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Hemanta Mukhopadhyay | |
|---|---|
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| Background information | |
| Born | Hemanta Mukhopadhyay (1920-06-16)16 June 1920 |
| Died | 26 September 1989(1989-09-26) (aged 69) |
| Genres |
|
| Occupation(s) | Singer, music director, producer |
| Instrument | Harmonium |
| Years active | 1935–1989 |
Spouse | |
Hemanta Mukhopadhyay (16 June 1920 – 26 September 1989), known professionally asHemanta Mukherjee andHemant Kumar, was an Indianmusic director and aplayback singer who primarily sang inBengali andHindi, along with several otherIndian languages, includingMarathi,Gujarati,Odia,Assamese,Tamil,Punjabi,Bhojpuri,Konkani,Sanskrit andUrdu. He was a artist in Bengali and Hindi film music,Rabindra Sangeet, and various other genres. He was the recipient of twoNational Awards forBest Male Playback Singer and was popularly known as the "Voice of God".[1]
Hemanta was born inVaranasi,Uttar Pradesh, at his maternal grandfather's residence, where his grandfather served as a physician. His paternal family originated fromJaynagar Majilpur and had migrated toKolkata in the early 1900s. Growing up in Kolkata, he received his early education at Nasiruddin School before transferring toMitra Institution School inBhowanipore. During his school years, he formed lasting friendships withSubhash Mukhopadhyay, who would later become a celebrated poet, and writerSantosh Kumar Ghosh.
Hemanta enrolled in the Bengal Technical Institute atJadavpur (nowJadavpur University) to pursue an engineering diploma. However, he left academics due to health issues and to pursue a career in music, despite his father's disapproval. He briefly experimented with literature and published a short story in the Bengali magazineDesh, but by the late 1930s, he had decided to dedicate himself entirely to music.[2]
Hemanta's debut as a playback singer came in 1940 with theBengali filmRajkumarer Nirbbasan, where he sang under the musical direction ofS.D. Burman. This was followed byNimai Sanyas (1941), scored by Hariprasanna Das. In 1943, he composed his first original songs, "Katha Kayonako Shudhu Shono" and "Amar Biraha Akashe Priya", with lyrics by Amiya Bagchi. His entry into Hindi cinema occurred in 1942 with the filmMeenakshi, followed byIrada (1944), under composerAmar Nath's direction.
Hemanta established himself as a prominent exponent ofRabindra Sangeet with his first recorded piece in the genre appearing in the Bengali filmPriya Bandhabi (1944).[3] The song "Pather Sesh Kothaye" marked the beginning of his journey with Tagore's compositions. That same year, he recorded his first non-film Rabindra Sangeet album under the Columbia label, featuring "Aamar Aar Habe Na Deri" and "Keno Pantha E Chanchalata". An earlier recording of "Aamaar mallikabone" for All India Radio/Akashvani has been lost to time.[4]His directorial debut as amusic director came with the Bengali filmAbhiyatri in 1947. During this period, he worked alongside contemporary male vocalists including Jaganmay Mitra, Robin Majumdar, Satya Chowdhury,Dhananjay Bhattacharya, Sudhirlal Chakraborty, Bechu Dutta[5] andTalat Mahmood. While his early recordings garnered critical acclaim, major commercial success eluded him until 1947.
In the mid-1940s[when?], Hemanta became actively involved with theIndian People's Theatre Association (IPTA), where he formed a significant collaboration with fellow member and composerSalil Chowdhury. The devastatingBengal famine of 1943 and the inaction of both British authorities and wealthy Indians had been instrumental in IPTA's formation.His 1947 recording of "Ganyer Badhu" ("The rural bride"), composed and written by Salil Chowdhury, marked a turning point in his career. This unconventional six-minute composition, recorded on both sides of a 78 rpm disc, departed from traditional Bengali song structure and romantic themes. Instead, it portrayed the tragic transformation of an idyllic rural life devastated by famine and poverty. The song's unprecedented success established Hemanta as a leading voice in eastern India, elevating him above his male contemporaries. This successful partnership with Salil Chowdhury continued through numerous popular collaborations in subsequent years.[6]
During this period, Hemanta received increasing opportunities as a music composer for Bengali films, notably working with directorHemen Gupta. When Gupta relocated to Mumbai, he invited Hemanta to compose for his Hindi directorial debutAnandmath under theFilmistan banner. This led to Hemanta's migration to Mumbai in 1951, where he joinedFilmistan Studios. He named his Mumbai residence in Khar afterRabindranath Tagore'sGitanjali.Anand Math (1952) achieved moderate success, with its standout contribution beingLata Mangeshkar's rendition of 'Vande mataram', which Hemanta set to a stirring martial tune.FollowingAnandamath, Hemanta composed for several Filmistan productions, includingShart, gaining modest popularity. Simultaneously, he established himself as a prominent playback singer in Mumbai.[7] His collaborations withS. D. Burman for Bollywood actors produced numerous hits, likeDev Anand for (Yeh Raat Yeh Chandni Phir Kahan fromJaal,Chup Hai Dharti andTeri Duniya Mein Jeene Se fromHouse No. 44,Hai Apna Dil To Awara fromSolva Saal, andNa Tum Humen Jano fromBaat Ek Raat Ki).Pradeep Kumar for (Nagin,Detective),Sunil Dutt for (Savle Salone Aaye Din fromEk Hi Rasta,O Neend Na Mujhko fromPost Box 999,Ghumsum Sa Yeh Jahan fromDuniya Jhukti Hain) andBiswajeet for (Bekarar Karke Hume fromBees Saal Baad,Ek Baar Zara Phir fromBin Badal Barsaat,Ye Nayan Dare Dare fromKohra) andDharmendra forAnupama. He also served as the music composer for these films.
