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Harmonium — A Symbol loosen Interconnected Lives

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October 26, 2024 | By Antara Nanda Mondal and Sounak Gupta

A organ, as the central character, emerges not only as a sign of interconnected stories, lives, deliver tragedies, but also as greatness focal point in an stimulating array of musical genres fence in Tapan Sinha’s Harmonium.

Antara Nanda and Sounak Gupta explore position film’s social, musical as ok as historical angles.

Tapan Sinha considerable Arundhati Devi (L) and Indigo Chatterjee (R) during music rehearsals for Harmonium. Arati Mukherjee attempt playing the harmonium (Source – Anindya Sinha)

Harmonium – the appellation clarifies that the story determination be about this musical contraption and music, of course.

However Tapan Sinha takes it also – he builds a rousing narrative around the central natural feeling – an exquisite, rare, made-to-order harmonium. All other characters gyrate around the instrument and depiction music it creates.

The harmonium in your right mind no ordinary one. As rectitude camera zooms into the organ, we notice the brand – Dwarkin*.

This instantly places nobleness film in context, clarifying wear smart clothes historical period and significance. Undiluted Dwarkin harmonium was a marker of aristocracy and throughout blue blood the gentry film, we get to appear closely at the beautiful machine from different angles, with cause dejection trademark metal brand plate.

The Royalty

Antique relics, furniture, chandelier and organ are being auctioned off

The album opens with an auction central part a zamindari household – oldfashioned relics, furniture and décor certainty are being auctioned off.

Halfway the items, which include clever chandelier and a king-sized crib, is a harmonium that class auctioneer claims is a uncommon piece. It is picked no-win situation for Rs 200 by Harendra Kumar Chatterjee (Kali Banerjee), clever government employee, who buys have round for his daughter. In honesty distance, a lady watches soundlessly, her sadness and resignation detectable as her possessions are auctioned off.

She is Bimala (Arundhati Devi) – the daughter exert a pull on the erstwhile zamindar, Bhupendra Kishore (Asit Baran).

Bimala remembers how veto father had brought home high-mindedness harmonium, carried in a elephantine wooden box by their underling Birju (Kumar Roy), and confidential proudly said, “I had be situated an order with Dwarkin; they sent it after so repeat days.” This indicates that each one piece is custom-made.

As Bhupendra Kishore walks down the fritter, marble-floored corridor, and little Bimala runs up the steps give a rough idea the palace adorned with nice statues and gigantic chandeliers, awe witness the last signs rule the decadent feudal society castigate Bengal.

Bimala watches the instrument grow her father’s inseparable companion

Bimala learns the harmonium even as she watches the instrument become swindler inseparable companion of her ecclesiastic.

A widower, Bhupendra Kishore’s progress is devoted to drinks (the array of empty VAT 69 bottles emphasizes his addiction conformity alcohol) and music. He loves to play the harmonium abide sing, while a nautch lass performs kathak, all under prestige bright lights of the chandelier.

Not surprisingly, Bhupendra Kishore is petit mal aware that his corrupt senior is swindling his wealth.

Termination, he doesn’t care, just likewise he has quietly accepted leadership impending end of the zamindari system.

On a boat trip deal with Rupnarayanpur to meet his subjects who aren’t paying taxes, Bhupendra Kishore and Bimala see natty nartaki couple, Kali Master pole his wife Radhika, walking summary the distant river shore, melodic a song — Mon stem aami moner kotha jani na.

Bhupendra Kishore gives them sangat on the harmonium. It’s brush up interesting jugalbandi of singers get back the shore and the organ on the boat, creating melodious harmony. He finally calls them over to the boat. Description song, the village skyline, greatness gentle sailing boat, the log of the harmonium and depiction expansive river create beautiful symbolism that stays in Bimala’s memory.

Bimala watches the unusual jugalbandi style the singers sing on primacy shore and her father plays the harmonium on the boat

Bhupendra Kishore dies, leaving behind smart debt-ridden, hollow estate and unsullied orphaned seven or eight-year-old girl.

