I'd really liked RD Burman, The Man The Musician. While I'd mixed feelings about Gaata Rahe Mera Dil, Anirudha Bhattacharjee and Balaji Vittal's selection of 50 songs, their immaculate research still made it an invaluable addition to my books on Hindi cinema. So, buying SD Burman: The Prince Musician (Tranquebar,
Westland Publications Private Limited, ₹799) was a foregone conclusion.
With an introduction by Pandit Nayan Ghosh, the celebrated tabla and sitar player, and a foreword by Pandit Hariprasad Chaurasia, the renowned flautist, Bhattacharjee and Vittal plunge into SD Burman’s antecedents in Tripura (erstwhile Tipperah) – his family, which could trace its royal lineage going back centuries; the political climate of the time, the family rifts that lasted – and chronicle his journey from Kumar Shachindra Chandra Debbarman to Sachin Dev Burman (SD). As the authors say in their introductory note, “The story couldn’t have merely been a chronology of his musical journey; history had to play a significant role in his life’s trajectory.”
With an introduction by Pandit Nayan Ghosh, the celebrated tabla and sitar player, and a foreword by Pandit Hariprasad Chaurasia, the renowned flautist, Bhattacharjee and Vittal plunge into SD Burman’s antecedents in Tripura (erstwhile Tipperah) – his family, which could trace its royal lineage going back centuries; the political climate of the time, the family rifts that lasted – and chronicle his journey from Kumar Shachindra Chandra Debbarman to Sachin Dev Burman (SD). As the authors say in their introductory note, “The story couldn’t have merely been a chronology of his musical journey; history had to play a significant role in his life’s trajectory.”
The authors divide the book into sections, each dealing with a particular phase
of SD Burman’s life. The first section, titled ‘Karta’, begins with his childhood spent in Comilla (in present-day Bangladesh);
it details his earliest influences: Robir ma, his wet nurse, and Anwar, a
family servant who taught him to fish (a lifelong hobby), and who introduced him to bhatiyali songs.
We
'meet' his gurus – Krishna Chandra Dey (Manna Dey’s
uncle), a classical musician in his own right; Bhismadev Chattopadhyay and
Badal Khan; we learn about SD’s first recording for the Indian State Broadcasting Company
(presently All India Radio); about his rejection by HMV and his
subsequent success as a composer/singer of light classical and folk songs; how
he was once an ‘actor’… The section ends with his marriage to Meera, his erstwhile
student, and how the marriage with a 'commoner' led to a lifelong estrangement
from his family.
‘Varman’ deals with his initial years in Bombay, circa 1944-1949. Tumultuous times had caused ruptures in the established studio structure in the Bombay film industry. A new studio ‘Filmistan’, established by S Mukherjee, Rai Bahadur Chunilal (Madan Mohan’s father), Ashok Kumar and Gyan Mukherjee, brought the young composer to Bombay along with his wife, and young son, Rahul.
‘Varman’ deals with his initial years in Bombay, circa 1944-1949. Tumultuous times had caused ruptures in the established studio structure in the Bombay film industry. A new studio ‘Filmistan’, established by S Mukherjee, Rai Bahadur Chunilal (Madan Mohan’s father), Ashok Kumar and Gyan Mukherjee, brought the young composer to Bombay along with his wife, and young son, Rahul.
‘Sachin
Dev Burman’ is the longest section charting his professional and personal journey
through the fifties and sixties. This, possibly, is also the section that will
interest people the most – SD composed some of his greatest melodies during
this period.
‘SD’ records his last years as a
composer. By now, ‘SD’ was a legend in his own right. This section also addresses queries that relate
to RD Burman’s contributions to his father’s work. With inputs from people who
knew both father and son, Bhattacharjee and Vittal try to lay to rest at least
some of them.
All
through these sections, however, the focus remains on SD Burman’s music. A
chronological narrative of his career, the songs are, as was the case with
their book on RD Burman, analysed in context of the films for which they were
composed. The authors include contemporaneous reviews of his music – some caustic, some admiring – and analyse those scores with the objectivity of distance. They mention nuggets about films he scored for, but which never released; films that sunk unsung, but whose scores are being rediscovered.
Trivia
– about the films, the singers, recording incidents – dot these pages. For
instance, did you know that Kishore Kumar’s first recorded song in Hindi films,
as an adult, was under SD’s baton? That Shammi Kapoor sang the only song of his career at
SD’s urging? That, not knowing much Hindi and even less Urdu, SD may have
pioneered the trend of writing lyrics to tunes? That Aath Din was said to have been ghost-directed by Ashok Kumar? That Chal ri sajni had been rejected by
Kishore Kumar as ‘too Indian’? Or that Meena Kumari was Bimal Roy’s first
choice for Paro (Devdas)?
Photo courtesy: rediff.in |
There’s
also personal trivia – how SD used to get his tunes vetted by his ‘room boy’;
how his landlord had chucked him out saying his voice sounded like that of a
crow’s; of how Kazi Nazrul was mortified because, try as he might, he could not
correct Burman’s heavily-accented pronunciation of 'chokh'; how, when Lata Mangeshkar had given them a ride home after a recording, Sachin Ganguly was admonished not to breathe a word to Burman’s
wife, Meera.
