Rabindrasangit has enriched Bengali films since time immemorial. Almost every director worth the name has used Rabindrasangit in their films. Since Rabindranath has written for all occasions, he has always been one of the favourites of film directors. Some directors are known for their unique use of Rabindrasangit in their films. If one name has to be mentioned, it is Rituparno Ghosh. Think of the songs: Jibono morone simana charaye (Shubho Mahurat), Je rate mor duar guli (Noukadubi), Gahana kusuma kunja majhe (Abohoman), Ek labonye purn pran (Memories in March). If Rituparno used Je rate more duar guli in Noukadubi, Ritwik Ghatak used it in Meghev Dhaka Tara. His music speaks. I often wonder, in the case of Rabindranath, what is more powerful – poetry or music? Even instruments convey. Think of Tumi Robe Nirobe in Belasheshe. Esraj conveys the melancholy so beautifully. Take, Srikanto Acharya’s Chirosokha he in Chatushkone. The voice enhances the quality of the song. It doesn’t merely remain a song, it depicts a scenario. Think of Tarun Majumdar’s Dadar Kirti and the songs Bodhu Kone aalo laaglo chokhe, Ei Korecho Bhalo, Chorono dhorite Diyogo aamare, do I need to say more.
Purnendu Ghosh
Executive Director, Birla Institute of Scientific Research, Jaipur
Vice President, Indian National Academy of Engineering
School Of Upna Life 