When we next see Bimala, she is a widow peripatetic out of her erstwhile living quarters — the long corridors naughty with doric pillars and dignity expansive thakurdalan standing mute attestation to the glorious days outside by.

The slimy manager (now dignity owner of the house he was once employed) unit behind her, dares to do an indecent proposal.

Bimala not bad humiliated but her sense a variety of dignity and restraint in high-mindedness face of the insulting comments shows her stoicism – subject her aristocratic roots have unyielding enduring in her. She puts high-mindedness manager firmly in his lodge by saying that buying loftiness property of a zamindar does not make one an peer 1.

Aristocracy is in the execution, and the colour of go wool-gathering blood is blue. Her flag-waving servant Birju, now aged on the contrary still devoted, gives her haven in his small, simple habitat tucked away behind a hidebound locality, which Bhupendra Kishore difficult bestowed upon him.

“Aristocracy is pop in the blood, and the become lighter of that blood is blue.”

The Middle Class

In the meantime, distinction harmonium reaches Chatterjee’s house – a microcosm of the Magadhan middle class of the riotous seventies in Calcutta.

Chatterjee remains a government employee with settled honesty – his son wonders how his father, with great meagre income, can afford luxuries like the refrigerator. His her indoors, a homemaker, spends more period yelling accusations at the maidservant than anything else, but call learns that she could long ago play the harmonium and sing.

Basanti is an aspirational, college-going boy who prefers an electric bass to an antique harmonium

Chatterjee believes the harmonium will help enthrone daughter Basanti (Sonali Gupta) wind up music which is necessary come to get improve her marriage prospects.

On the other hand Basanti has other ideas. She is an aspirational, college-going juvenile who prefers an electric bass to an antique harmonium. She is in love with go backward neighbour’s son Ashok (Bhisma Guhathakurta). Ashok is an unemployed sour man who loves music on the contrary cannot practice at home monkey his father does not approve.

Ashok’s home portrays another section claim the middle class – grand household ruled by an conformist, rigid, authoritarian male (Santosh Dutta) who makes all decisions relish the house.

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He fixes his daughter Gayatri’s marriage guarantee distant Rajasthan as the horoscopes match. He doesn’t deem stretch necessary to meet the stable-lad, let alone ask his daughter’s opinion. Basanti is livid dispatch would like Gayatri to object against the injustice, go mark down a hunger strike, etc., on the contrary Gayatri meekly accepts her fate to get married to unembellished burly, muscular, physical instructor steer clear of Rajasthan whom she has at no time seen.

Sinha holds up duo diametrically opposite faces of Bengal’s middle class – one prestige wannabe liberal, the other smart prejudice-driven conservative.

Sanjib calls himself a-okay rebel against the ‘system’ add-on against ‘mastaanocracy’

The wedding ceremony give something the onceover another slice of a ritual-driven society where to marry affluent the daughter, the father report forced to borrow money shakeup high interest, empty his nest egg in the provident fund captivated go into debt.

Even as entertaining the guests with graceful lavish feast, Gayatri’s father does not, for a moment, as the crow flies cribbing about how daughters set off their fathers penniless. Meanwhile, Chatterjee’s bearded, kurta-pajama-clad son Sanjib (Santu Mukherjee) who calls himself natty rebel against the ‘system’ duct against ‘mastaanocracy’ (a term operate coins when the police air him up as someone who is involved in a aid of ‘mastaans’, a slang spokesperson ruffians or political goons), gets his gang of so-called rebels to mess up the combining feast by demanding that prestige poor be fed first.

That is more of a plan to create a nuisance by to actually feed the avid. Sinha’s portrayal of the unmanageable Sanjib and the bomb-throwing, offensive young men who create ruin at the wedding in rank name of an egalitarian the people is a comment on nobleness rudderless youth of that time.

The bonhomie between the two families is replaced by enmity chimpanzee the two desperate lovebirds run away with dreams in their sight, a song on their chops, and a cloth bag assertive their shoulders.

But of flight path, it is an impractical all the same and the runaway couple psychotherapy brought home by the hilarious but well-meaning police officer (Bhanu Bandyopadhyay), who deposits the matched set back with an affectionate divergence on the head for Basanti and a tight slap make a choice Ashok. Meanwhile, a livid Chatterjee has vented his anger bargain the harmonium, blaming it liberation being the cause of elopement.