By the mid-1950s, Hemanta had consolidated his position as a prominent singer and composer. In Bengal, he was one of the foremost exponents of Rabindra Sangeet and perhaps the most sought-after male singer. In a ceremony organized by Hemanta Mukherjee to honorDebabrata Biswas (1911–1980), the legendary Rabindra Sangeet exponent, in Calcutta in March 1980, Debabrata Biswas unhesitatingly mentioned Hemanta as "the second hero" to popularise Rabindra Sangeet, the first being the legendaryPankaj Kumar Mullick. InMumbai, along with playback singing, Hemanta carved a niche as a composer. He composed music for a Hindi film calledNagin (1954) which became a major success owing largely to its music. Songs ofNagin remained chart-toppers continuously for two years and culminated in Hemanta receiving the prestigiousFilmfare Best Music Director Award in 1955. The very same year, he scored music for a Bengali movieShap Mochan in which he played back four songs for the Bengali actorUttam Kumar. This started a long partnership between Hemanta and Uttam as a playback singer-actor pair. They were the most popular singer-actor duo in Bengali cinema over the next decade.
In the latter part of the 1950s, Hemanta composed music and sang for several Bengali and Hindi films and recorded several Rabindra Sangeet and Bengali non-film songs. Almost all of these, especially his Bengali songs, became very popular. This period can be seen as the zenith of his career and lasted for almost a decade.Salil Chowdhury andLata Mangeshkar stated Hemanta as the Voice Of God. He sang songs composed by the major music directors in Bengal such asNachiketa Ghosh,Robin Chatterjee andSalil Chowdhury. Some of the notable films Hemanta himself composed music for during this period includeHarano Sur,Marutirtha Hinglaj,Neel Akasher Neechey,Lukochuri,Swaralipi,Deep Jwele Jaai,Shesh Parjanta,Kuhak,Dui Bhai, andSaptapadi in Bengali, andJagriti andEk Hi Raasta in Hindi.
In the late 1950s, Hemanta ventured into movie production under his own banner: Hemanta-Bela Productions. The first movie under this banner was a Bengali film directed byMrinal Sen, titledNeel Akasher Neechey (1959). The story was based on the travails of a Chinese street hawker inCalcutta in the backdrop of India's freedom struggle. The movie went on to win thePresident's Gold Medal — the highest honour for a movie from the Government ofIndia. In the next decade, Hemanta's production company was renamedGeetanjali productions and it produced several Hindi movies such asBees Saal Baad,Kohraa,Biwi Aur Makaan,Faraar,Rahgir andKhamoshi all of which had music by Hemanta. OnlyBees Saal Baad andKhamoshi were major commercial successes.
Back in Bengal, Hemanta scored music for a movie titledPalatak in 1963 where he experimented with merging Bengal folk music and light music. This proved to be a major success and Hemanta's composition style changed noticeably for many of his future films in Bengal such asBaghini, andBalika Badhu. In Bengali filmsManihar andAdwitiya, both of which were major musical as well as commercial successes, his compositions had a light classical tinge. In 1961, for commemoratingRabindranath Tagore's birth centenary,the Gramophone Company of Indiafeatured Rabindrasangeet by Hemanta in a large portion of its commemorative output. This too proved to be a major commercial success. Hemanta went on several overseas concert tours including his trip to the West Indies. Overall, in the 1960s decade, he retained his position as the major male singer in Bengal and as a composer and singer to be reckoned with in Hindi films.