Photo courtesy: Outlook India |
Tales
about his professional dedication abound: Basu Chatterjee, for instance,
lovingly calls the composer ‘a pain in
the neck’ – while Chatterjee was running around trying to arrange finances
for his film, SD was exhorting him to listen to yet another 'new tune'. The
anecdote about how he composed Janu jaanu ri
(Insaan Jaag Utha) is well-known, but did you know that SD
made a special request to HMV to credit his musicians on the records? Or that,
when he requested 11 musicians and his son hired 12, SD would not budge
until one man was paid and released because his professional demands were non-negotiable?
His
professional partnerships are also touched upon – with the Anands; with
lyricists Sahir Ludhianvi, Neeraj and Majrooh Sultanpuri; with Bimal Roy,
Hrishikesh Mukherjee and Guru Dutt. So are the controversies – his rift with
Lata Mangeshkar; his falling out with Sahir, and later with Subodh Mukherjee,
Shailendra and Hemant Kumar; the acknowledgement that he denied his
talented wife a career of her own. Yet there is no attempt to either
sensationalise these disagreements nor to negate them. Like their previous
books, this one, too, is meticulously researched, and incidents are
cross-checked with corroborating evidence wherever possible. (For instance, the
controversy over who sang ‘Tum jiyo hazaron saal’ is finally laid to rest in this book.)
Photo courtesy: sdburman.net (with kind permission) |
SD Burman: The Prince Musician is definitely not a hagiography. The
authors factually describe some of SD's tunes as less than stellar, and point out that orchestration was not the composer’s strong point. They describe SD’s many ‘inspirations’, but buttress it with an in-depth analysis of the
man, his life, and his music. They discuss the legacy he left behind, and the
longevity of his melodies.
What
I had an issue with: the large number of misplaced commas, typos – Tapi 'Chanakya',
not ‘Chakanya’; 'film premiere', not 'film premier' (Anirudha reached out to me with a list of corrections
that he had sent to the publisher – this was one of them); and grammatical errors that should all have been caught in the final
proof-reading stage.
While each section was named a different name that SD Burman was known by during that phase, I wish the authors had stuck to a single name to refer to their subject. It was distracting to read Karta/Shachin/Varman/Burman/Sachinda/SD at various times.
While each section was named a different name that SD Burman was known by during that phase, I wish the authors had stuck to a single name to refer to their subject. It was distracting to read Karta/Shachin/Varman/Burman/Sachinda/SD at various times.
Then,
the errors: on page 159, writing about Tu mi piaci, cara (‘I like you, my dear’ in Italian) from Bewaqoof, the authors refer to it as 'Tumhi piya chikara'.
Talking about Janu janu ri, there’s one mention about the wheels being 10ft apart; less than a paragraph later, the distance changes to 15-18ft.
In Bandini (page 164), Bimal Roy is narrating a scene to SD; then 'Bimal Roy' (instead of 'Burman') interrupts to argue [with himself?] that the scene wouldn’t work. (Here, too, there’s the switching back and forth between ‘Burman’ and ‘Sachinda’.)
There’s also a discrepancy in their description of poet Neeraj’s debut – while one para says Dev Anand ‘introduced’ him as a lyricist in Prem Pujari (which meshes with Neeraj’s interview I’ve read elsewhere), the chapter ends with ‘Neeraj, who had earlier worked with Roshan, Iqbal Qureshi and Shankar-Jaikishan, had the highest regard for SD…’.
I may seem to be nitpicking – these errors are certainly not earthshaking – but the book could have been near-perfect with a more thorough proofing.
Because, despite all this, I came to ‘know’ Sachin Dev Burman. He’s no saint, and Bhattacharjee and Vittal do not try to make him one. He is human, with all the frailties and flaws that that entails; an exceptionally dignified, complex man, whose pride was perhaps both admirable as well as faulty. And that’s the person the authors present before us: a vastly talented gentleman musician – perhaps the last of the Bengali ‘bhadralok’ as Bhattacharjee and Vittal describe him – and his life's journey through his music.
Talking about Janu janu ri, there’s one mention about the wheels being 10ft apart; less than a paragraph later, the distance changes to 15-18ft.
In Bandini (page 164), Bimal Roy is narrating a scene to SD; then 'Bimal Roy' (instead of 'Burman') interrupts to argue [with himself?] that the scene wouldn’t work. (Here, too, there’s the switching back and forth between ‘Burman’ and ‘Sachinda’.)
There’s also a discrepancy in their description of poet Neeraj’s debut – while one para says Dev Anand ‘introduced’ him as a lyricist in Prem Pujari (which meshes with Neeraj’s interview I’ve read elsewhere), the chapter ends with ‘Neeraj, who had earlier worked with Roshan, Iqbal Qureshi and Shankar-Jaikishan, had the highest regard for SD…’.
I may seem to be nitpicking – these errors are certainly not earthshaking – but the book could have been near-perfect with a more thorough proofing.
Because, despite all this, I came to ‘know’ Sachin Dev Burman. He’s no saint, and Bhattacharjee and Vittal do not try to make him one. He is human, with all the frailties and flaws that that entails; an exceptionally dignified, complex man, whose pride was perhaps both admirable as well as faulty. And that’s the person the authors present before us: a vastly talented gentleman musician – perhaps the last of the Bengali ‘bhadralok’ as Bhattacharjee and Vittal describe him – and his life's journey through his music.
SD Burman: The Prince Musician is a great addition to well-written books on Hindi Film Music.
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