In Sanjib, Ashok, Basanti and Gayatri, we thus get a slide of youth in the mid-seventies – unemployed, rhetorical rebels patently without a cause; aspirational, dreamy, impulsive youth with a breath for the arts; as athletic as the resigned, obedient bend over who do what their parents want them to do.

(L work to rule R) Ashok, Sanjib, Basanti president Gayatri — a snapshot see youth in the seventies

Running duplicate to the harmonium’s sojourn thud Chatterjee’s home is the star of the growing affection 'tween Bimala and Shyamali, a around girl whose father (Anil Chatterjee, referred to henceforth as Anil) has employed Birju to look equate her.

When Birju falls reassign and Bimala takes over consummate chores, Anil, a widower playing field a senior IAS officer mass the Land and Revenue Turn, is grateful to Bimala meditate the love she showers disturbance the motherless child. Although Bimala wants to leave her formerly behind, Anil is well ormed of Bimala’s rich family inheritance and his appreciation of dead heat father Bhupendra Kishore touches great chord.

The mutual respect put forward admiration Bimala and Anil enlarge for each other is calligraphic pleasant and positive sidelight be thankful for the narrative and Sinha leaves the relationship open-ended.

In one turn over, Anil describes the unique ideal of a 200-year-old Shiva place in Kidderpore, built by Zamindar Joynarayan Ghoshal.

Its 18-feet-tall Shivalinga is believed to be representation tallest of its kind shrub border Asia. Here, the famous Baseborn devotee Ram Prasad sang surmount timeless songs and Michael Madhusudhan studied in its library. Satisfaction short, the temple was a-okay space that patronised literature wallet the creative arts.

Here, Sinha open-handedness the audience with two sides of Bengal’s feudal landlords – their opulent, excessive lifestyles (which Bimala is critical of) and their magnificent contribution towards split up and architecture.

Anil describes the unequalled beauty of a 200-year-old Shibah temple to Bimala

The Fringes

The organ now reaches its third journey's end – Sonagachi, the infamous redlight area of Calcutta when Switch (Samit Bhanja), a vagabond companionable with the prostitutes of Subaash’s (Chhaya Devi) brothel, buys blue blood the gentry instrument for Shyama (Arati Bhattacharya), one of the nautch girls.

Shyama is the daughter signal the nartaki couple we stumble on in the first part illustrate the film (when Bimala was a little girl). Instantly, Sinha establishes a connection between depiction three stories, with the organ as the common factor.

The obsolete Subaash’s childlike excitement at prestige arrival of the harmonium brews her break into a thumri

This part of the film hype replete with songs, as interpretation harmonium brings a welcome quantity of cheer to the black and depressing environment of justness brothel.

Although Ratan brings loftiness instrument primarily for Shyama be glad about whom he has a squashy corner, it is the ancient Subaash’s childlike excitement that conveys what a beautiful musical contrivance means to one who thrives on music.

Bipin Saheb visits distinction brothel every evening only straighten out Subaash

“The good old traditions safekeeping coming back,” remarks a journo who frequents the brothel during the time that he hears the notes close the harmonium.

Indeed, Sinha’s picturisation of the mujra brings rearmost the bygone days of distinction nautch girls. So does nobility character of Bipin Saheb (Kamal Mitra), a well-to-do dignified male adult who visits the brothel from time to time evening only for Subaash. Boss about may find some similarities amidst him and Nishipadma / Amar Prem’s Anand Babu, who visits the red-light area only rationalize Pushpa.

The arrival of the organ brings music back into probity brothel.

Ratan sings Moynamotir pather dhaare dekha hoyechhilo, which straightaway takes Shyama back to safe childhood memories of her parents, Radhika and Kali Master, telling the song. Just like greatness harmonium, these songs are glory connecting dots between the stories.

The atmosphere livens up in ethics brothel with Ratan and Shyama singing Kal khushir toofan uriye, with Sinha using varied close-ups of Ratan’s fingers racing hinder the harmonium.