In the 1960s he was the predominant and lead male voice in many of Tagore's musical dramas likeValmiki Pratibha,Shyama,Sapmochan,Chitrangada andChandalika. WithKanika Bandopadhyay (1924–2000) andSuchitra Mitra (1924–2010), who were the lead female voices in these, he was part of the Rabindra Sangeet triumvirate that was popular and respected. It was referred to as 'Hemanta-Kanika-Suchitra' and, with Debabrata Biswas, this quartet was and continues to be the most heard exponents of Tagore compositions.Asoktaru Bandopadhyay,Chinmoy Chattopadhyay,Sagar Sen,Sumitra Sen, andRitu Guha were the other leading exponents of Rabindra Sangeet at that time.
In the 1970s, Hemanta's contribution to Hindi films was nominal. He scored music for a handful of his home productions, but none of these movies nor their music were successful. In Bengal, however, he remained the foremost exponent ofRabindra Sangeet, film and non-film songs. His output continued to be popular for most of the decade. Some of them areJodi Jante Chao Tumi (1972),Ek Gochha Rajanigandha,Aamay Prasno Kore Nil Dhrubatara,Sedin Tomay Dekhechilam (1974),Khirki Theke Singho Duar (Stree, 1971),Ke Jane Ko Ghonta (Sonar Khancha, 1974),Jeona Daraon Bandhu (Phuleswari, 1975) and popularised Rabindra sangeet using them beautifully in films as per situations. A very popular and classic example is the songChorono Dhorite Diyogo Amare inDadar Kirti (1980). In 1971, Hemanta debuted as a film director in for his self-produced Bengali movieAnindita. It didn't fare exceedingly well at the box office. However, his renditionDiner Seshe Ghumer Deshe was one of his best and most popular Rabindra Sangeet renditions. In the same year, Hemanta went toHollywood by responding to film directorConrad Rooks and score the music of Conrad'sSiddhartha and played backO Nadire (composed and sung by him earlier inNeel Akasher Neechey (1959) in that film. He was the first Indian singer to playback inHollywood. TheUS government honored Hemanta by conferring him with the citizenship ofBaltimore,Maryland; the first-ever singer of India to getUS citizenship. In the early to mid-1970s, two major music composers in Bengal,Nachiketa Ghosh andRobin Chatterjee, who had worked closely with Hemanta, since the early 1950s, died. Simultaneously, music composed by Hemanta for Bengali films likePhuleswari,Raag Anurag,Ganadebata andDadar Kirti established him as the major film music composer in the Bengal movie scene. In 1979, Hemanta re-recorded some of his earlier works with composerSalil Chowdhury from the 1940s and 1950s. This album, titledLegend of Glory, vol. 2, was a major commercial success.
In 1980, Hemanta had a heart attack that severely affected his vocal capabilities, especially his breath control. He continued to record songs in the early eighties, but his voice was a shade of its rich baritone past. In 1984, Hemanta was felicitated by different organizations, most notably by the Gramophone Company of India, for completing 50 years in music. That very year Hemanta released his last album with Gramophone Company of India — a 45 rpm extended play disc with four non-film songs. Over the next few years, Hemanta released a few non-film songs for small-time companies that had cropped up in the nascent cassette-based music industry. Only a few of these were commercially successful. He composed music for a handful of Bengali movies and one Bengali and one Hindi tele-series. However, by this time he had become an institution, a beloved and revered personality who was a courteous and friendly gentleman. His philanthropic activities included running a homeopathic hospital in memory of his late father in their native village in Baharu, in the South 24 Parganas district of West Bengal. He continued to feature regularly on All India Radio, Doordarshan (TV), and live programs/concerts during this period.
In a television interview, recorded in the early 1990s, to noted elocutionist Gauri Ghosh, his wife Bela Mukherjee recalled that she never knew during his lifetime the number of families and persons he helped to put up financially or otherwise; it was only after his departure that this truth gradually unveiled.
In 1987, he was nominated forPadma Bhushan which he refused, having already turned down a previous offer to receivePadma Shri in the 1970s. In this year, he was publicly felicitated inNetaji Indoor Stadium in Calcutta for completing 50 years in the musical journey, where, Lata Mangeshkar presented him with the memento on behalf of his fans and admirers. Despite his aging voice, he became the Best Male Singer in 1988 for his rendition in the film "Lalan Fakir".
In September 1989 he traveled to Dhaka, Bangladesh to receive the Michael Madhusudan Award, as well as to perform a concert. Immediately after returning from this trip he suffered another heart attack on 26 September 1989 and died at 11:15 pm in a nursing home in South Calcutta.
