numbers like Tan dole mera man dole (where the clay-violin had been played and immortalised by Kalyanji bhai of Kalyanji-Anandji fame), Jaadugar saiyan, Mera dil yeh pukaare aaja, the film was a runaway hit. Directed by Nandlal Jaswantlal, Nagin received the Filmfare trophy for its music that year.
Hemant Kumar followed up his success soon after with music in films. 1955 particularly was the landmark which saw Hemant Kumar bloom as composer and singer with songs from films like House No 44, Jhanak Jhanak Payal Baje, Munimji, Milap, Abe Hayat and Faraar becoming runaway successes. Hemant Kumar contributed in no small measure to the Golden period of Hindi films. His work in Guru Dutt's Pyaasa (his rendition of Jaane who kaise… composed by SD Burman), Abrar Alvi's Sahib Bibi Aur Ghulam (for which he'd gave the music comprising classics like Bhanvra bada nadaan, Na jao saiyan chhuda ke baiyan, and filmed on greats like Guru Dutt and Meena Kumari) is beyond compare.
The 60s decade proved to be equally fruitful for Hemantda who turned in more hits like Pyasse Pannchi, Kabuliwala, Gunga Jamuna (all released in 1961), Bees Saal Baad, Baat Ek Raat Ki (1962) along with Sahib Bibi aur Ghulam, Bahurani, Sehra, Harishchandra Taramati (1963) were followed by Anupama (1966), Khamoshi (1969) and Heeralal Pannalal in (1978). Paucity of space doesn't allow a mention of all the films.
Hemant's singing and compositions were distinctive in style and tenor. Indeed, it wouldn't be presumptuous to state that the composer was one all India's all time great musicians. When he passed away of a heart attack (brought on by excessive smoking, and diabetes) in Mumbai on September 26th 1989, the late Satyajit Ray commented: "Rabindra Sangeet has died a second time." Salil Chowdhury who had made Kumar sing in Kabuliwala (Ganga aaye kahan se…) stated that Kumar's voice was the Voice of God. He wasn't far from the truth.