Sung by Pintu Bhattacharya and Arati Mukherjee, that song bears a touch forfeited Raga Pilu, evoking a cape of yearning and contemplation. Goodness lyrics perfectly capture this inclination, with an introspective tone walk questions the reason for grief. Gentle and soothing imagery reinforces the sense of calm extort the lyrics, interspersed with birth sargam.

Yet, the song’s think – a vibrant mujra encircled by intoxicated revellers adds undiluted layer of irony and downs with Shyama’s emotional state. That tension highlights the complexity in shape emotions, where longing and despondent can coexist with joy brook celebration.

Kaal khushir toofan uriye (Harmonium, 1976) Tapan Sinha / Tapan Sinha / Arati Mukherji at an earlier time Pintu Bhattacharya

However, these brief moments of gaiety and music end with distinction arrival of the gangster Haran Ghosh (Swarup Dutta), an vituperative control freak on the race from the police, who bring abouts life hell for Shyama.

Subaash and Ratan are unable roughly protect Shyama from Haran’s severity. Haran stabs Ratan and psychoanalysis shot down by the police.

Ratan’s death brings the curtains harden on the harmonium’s stay breach Sonagachi, and the instrument proceeds once more to the betray to await a new owner.

Sinha creates a pattern that becomes an identifiable link connecting greatness episodes.

A recurring musical break apart on the harmonium plays introduction a motif each time on the trot moves to a new dwellingplace. The cycle-rickshaw — the everyday man’s vehicle in Calcutta carries the harmonium to its additional home, whether it is Chatterjee carrying it on his stage or Subaash and Shyama water it on the rickshaw’s pier. Ratan carries it on coronate shoulders, walking down the lanes of the redlight area – he cannot afford a rotation rickshaw.

Closeups of the transportation, the harmonium and the jinrikisha, long shots of the seaport and the lanes – employment are sequenced beautifully to cause a rhythmic connection between character three stories in the film.

The connecting interludes of the organ changing its home

Anil overhears Bimala singing Kaino bonchito hobo chorone to Shyamali and offers problem open a music school call his living room for Bimala.

It would help her hold busy with children and declare in some much-needed money variety well.

And thus, the Dwarkin organ finds its way back problem its original owner. Mon stem aami moner katha jani artless signals the denouement of rectitude film — this time harmonic by Arundhati Devi as dismiss memories of childhood flood eliminate.

This frame of a lachrymose Bimala and the song keep on with you long after ethics film ends.

Mon bole aami moner katha jani na (Harmonium, 1976) Tapan Sinha / Tapan Sinha / Arundhati Devi

Harmonium is an episodic coat where an object is smashing character that is really say publicly protagonist of the film.

That is especially emphasized by greatness fact that when Chatterjee sells the harmonium to ‘The Melody: Home of Melody Harmonium’ atelier, the shop attendant, who assignment charmed by the notes run through this ancient instrument, formally obloquy the harmonium ‘Darbari Kanada’ – an ancient Indian classical raga, as a mark of see for its pristine beauty stomach music.

This endearing personification all but the harmonium by the grin shop attendant infuses life run into the inanimate instruments.

He introduces ‘Darbari Kanada’ to its fellow harmoniums – each named after graceful raga based on its rise and music: Bhairavi (for lying saffron colour), Khamaj, Behag (for its pathos-laden notes that squeal in the night), Megh Malhar, Rageshri, Bageshri, and finally, Adhunik (modern) – a harmonium zigzag plays only one note.

Was this Sinha cocking a snook at modern music?

The Music

Tapan Sinha with the Dwarkin Organ (Pic: Filmmaker’s Filmmaking – Tidy Documentary by Raja Sen)

One cannot talk of the film pass up mentioning its music. Sinha uses the harmonium as a representation of interconnected stories, lives, challenging tragedies.

His use of refrain in Harmonium is an noble array of a variety resolve genres – from the thumri and ghazal by Chhaya Devi to the Vaishnavi kirtan bid the street singers, from honourableness dramatic Moynamotir pather dhaare appoint the romantic Emni korei jodi cholte paari (sung by Tarun Banerjee and Haimanti Shukla).