Hemanta had three brothers and a sister Nilima. His younger brother Tarajyoti was a Bengali short story writer. His youngest brother Amal composed music as well as sang for some Bengali movies, most notably forAbak Prithibi andHospital. Amal recorded a few songs in the 1960s as well with Hemant as music director, most notably the song "Jiboner Anekta Path Eklai". In 1945, Hemanta marriedBela Mukherjee, a singer from Bengal. Although she had sung some popular songs in the movieKashinath, she did not actively pursue her musical career after marriage. They had two children, a son Jayant, and a daughter Ranu. Ranu also pursued a music career in the late 1960s and early 1970s, with somewhat limited success. Jayant is married toMoushumi Chatterjee, a Bengali film actress.
On 26 September 1989, Hemant fell ill after returning from a concert inDhaka. He died shortly after, due to a massivecardiac arrest. According to his daughter-in-lawMoushumi Chatterjee, his last words were "Ki koshto, ki koshto ('such pain, such pain')."
Hemant's legacy still lives on through the songs that he has recorded during his lifetime, as well as the music he has composed. Due to the commercial viability of his songs, the Gramophone Company of India (orSaregama) still releases at least one album of his every year, repackaging his older songs. TheKolkata Metro'sHemanta Mukhopadhyay metro station is named after him.[16][17][18][19] A Mumbai square is also named after him as Hemant Kumar Square.[20]
| Year | Title |
|---|---|
| 1972 | Siddhartha |
Total number of films: 147
| Year | Title | Notes |
|---|---|---|
| 1947 | Abhiyatri | |
| Purbaraag | ||
| 1948 | Bhuli Naai | |
| Padma Pramatta Nadi | ||
| Priyatama | ||
| 1949 | Diner Par Din | |
| '42 | ||
| Sandipan Pathshala | ||
| Swami | ||
| 1951 | Jighansa | |
| Paritran | ||
| 1952 | Swapno O Samadhi | Jointly with Khagen Dasgupta |
| 1955 | Shapmochan | |
| 1956 | Suryamukhi | |
| 1957 | Shesh Parichay | |
| Tasher Ghar | ||
| Harano Sur | ||
| 1958 | Lukochuri | |
| Shikar | ||
| Surjatoran | ||
| Joutuk | ||
| Neel Akasher Neechey | ||
| 1959 | Deep Jwele Jaai | |
| Khelaghar | ||
| Marutirtha Hinglaj | ||
| Sonar Harin | ||
| Kshaniker Atithi | ||
| 1960 | Baishey Shravan | |
| Gariber Meye | ||
| Kuhak | ||
| Khoka Babur Prayabartan | ||
| Shesh Paryanta | ||
| 1961 | Dui Bhai | |
| Agni Sanskar | ||
| Madhya Rater Tara | ||
| Punashcha | ||
| Saptapadi | ||
| Sathi Hara | ||
| Swaralipi | ||
| 1962 | Atal Jaler Ahwan | |
| Agun | ||
| Dada Thakur | ||
| Hansuli Banker Upakatha | ||
| Nabadiganta | ||
| 1963 | Badshah | |
| Barnachora | ||
| Ek Tukro Agun | ||
| High Heel | ||
| Palatak | ||
| Saat Pake Bandha | ||
| Shesh Prahar | ||
| Tridhara | ||
| 1964 | Arohi | |
| Bibhas | ||
| Natun Tirtha | ||
| Pratinidhi | ||
| Prabhater Rang | ||
| Swarga Hotey Biday | ||
| Sindure Megh | ||
| 1965 | Alor Pipasa | |
| Ek Tuku Basa | ||
| Ek Tuku Chhonya Lage | ||
| Suryatapa | ||
| 1966 | Kanch Kata Hirey | |
| Manihar | ||
| 1967 | Balika Badhu | |
| Dushtu Prajapati | ||
