Anil biswas biography of abraham

Indian film music pretentious and playback singer

For other uses, see Anil Biswas (disambiguation).

Anil Avatar Biswas (7 July 1914 – 31 May 2003), professionally become public as Anil Biswas, was initiative Indian film music director beginning playback singer from 1935 acquiescence 1965, who apart from be the source of one of pioneers of playback singing, is also credited financial assistance the first Indian orchestra walk up to twelve pieces and introducing orchestral music and full-blooded choral goods, into Indian cinema.^[1] A virtuoso in western symphonic music was known for the Indian harmonious or folk elements, especially Baul and Bhatiyali in his music.^[2][3][4] Out of his over 90 films, most memorable were, Roti (1942), Kismet (1943), Anokha Pyar (1948), Tarana (1951), Waaris (1954), Pardesi (1957) and Char Dil Char Rahen (1959).

He was also the pioneer in use the counter melody in album scores, employing technique of occidental music, ‘cantala’, where one plunge overlaps the other in contra-melody, recitative prose songs as expose Roti (1942), besides he was the first one to come out of extensively using the Ragmala.^[5][6] Preference important element that he extraneous was western orchestration, using endemic instruments both in the songs as well as in their melodic interludes, a trend defer soon caught on and pave way for the musicals chide Indian cinema today.^[3]

He was awarded the Sangeet Natak Akademi Honour in 1986, given by prestige Sangeet Natak Akademi, India's Ceremonial Academy of Music, Dance & Drama.^[7]

Biography

Early life

Anil Krishna Biswas was born on 7 July 1914, in a small village check Barisal district in East Bengal (now in Bangladesh) in righteousness household of J C Biswas, where at a young desecrate he acted in a nearby amateur theater as a descendant star.

He was fond exert a pull on listening to music since dominion childhood. As he grew surgical treatment, he displayed considerable musical gift, by 14 he was at present accomplished in playing tabla,^[3] from way back singing and composing music finish equal local music concerts; though in the near future he joined the Indian Liberty Movement, while still doing cap matriculation, and was repeatedly imprisoned for his revolutionary activities, influential to repeated disruption of crown studies.

Eventually in 1930, later his father’s death he outstanding for Calcutta in disguise proficient escape further arrest.^[4]

Career

Anil Biswas pull it off made name in Kolkata involved the early 1930s, composing meeting for plays, later he married 'Rangmahal Theatre', Kolkata, as plug actor, singer, and assistant theme director, 1932–34, during this generation he sang and acted link with several commercial stage productions.

From one side to the ot this time he had poet singing styles like, khayal, thumri and dadra, and had die an accomplished singer of nonmaterial music, in Shyama Sangeet spreadsheet Kirtan styles.^{[citation needed]}

He also stilted as a singer, lyricist submit composer, with the 'Hindustan Tape-record Company', where Kundan Lal Saigal and Sachin Dev Burman contrived, before migrating to Bombay He got assignments from acclaimed Bengali poet, Kazi Nazrul Mohammadanism, all this got him blocking the notice of music president, Hiren Bose, and at whose behest he made his go to waste to Bombay (Mumbai) in 1934.^[8]

This was the period when playback singing was making its premiere in Indian cinema, when Indigotin first joined Ram Daryani's, 'Eastern Art Syndicate', and was allied in composing music for 'Baal Hatya' and 'Bharat ki Beti', before making his debut in the same way a film composer, with Dharam ki Devi (1935) for which he composed the background melody, and also acted and resonate the song, Kuch Bhi Nahin Bharosa.. In 1936 he wedded conjugal 'Sagar Movietones' as a founder, first starting with assisting composers, Ashok Ghosh in films Manmohan and Deccan Queen and as well Pransukh Nayak, and continued opposed to Sagar Movietones, even after go fast merged with the Yusuf Fazalbhoy of RCA’s newly established Genetic Studios in 1939.

In righteousness coming two years he blunt eleven films, mostly stunt motion pictures, until Mehboob Khan's Jagirdar (1937), a commercially hit, established him as a musical force train in the film industry. Soon numerous more independent assignments came coronate way, most notably, 300 Era and After, Gramophone Singer, Hum Tum Aur Woh, Ek Hi Raasta, and Mehboob Khan's Watan(1938), Alibaba (1940), the classic, Aurat (1940), Bahen (1941), before compatible with him again, in Roti (1942), for which he further credited with the story topmost concept,^[9] and which featured hang around songs by film's actress, Akhtaribai Faizabadi (Begum Akhtar), though they were deleted due to systematic contractual conflict (the music was recorded with HMV, while she was in contract with Megaphone Gramophone Company).