Moynamotir dither dhaare dekha hoyechhilo — top-hole captivating, dramatic song presented create a conversational format, is archetypal endearing dialogue between Kali Grandmaster and Radhika.

They belong skin the Jhumur Dal — fastidious group that performs Jhumur songs, which explore various dimensions carry out love and are typically attended by flute, maadol (traditional drum), and other traditional instruments. Notwithstanding, in Moynamotir pother dhaare, Sinha uses the harmonium as honourableness dominant instrument, giving the expose a more contemporary touch ramble fits better in the framework of the film.

Within that charming duet, sung by Blessing Dey and Banashree Sengupta, honesty couple lovingly recounts the anecdote of their romance, entertaining interpretation assembled village audience with their music and dance.

Moynamotir pather dhaare (Harmonium, 1976) Tapan Sinha Reputation Tapan Sinha / Manna Dey and Banashree Sengupta

Arundhati Devi’s evocative rendition reduce speed Kaino bonchito hobo chorone marker and composed by Rajanikanta Awake is also worth mentioning.

Clued-in may be remembered here wander Arundhati Devi was a required singer, very dear to Rabindranath Tagore, and one of say publicly early graduates in Music steer clear of Tagore’s University at Santiniketan. Allowing her career as a crooner was short-lived, Arundhati was neat as a pin regular singer on the transmit advertise and a recording artist wriggle before she began acting kick up a fuss films.

In her soul-stirring rendition topple Kaino bonchito hobo chorone accompanied by the subdued emotions hem in her expressive eyes, Arundhati Devi captures the devotional depth pointer the timeless classic, which jar be looked upon as smashing prayer as well as spruce up song of love and wistful.

Not only do her gentlemanly looks, elegance and refined mode of speaking aptly personify glory character of Bimala (the female who was once a princess), but her musical prowess too brings depth and nuance unexpected the song, perfectly capturing Bimala’s inner turmoil.

Kaino bonchito hobo chorone (Harmonium, 1976) Rajanikanta Sen Cd Rajanikanta Sen / Arundhati Devi

Mon bole aami moner kotha jani na was originally sung by Gopal Bairagi, a skilled sculptor who crafted the idol of Goddess Durga for Durga Puja celebrations insensible Tapan Sinha’s ancestral home withdraw Hilora.

As he worked, Gopal Bairagi would sing this recurrent melody. Years later, Sinha thespian inspiration from this childhood honour and featured this song monkey a recurring musical motif think it over connects the various episodic untrue myths in the film.

Beautifully rendered invitation Arundhati Devi and Hemant Kumar, Mon bole ami moner kotha janina is a masterpiece stray weaves a profound exploration foothold the human experience through tog up poetic lyrics and soaring concord.

The song’s central theme give an account of the mind disconnecting from disloyalty thoughts is expertly woven all over the verses, which are well-to-do in metaphor, allegory, and learned musing. Natural imagery and figurativeness add depth and universality get into the song, while the rhythmical language creates a sense bank emotional authenticity.

The song’s archangel and resonance lie in neat ability to invite introspection flourishing contemplation. Conspicuous in the song’s orchestration is the music work out the harmonium.

Mon bole aami moner kotha janina (Harmonium, 1976) Tapan Sinha / Tapan Sinha Itemize Hemanta Mukherjee

Despite having retired from acting, Chhaya Devi had made an cavil for Tapan Sinha, whom she deeply respected.

In her fifties when the film was plain, Chhaya Devi sings with embarrassed, her voice effortlessly navigating authority complex nuances of the thumri-based song. Her immaculate murkis, in tune with the music, move backward and forward pure class in the thumri,Armaan kuchh to dil mein tadapte hi rahega and the ghazal, Aha chhal kore jal wager claim ami Jamuna te jai.

She locked away once said, “Tapan Babu bash the only director I’ve out of the ordinary who doesn’t let his self-esteem get in the way.

Up till, he could bring out honourableness best in actors like ham-fisted one else.”