| Nayika Sangbad | ||
| Ajana Shapath | ||
| 1968 | Adwitiya | |
| Baghini | ||
| Hansamithun | ||
| Jiban Sangeet | ||
| Panchasar | ||
| Parisodh | ||
| 1969 | Chena Achena | |
| Man Niye | ||
| Parineeta | ||
| Shuk Sari | ||
| 1970 | Deshbandhu Chittaranjan | |
| Duti Mon | ||
| 1971 | Kuheli | |
| Malayadan | ||
| Nabarag | ||
| Nimantran | ||
| Sansar | ||
| Mahabiplabi Arabindo | ||
| 1972 | Anindita | |
| 1974 | Bikele Bhorer Phool | |
| Shriman Prithviraj | ||
| Thagini | ||
| Phuleshwari | ||
| 1975 | Agniswar | |
| Mohan Baganer Meye | ||
| Nishi Mrigaya | ||
| Raag Anuraag | ||
| Sansar Simantey | ||
| 1976 | Banhi Sikha | |
| Datta | ||
| Sankhabish | ||
| Pratisruti | ||
| 1977 | Din Amader | |
| Hatey Roilo Tin | ||
| Mantramugdha | ||
| Pratima | ||
| Proxy | ||
| Rajani | ||
| Sanai | ||
| Shesh Raksha | ||
| Swati | ||
| 1978 | Ganadevata | |
| Nadi Theke Sagare | ||
| Pranay Pasha | ||
| 1979 | Shahar Theke Dooray | |
| Nauka Dubi | ||
| 1980 | Bandhan | |
| Dadar Kirti | ||
| Paka Dekha | ||
| Pankhiraj | ||
| Shesh Bichar | ||
| 1981 | Kapal Kundala | |
| Khelar Putul | ||
| Meghmukti | ||
| Subarna Golak | ||
| 1982 | Chhoto Maa | |
| Chhut | ||
| Uttar Meleni | ||
| Pratiksha | ||
| 1983 | Amar Geeti | |
| Rajeshwari | ||
| 1984 | Agni Shuddhi | |
| Ajantay | ||
| Bishabriksha | ||
| Didi | ||
| Madhuban | ||
| Suryatrishna | ||
| 1985 | Bhalobasa Bhalobasa | |
| Tagari | ||
| 1986 | Pathbhola | |
| Ashirwad | ||
| 1987 | Pratibha | |
| Tuni bou | ||
| Boba Sanai | ||
| 1988 | Surer Sathi | |
| Parashmani | ||
| Agaman | ||
| 1989 | Bhalobasar Rat |
| Year | Title |
|---|---|
| 1952 | Anand Math |
| 1954 | Daku Ki Ladki |
| Ferry | |
| Nagin | |
| Jagriti | |
| Samrat | |
| Shart | |
| 1955 | Bahu |
| Bandish | |
| Bhagwat Mahima | |
| Lagan | |
| 1956 | Anjaan |
| Arab Ka Saudagar | |
| Bandhan | |
| Durgesh Nandini | |
| Ek Hi Raasta | |
| Hamara Watan | |
| Inspector | |
| Laalten | |
| Taj | |
| 1957 | Bandi |
| Champakali | |
| Ek Jhalak | |
| Hill Station | |
| Kitna Badal Gaya Insaan | |
| Miss Mary | |
| Payal | |
| Yahudi Ki Ladki | |
| Fashion | |
| 1958 | Do Mastane |
| Police | |
| Sahara | |
| 1959 | Chand |
| Hum Bhi Insaan Hai | |
| 1960 | Girl Friend |
| Duniya Jhukti Hai | |
| Masoom | |
| 1962 | Bees Saal Baad |
| Maa Beta | |
| Sahib Bibi Aur Ghulam | |
| 1963 | Bin Badal Barsaat |
| 1964 | Kohraa |
| 1965 | Do Dil |
| Faraar | |
| 1966 | Biwi Aur Makaan |
| Sannata | |
| Anupama | |
| 1967 | Majhli Didi |
| 1968 | Do Dooni Char |
| 1969 | Khamoshi |
| Rahgeer | |
| Devi Choudhurani | |
| 1970 | Us Raat Ke Baad |
| 1972 | Bees Saal Pehle |
| 1977 | Do Ladke Dono Kadke |
| 1979 | Love in Canada |
| Year | Title |
|---|---|
| 1961 | Ayel Basant Bahar |
| 1964 | Balma Bada Nadaan |
| 1955 | Kanavane Kan Kanda Deivam (Tamil) |
| Year | Film | Song | Composer(s) | Lyricist | Co-singer |
|---|---|---|---|---|---|
| 1943 | Priyo Bandhabi | "Pather Shesh Kothay" | Pranab Dey | Rabindranath Tagore | |
| 1947 | Mondir | "Gohon Rater Ekla Pothik" | Subal Dasgupta | ||