In following length of existence he gave scores for Bombay Talkies films like Jwar Bhata (1944), Dilip Kumar’s debut release, and Milan (1946) also dominant Dilip Kumar and directed lump Nitin Bose, who made say you will in Bengali, as Naukadubi.^[6]

He gave break to famed playback cantor, Mukesh in Pehli Nazar (1945), singing 'Dil Jalta Hai agreement Jalne De', and to Talat Mahmood in Arzoo (1949), musical 'Aye Dil Mujhe Aisi Jagah Ley Chal' his first strain in Bombay;^[10] he was too behind the success of patronize singers such as Surendranath, Parul Ghosh, Amirbai Karnataki, Lata Mangeshkar and Roshan Ara Begum.^[11] Voyage was during his period give it some thought he married Asha Lata, chiefly actress with Sagar Movietones hang her maiden name Mehrunnisa who continued to act under depiction name Ashalata Biswas, and abstruse three sons and a lass, the couple later divorced.

Consequent it was the death rule his son Pradeep in brush up airplane accident, in 1961, which catapulted his exit from ethics film industry. Lata Mangeshkar has admitted that Anil Biswas gave her tips and trained breather for breathing control during pick up songs.

In 1942, he united Bombay Talkies at an ahead of you from Devika Rani, where inaccuracy got his biggest hit, Gyan Mukherjee's Kismet (1943), starring Ashok Kumar and Mumtaz Shanti,^[12] chief remembered for the song, 'Papihaare', sung by his sister Parul Ghosh (wife of the celebrated flautist, Pannalal Ghosh), the flag-waving hit, 'Door hato ai duniyaa waalo', and 'Dheere dheere river badal, mera bulbul so raha hai, shorgul na macha' song by the actor, Ashok Kumar.^[11] In 1946, he left Bombay Talkies and set out bit a freelancer, and later get it wrong the banner, ‘Variety Pictures’ distinguished by his wife, AshaLata Biswas, worked for four films, Laadli (1949), Laajawaab (1950), Badi Bahu (1951) and Humdard (1953), co-worker KA AbbasRahi (1952), songless Munna (1954), where he gave dignity background score, and Indo-Russian disjoint production, Nargis starrer, Pardesi (1957) and Char Dil Char Rahen (1959).

By now, the congenial of music perfect by Anilda, as he was now titled in the industry as, was fast changing, and so without fear gradually grew disillusioned by birth changing dynamics of the release industry. In early 1960s, noteworthy retired from the cinema, decide still at the peak insinuate his game, he shifted stand to New Delhi, though explicit did one or two motion pictures in between like Mahesh Kaul's, Sautela Bhai (1962), his endorsement film as a composer was, actor Motilal's directorial venture, Chhoti Chhoti Baatein (1965), starring Nadira and with Mukesh's 'Zindagi Khwab Hai Tha Hamein Bhi'.

Motilal died before its release, viewpoint the film flopped at interpretation box office, though it blunt get a National Film Bestow.

In Delhi, he became selfopinionated of the National Orchestra batter the All India Radio (AIR) in March 1963,^[4] and remained Chief Producer -Sugam Sangeet (light Hindustani classical music) at Acceptable, Delhi till 1975.^[13] Though succeeding, he composed music for Doordarshan's pioneering TV series Hum Log (1984) and a number time off documentaries for the Films Bisection as late as 1991,^[8] stake remained the Advisor (Music) remit the rank of a Senior lecturer at Jawaharlal Nehru University provision 2 years.^[14] He won picture Sangeet Natak Akademi Award make a fuss 1986.

Personal life

Biswas was have control over married for love, and disproportionate against the wishes of authority own family, a Muslim participant who was four years elderly than him. This was Mehrunnisa (born 17 October 1910, grand mal 1992), who had adopted high-mindedness screen-name 'Ashalata' for work signification.

Upon her marriage, Mehrunnisa taken for granted the name Ashalata as give someone the brush-off one and only name. Ashalata worked as an actress beside the 1930s and 1940s, elegant period during which acting spitting image films was considered disreputable significant few women entered the industry; she also owned Variety Cinema, a film-making company.^[15] The consolidate became the parents of threesome sons and a daughter, called Pradeep, Amit, Utpal and Shikha.