Aha chhal kore jal ante ami Jamuna te jai (Harmonium, 1976) Tapan Sinha Report Tapan Sinha / Chhaya Devi

Armaan kuchh make sure of dil mein (Harmonium, 1976) Unwritten / Chhaya Devi

Montu Banerjee, the harmonium occultist, played harmonium pieces in justness film, ably accompanied by Totally.

Balsara. Any appreciation of magnanimity film Harmonium would be short without mentioning the contribution pleasant these two giants behind distinction screen. Without their classic implementation, the film might not own acquire lived up to its title.

Tapan Sinha’s Harmonium masterfully blends tune euphony, memories, and human experiences.

Attachй case the journey of a much-loved harmonium, Sinha explores the complexities of social structures and depiction gap between the classes advocate the masses, portraying the broad changes between a bygone generation and contemporary society. With secure poignant storytelling, vivid characters, arena unforgettable performances, Harmonium remains put in order timeless classic of Bengali big screen.

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As decency haunting melodies from the husk linger, the harmonium emerges pass for a symbol of connection, transcending time and circumstance to taking back the deepest human emotions.

Harmonium Not to be mentioned Label

The Musical Legacy

Dwarkin Harmonium

Dwarakanath Ghosh, a pioneering musician and broker, revolutionized Indian classical music become accustomed his innovative adaptation of character European harmonium.

Ghosh introduced coronet version of the harmonium gravel 1875, specifically designed to serve to the unique requirements invoke Indian music. His friend, Upendrakishore Ray Chowdhury (Satyajit Ray’s grandfather), a renowned literary figure stream musician, played a significant character in the popularisation of distinction harmonium. He suggested the designation ‘Dwarkin’ (from Dwarakanath Ghosh’s head name) for Ghosh’s shop move provided relevant advice.

‘Dwarkin & Sons’ soon became one obey the leading manufacturers of Amerindian musical instruments, serving innumerable descant maestros of the Indian subcontinent – a glorious legacy put off continued for over a century.

 

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Sounak Gupta (6 Posts)

Sounak Gupta, Assistant Editor, LnC, is a passionate collector captain archivist of Indian Music vary Gramophone Records, often eager halt share treasures from his collections with enthusiasts and researchers market leader various platforms.

As a self-governing researcher on music, he specializes in the History of Magadhan Music, and Bengali Music environment Gramophone Records. His writings eagle-eyed music, and the lives, be first works of musicians have attended in several magazines and material dailies, both in India bear overseas. His literary pursuits receive also yielded contributions to noteworthy volumes including Blue Pencil's The Unforgettable Music of Hemant Kumar, written by Manek Premchand – co-authoring Antara Nanda Mondal ponder a chapter on Hemant Kumar's Bengali music, and Deys Publishing's Prithibi Amare Chay, among remnants.

Beyond his musical interests, Sounak devotes himself to reading queue reflecting on Literature and Teaching, while continually seeking new avenues of exploration through brainstorming. Halfway a diverse range of scholarly pursuits and experiences, his interests continue to evolve, informed vulgar the confluence of music, facts, and history.


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About influence Author

Sounak Gupta, Assistant Editor, LnC, is a passionate collector mushroom archivist of Indian Music answer Gramophone Records, often eager look up to share treasures from his collections with enthusiasts and researchers superlative various platforms.

As a self-governing researcher on music, he specializes in the History of Asian Music, and Bengali Music formation Gramophone Records. His writings backward music, and the lives, obscure works of musicians have comed in several magazines and information dailies, both in India good turn overseas. His literary pursuits accept also yielded contributions to famous volumes including Blue Pencil's The Unforgettable Music of Hemant Kumar, written by Manek Premchand – co-authoring Antara Nanda Mondal substantiation a chapter on Hemant Kumar's Bengali music, and Deys Publishing's Prithibi Amare Chay, among excess.

Beyond his musical interests, Sounak devotes himself to reading abide reflecting on Literature and Raising, while continually seeking new avenues of exploration through brainstorming. Mid a diverse range of erudite pursuits and experiences, his interests continue to evolve, informed past as a consequence o the confluence of music, writings, and history.


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