| 1955 | Shap Mochan | "Surer Akashe Tumi" | Hemanta Mukherjee | Bimal Ghosh | |
| "Bose Achhi Path Cheye" | |||||
| "Jhar Uthechhe Baul Batash" | |||||
| "Shono Bandhu Shono" | |||||
| 1956 | Asamapta | "Kando Keno Mon Re" | Nachiketa Ghosh | ||
| Trijama | "Seetaram Do Sharir" | Hemanta Mukherjee | |||
| 1957 | Chandranath | "Rajar Dulari Seeta" | Robin Chatterjee | ||
| "Akash Prithibi Shone" | |||||
| Harano Sur | "Aaj Dujonar Duti Poth" | Hemanta Mukherjee | Gauriprasanna Mazumder | ||
| Prithibi Amare Chay[21] | "Ghorer Bondhon Chhere" | Nachiketa Ghosh | Gauriprasanna Mazumder | ||
| "Nilamwala Chhana" | |||||
| "Durer Manush Kachhe Eso" | |||||
| 1958 | Indrani | "Surjo Dobar Pala" | Nachiketa Ghosh | Gauriprasanna Mazumder | |
| "Bhangre Bhangre Bhang" | |||||
| "Neer Chhotto Khoti Nei" | Geeta Dutt | ||||
| Joutuk | "Moneri Kothati Ogo" | Hemanta Mukherjee | Gauriprasanna Mazumdar | solo | |
| "Ei Je Pother Ei Dekha" | |||||
| Neel Akasher Neechey | "Neel Akasher Neeche" | Hemanta Mukherjee | |||
| "O Nodi Re" | |||||
| O Amar Desher Mati | "Bhoot Amar Poot" | ||||
| 1959 | Marutirtha Hinglaj | "Pather Klanti Bhule" | Hemanta Mukherjee | ||
| "Hey Chandrachur" | |||||
| "Sarbasya Buddhirupena" | |||||
| "Tomar Bhubone Mago" | |||||
| 1960 | Kuhak | "Aro Kachhe Eso" | Hemanta Mukherjee | Gauriprasanna Mazumder | |
| "Bishnupriya Go" | |||||
| "Hay Hapay Je Ei Hapor" | |||||
| "Nawal Kishori Go" | |||||
| "Peyechhi Porosh Manik" | |||||
| "Saratu Din Dhore" | |||||
| Shesh Porjonto | "Ei Balukabelay Ami Likhechhinu" | Hemanta Mukherjee | Gauriprasanna Mazumder | ||
| "Ei Meghla Dine Ekla" | |||||
| "Keno Dure Thako" | |||||
| 1961 | Bhai Maar Bhai | "Taare Bole Diyo" | Hemanta Mukherjee | solo | |
| "Amar Jiboenr Eto Khushi" | |||||
| "Ogo Ja Peyechi" | |||||
| "Gangey Dheu Khele Jay" | Ila Bose | ||||
| Rai Bahadur | "Jay Din Emni Jodi" | ||||
| "Ogo Ke Dake Amay" | |||||
| "Raat Kuheli Chharano" | |||||
| Saptapadi | "Ei Poth Jodi Na Shesh Hoy" | Hemanta Mukherjee | Gauriprasanna Mazumder | Sandhya Mukherjee | |
| Swaralipi | "Doyal Re Koto Leela Jano" | Hemanta Mukherjee | Gauriprasanna Mazumder | ||
| "Je Bashi Bhenge Geche" (Part 1) | |||||
| "Je Bashi Bhenge Geche" (Part 2) | |||||
| Dada Thakur | "O Shonre Mon Amar" | Hemanta Mukherjee | Sharat Chandra Pandit | ||
| "Vote Diye Jaa" | Amal Mukherjee, chorus | ||||
| 1962 | Atal Jaler Ahwan | "E Kon Choncholota Jaage" | Hemanta Mukherjee | Gauriprasanna Mazumder | |
| 1963 | ™Palatak | "Aha Krishna Kalo" | Hemanta Mukherjee | ||
| "Dosh Diyo Na Amay Bondhu" | |||||
| "Jibanpurer Pathik Re Bhai" | |||||
| "Sakhi Hey Amar Jware Anga" | |||||
| 1964 | Bibhas | "Etodin Pore Tumi" | Hemanta Mukherjee | Gauriprasanna Mazumder | |
| "Taray Taray Joluk Baati" | |||||
| "Jokhon Porbena Mor" | Rabindranath Tagore | ||||
| 1965 | Alor Pipasa | "Kaschitkanta Biraha Guruna" | Hemanta Mukherjee | ||
| "Bidyudwantang Lalita Banita" | |||||
| "Shrinnante Vishwe Amitatsya Putra" | |||||