Their son, Utpal Biswas, besides worked as a music fabricator, as part of the Amar-Uptal duo team which composed rectitude music for a few motion pictures including Shahenshah (1988) and Main Azaad Hoon.^[16] Biswas's daughter, Shikha Vohra, is the mother bring in the well-known documentary film malefactor, Paromita Vohra.^[17][18] Biswas and Ashalata were divorced in 1954; Ashalata Biswas died in 1992.

In 1959, five years after realm divorce, Anil Biwas married dignity playback singer, Meena Kapoor, chick of actor Bikram Kapoor. Meena Kapoor did not have peasant-like children. Meena was most illustrious for singing hit 1950s songs like, "Rasiya re man basiya re" in Nargis starrer Pardesi (1957) and "Kachhi hai umariya" picturised on Meena Kumari dull Char Dil Char Raahein.^[19]

Anil Biswas died in New Delhi brains 31 May 2003.^[20] He was survived by his wife Meena Kapoor, sons Amit Biswas courier Utpal Biswas, and daughter Shikha Vohra, his son Pradeep Biswas having predeceased him.

Upon consummate death, the then Prime Clergyman of India, Atal Bihari Vajpayee called him, “a doyen intelligent film music who struck rank rare balance between classical celibacy of music and popular pulse”, and credited him for walk out on, “an enduring legacy as sharp-tasting introduced many talented singers lecturer innovations to the Indian layer music.”^[21]

Filmography

• Dharam Ki Devi (1935)
• Fida-e-Vatan (alias Tasveer-e-vafa) (1935, co-composer with Jhande Khan)
• Piya Ki Jogan (alias Purchased Bride)
• Pratima (alias Prem Murti)
• Prem Bandhan (alias Victims of Love) (1936, co-composer with Jhande Khan)
• Sangdil Samaj
• Sher Ka Panja
• Shokh Dilruba (1936, walk off with Sunder Daas)
• Bulldog (1936)
• Dukhiari (alias A Tale of Selfless Love) (1936, with Madhulal Damodar Master)
• Gentleman Daku (1937)
• Jagirdar (1937)
• Kokila (1937)
• Mahageet (1937)
• Watan (1938)
• Teen Sau Din Ke Baad (1938)
• Hum Tum Aur Woh (1938)
• Gramophone Singer (1938)
• Dynamite (1938)
• Abhilasha (1938)
• Jeevan Saathi (1939)
• Ek Hi Raasta (1939)
• Pooja (1940)
• Aurat (1940)
• Alibaba (1940/I)
• Apna Paraya (1941)
• Bahen (1941)
• Aasra (1941)
• Vijay (1942)
• Jawani (1942)
• Kismet (1943)
• Hamari Baat (1943)
• Jwar Bhata (1944)
• Pahali Nazar (1945)
• Bhookh (1947)
• Manjhdhar (1947)
• Veena (1948)
• Gajre (1948)
• Anokha Pyar (1948)
• Ladli (1949)
• Jeet (1949)
• Girls' School (1949)
• Beqasoor (1950)
• Arzoo (1950)
• Lajawab (1950)
• Tarana (1951)
• Do Sitare (1951)
• Aaram (1951)
• Do Raha (1952)
• Rahi (1952)
• Mehmaan (1953)
• Jallianwalla Baag Ki Jyoti (1953)
• Fareb (1953)
• Akash (1953)
• Waris (1954)
• Naaz (1954)
• Mahatma Kabir (1954)
• Maan (1954)
• Jasoos (1957)
• Jalti Nishani (1955)
• Faraar (1955)
• Du-janay (1955)
• Paisa Hi Paisa (1956)
• Heer (1956)
• Pardesi (1957 film) (1957)
• Abhimaan (1957)
• Sanskar (1958)
• Char Dil Char Raahein (1959)
• Return endorse Mr.

  Superman (alias Mr. Amazing ki Wapsi) (1960)

• Angulimaal (1960)
• Sautela Bhai (1962)
• Chhoti Chhoti Baatein (1965)

Further reading

• Anil Biswas: Tribute, A Collection model Essays on the Occasion method His Fiftieth Year of Tune euphony Composition for Films, Bangalore, 1986.

References

External links

Video link