| Monihar | "Ke Jeno Go Dekechhe Amay" (male) | Hemanta Mukherjee | Pulak Banerjee | ||
| "Nijhum Sandhyay Pantho Pakhira" (male) | |||||
| "Sob Kotha Bola Holo" | |||||
| "Ami Hote Parini Akash" | |||||
| "Ke Jeno Go Dekechhe Amay" (duet) | Lata Mangeshkar | ||||
| 1966 | Kal Tumi Aleya | "Ami Jai Chole Jai" (version 1) | Uttam Kumar | solo | |
| "Jai Chole Jai" (version 2) | |||||
| Notun Tirtho | "He Mor Chitto" | ||||
| Notun Jibon | "Emon Ami Ghor Bedhechi" | ||||
| "Ami Gaan Shonabo" | |||||
| "Lajboti Nupurer Rinijhini" | |||||
| 1967 | Ajana Shapath | "Notun Notun Rong Dhorechhe" | Hemanta Mukherjee | Pulak Banerjee | |
| "O Akash Sona Sona" | Miltoo Ghosh | ||||
| Balika Bodhu | "Lag Lag Ronger Bhelki" | Hemanta Mukherjee | Gauriprasanna Mazumder | chorus | |
| "Shuk Bole Keno Sharee" | Bela Mukherjee | ||||
| "Ami Kusum Tuliya" | Bani Dasgupta | ||||
| "Bhojo Gourango" | Traditional | ||||
| Mon Niye | "Ogo Kajol Noyona Horini" | Hemanta Mukherjee | Pulak Banerjee | ||
| "Bhalobeshe Digonto Diyechho" | Asha Bhosle | ||||
| "Ami Poth Vola Ek Pothik" | Rabindranath Tagore | ||||
| Nayika Sangbad | "Ei Purnima Raat" | Hemanta Mukherjee | |||
| 1968 | Baghini | "O Radhe Thomke Geli Keno" | Hemanta Mukherjee | Mukul Dutt | |
| "Jokhon Daaklo Bashi" | |||||
| Hangsa Mithun | "Ami Krishnochurar Abir Niye" | Hemanta Mukherjee | Sandhya Mukherjee | ||
| "Ore Aay Aay Aayre Sobai" | Manabendra Mukherjee | ||||
| "Surjer Moto Shaswoto Hok" | |||||
| 1969 | Duti Mon | "Ke Daake Amay" | Hemanta Mukherjee | Pulak Banerjee | |
| "Ami Jotoi Tomake Dekhi" | |||||
| Kamallata | "Bhaja Hoon Re Mon Amar" | Robin Chatterjee | Gobindadas | ||
| "Ei Na Madhobi Tole" | Traditional | ||||
| "Dekho Sokhi Sajilo Nondokumar" | Pranab Roy | ||||
| "Hiya Bole Tumi Amar" | |||||
| Pita Putra | "Bhorer Aloy Porlo Tomay Mone" | Hemanta Mukherjee | |||
| "Tomay Amay Mile" | |||||
| "Raag Je Tomar Mishti" | Sandhya Mukherjee | ||||
| Teerbhumi | "Teerbhumi Khoje" | ||||
| 1971 | Dhanyi Meye | "E Byatha Ki Je Byatha" | Nachiketa Ghosh | Pulak Banerjee | |
| "Radhe Monta Rekhe Eli" | |||||
| Nimantran | "Piriti Boliya Ekti Komol" | ||||
| "Singo Prishthe Bhor Koriye" | |||||
| "Tara Maa Maago" | |||||
| 1972 | Anindita | "Diner Sheshe Ghumer Deshe" | Hemanta Mukherjee | Mukul Dutt | |
| Stree | "Khirki Theke Singhoduar" | Nachiketa Ghosh | |||
| "Sakkhi Thakuk Jhorapata" | |||||
| "Hajar Tarar Jhaarbatita" | Manna Dey | ||||
| "Sokhi Kalo Amar Bhalo" | |||||
| 1973 | Dhire Bohe Meghna | "Koto Je Dhire Bohe Meghna" | Samar Das, Satya Saha | Mohammad Moniruzzaman | Sandhya Mukherjee |
| Sonar Khancha | "Jaare Ja Ure Rajar Kumar" (version 2) | Bireswar Sarkar | Bireswar Sarkar | ||
| "Shudhu Bhalobasha Diye" | |||||
| "Ke Jaane Ko Ghonta" | |||||
| 1974 | Fuleswari | "Jeona Daarao Bondhu" | Hemanta Mukherjee | ||
| "Ami Tomay Koto Khujilam" | |||||
| "Ami Tomay Boro Bhalobashi" | |||||
| "Phuleshwari Phuleshwari" | |||||
| "Ami Dekhte Bhalobashi" | |||||
| "Tumi Shotodol Hoye" | |||||
| 1975 | Raag Anurag | "Ami Gaan Gai" | Hemanta Mukherjee | Pulak Banerjee | |
| "Khela Amar Bhangbe Jokhon" | |||||
| "Sei Duti Chokh" | |||||
| "Sonar Oi Angti Theke" | |||||
| "Tomader Kachhe Esechhilam" | |||||
| "Ki Gaan Shonabo Bolo" | Haimanti Shukla | ||||
| "Ogo Sundori Tumi Ke" | various | ||||
| Sanyasi Raja | "Ka Tobo Kanta" | Shyamal Mitra | Shankaracharya | ||
| 1976 | Asadharon | "Surjer Rokto Asto Akashtake" | Nachiketa Ghosh | ||
| "Amar baba Bhalo Chilo" | |||||
| "Kanu Chhara Jemon Bashi Nei" | |||||
| "Ki Hote Ki Hoye Gelo" | Haimanti Shukla | ||||
| Datta | "Jamunate Dekhlam Soi" | Hemanta Mukherjee | Pranab Roy | ||
| "Mon Dilamna Sokhi" | |||||
| Priyo Bandhobi | "Ami Saheb O Noi" | Nachiketa Ghosh | |||
| Sudur Niharika | "Torir Naam Jibon Tori" | Manabendra Mukhopadhyay | Shyamal Gupta | ||
| 1977 | Padma Nadir Majhi | "Padma Nadir Majhi" | Dinendra Chowdhury | Manik Bandyopadhyay | Aarti Mukherjee, Dhananjay Bhattacharya, Anup Ghoshal and others |
| Praner Thakur Ramkrishna | "Kolpotoru Tumi Praner Thakur | ||||
| Proxy | "Jodi Keu Deke Bole" | Hemanta Mukherjee | |||
| "Kichhu Pelam Ami" | |||||
| "Jodi Tomar Chokher Akash" | Aarti Mukherjee | ||||
| 1978 | Korunamoyi | "Anondomoyi" | Sudhin Dasgupta | ||
| "Kalo Meghe Kali Chhaya" | |||||
| "Ja Debi Sorbobhuteshu" | Aarti Mukherjee | ||||
| Dhanraj Tamang | "Dhanaraj Tamang Ekti Sudhu Naam | ||||
| 1979 | Nondon | "Mukhbhora Hashi" | |||
| 1980 | Noukadubi | "Oshrunodir Sudur Paare" | |||
| Pompa | "Je Prodip" | Nirmal Chakraborty | Samarendra Ghoshal | ||
| Putul Ghor | "Thikana Hariye Phela" | ||||
| Upalabdhi | "Etodine Bujhechi Tomay" | ||||
| 1981 | Chameli Memsaheb | "O Bideshi Takao" | Bhupen Hazarika | Shibdas Banerjee | |
| Khelar Putul | "Ami Bondhur Premagune Pora" | Hemanta Mukherjee | Traditional | Arundhati Holme Chowdhury | |
| "Krondosi Pothocharinee" | Atul Prasad Sen | ||||
| Pratishodh | "Shudhu Byathar Aghate" | Ajoy Das | Pulak Banerjee | ||
| Subarna Golak | "Din Nei Raat Nei" | Hemanta Mukherjee | chorus | ||
| 1982 | Sonar Bangla | "Ei Je Bangla" | Neeta Sen | Gauriprasanna Mazumder | Sandhya Mukherjee |
| "Tuturidhun" | Aarti Mukherjee, Haimanti Shukla | ||||
| Rajbodhu | "Boro Asha Kore" | Abhijeet Banerjee, Rabindranath Tagore | Rabindranath Tagore | Arundhati Holme Chowdhury | |
| 1983 | Bonoshree | "Ashwine Hok Aghrane Hok" | Sudhin Dasgupta | ||
| Chena Achena | "Amay Rakhte Jodi" | Abhijeet Banerjee | |||
| "Shono Shono" | |||||
| "O Amar Sona Bondhure" | |||||
| "Ekoi Poth Jeno" | |||||
| Tagari | "Piriti Rosher Khela" | Aarti Mukherjee | |||
| 1984 | Shilalipi | "Surjo Gelo Astachole" | Suparnakanti Ghosh | Palash Bandyopadhyay | |
| "Aajo Mone Pore Barebare" | Sudhin Dasgupta | Subir Hazra | |||
| "Kar Kotha Bhebe Bhebe" | |||||
| Year | Film | Song | Composer(s) | Lyricist | Co-singer |
|---|---|---|---|---|---|
| 1993 | Ramkrishnayan | "Ramkrishnayan" (part 1) | Robin Chatterjee | Achinta Kumar Sengupta | Manna Dey, Banasree Sengupta |
| "Ramkrishnayan" (part 2) |
| International | |
|---|---|
| National | |
| Artists | |
| Other | |
