A different tune

A Sunday evening at a park in south Calcutta that is known to be the haunt for the young crowd. A car filled with people who seem to be college goers comes to a stop. Loud music blares from the deck and you find yourself tapping your feet to the groovy tune. You wonder as to which movie is the song from what comes as a surprise is that it’s not a Bollywood number but a groovy Bengali music track you are listening to. One might feel that there is nothing spectacular in a bunch of young Calcuttans listening to a Bengali commercial movie song. But for those who have followed the rise and fall of Tollywood music from the golden era of sixties-seventies to the dry period of eighties-nineties, this certainly holds some significance. Has Bengali film music started the journey to regain the lost glory?
Director Aniruddha Roy Chowdhury’s second movie Antaheen (2009) has remained at the top of music charts in various music countdowns even after six months of its release. The music was scored by Shantanu Moitra who has delivered Bollywood hits such as Parineeta, Lage Raho Munnabhai, Laaga Chunri Mein Daag. He feels that it was the freshness of the tracks that appealed to the audience. In Antaheen, Moitra did away with any traditional musical instruments such as the dholak or the tabla. “The music in this album is completely unplugged. Some of the songs are just acoustic guitar based.” At a time when there is a general perception that Bengali film music has no takers, how did Moitra manage to come up with such a popular track? He says, “What I have done is no rocket science—all that is required is good melody, nice words and a good singer. That is the quintessential formula for making good songs.” But what one wonders is whether Bengali film music really getting back the popularity that it used to enjoy in the sixties and seventies? Innumerable songs from that period such as “Tumi je amar”, “Ei poth jodi na sesh hoy” were on the lips of every Bengali music buff, irrespective of any class divide. Then there came a lull in the eighties and nineties where apart from a few exceptions, Bengali film music seemed to have hit a rock bottom. Songs with jarring beats, weird lyrics could be heard only from blaring loudspeakers at puja pandals. One can recall with embarrassment songs with lyrics such as “Ami Kolkatar rosogolla”, “Prem jegeche amar mone bolchi ami tai, tomay ami bhalobashi tomay ami chai” or even worse. Says film critic Sunetra Ghatak, “Bengali film directors and composers tried to sell the fact that there were no takers for good music and therefore they had to resort to derive ‘inspiration’ from popular Bollywood music. But the fact is what plagued the music industry was sheer lack of talent. Even now for every Antaheen, Anuranon or Bong Connection, there are also movies like Challenge that have songs like ‘Krishna korle leela, amra korle bila’ which cannot appeal to any person with refined sensibilities.”
In recent years thought-provoking lyrics have also made a grand re-entry into Tollywood film music. Anindya and Chandril of the popular Bangla band Chandrabindoo have used modern poetry in the lyrics of Antaheen. Songs like Jao pakhi and Pherari mon prove that it is the marriage of lyrics and melody that creates good music, one is incomplete without the other. Lyrics like “Guro guro nil rong pencil jochhonar jol/Jhuro jhuro kanch agun chhoyach dhekechhe anchal,” involve imagery that is sweet, simple and deep at the same time. Says Anindya, “The directors have to be conscious of the quality of their films music. Somewhere there was a lack of consciousness on filmmakers’ part for the mediocre quality of music produced in the eighties and nineties. The situation seems to be looking up as directors too now want the music of their films to do as well as the films themselves.”
Moreover Tollywood music directors also had the habit of falling back on good old Rabindranath to bail them out when they could not come up with an original score. However there was also a section of the young generation that was left untapped in this process, as they were not connoisseurs of Rabindrasangeet. This trend saw a departure with Subrata Sen’s Ek Je Ache Kanya (2001) where the title track ‘Ek je ache kanya/ sadharon shey tobu shadharon naa” had an amalgamation of beautiful lyrics and mellifluous music scored by Debajyoti Misra. “Ek Je Ache Kanya can said to be the turning point in contemporary Bengali film music because it lured back the young urban audience to Bengali film songs. They understood that good Bengali film music did not translate into Tagore songs,” says Misra. He again struck gold with director Rituparno Ghosh’s Titli in 2002 where the song “Megh peoner bag er bhetor mon kharaper dista” again stirred up the romantic notes so very reminiscent of yesteryear Bengali films. However Calcutta-based film critic Meena Banerjee is not so optimistic about the revival, “Antaheen is a good departure from the present trend of copying Bollywood music; so are a few others. But the majority swears by the big brother Bollywood.”
Disappointed by the dearth of good Bengali film music Bengali music lovers had to find solace in Bengali bands and bands like Cactus, Bhoomi, Chandrabindoo and Parash Pathar belted out songs that seemed to fill up the lacunae created in Bengali music. Keeping this popularity of Bengali bands in mind director Subrata Sen played a masterstroke and roped in the band Cactus for his movie Neel Nirjane in 2003. The film that also dealt with same sex relationship did not find many takers but the songs like “Ami sudhu cheyechi tomay” or the title track “Neel nirjane” are still remembered by music lovers six years after the movie’s release. Says Siddhartha of Cactus, “One of the major reasons for the success of Neel Nirjane’s success was the fact that the thematic content of the movie gelled well with the kind of sound that we generated. Moreover the fact that we came from a different background and were not the stereotype film music directors also helped.”
Neel Dutta tasted success with his first movie as a music director. The Bong Connection created quite a stir with tracks such as Majhi re and a re-rendition of Tagore’s Pagla Hawa. Very few would have ever imagined having to listen to discotheques playing Tagore’s song. “Pagla hawa was thematically required as Sayan’s character Andy is an NRI who though into electronic music wants to work with the bauls. Hence there is a lot of new age electronics used in the music but at the same time I tried to retain the element of fun. Tagore himself uses words like ‘kon balaramer ami chyala’ and thus there had to be an edginess to the sound.” In Madly Bangali—a film about music, dosti, madness--Dutt has played around with musical forms like rock, hip hop, electronica and techno. However Dutt feels that there is a dearth of talented technicians in the Tollywood music industry. “As the money here is less, talented technicians flock to Mumbai seeking greener pastures. This is one problem we have to tackle.”
The music of commercial Bengali movies catering solely to the masses took a new turn with the appearance of composer Jeet Ganguly, formerly part of the Bollywood music director duo Jeet-Pritam. Right from his first movie Premi in 2004 to his latest hit Challenge, Ganguli seems to have introduced a new lease of life into commercial film music. Apart from experimenting with new sounds, this admirer of Sudhin Dasgupta and Salil Chowdhury also seems to seek ‘inspiration’ from various other sources. The song “Tumi chhara keu nei amar ei mone jibone” from Premer Kahini bears an uncanny resemblance to international boy band Backstreet Boys hit number Quit playing games with my heart. Says Ganguly, “Music directors of the past experimented with musical forms like jazz and rock even back in the seventies. But this trend to look beyond one’s times seemed to have stagnated later on, contributing to the downfall of Bengali film music. I try to make every films soundtrack sound new.” Anupam Gan, head, music, Venkatesh Films, says that the music of Challenge has tasted immense success with almost one lakh CDs, mp3s, cassettes being sold. However Sangeeta Roy, assistant manager, stores, Music World, Park Street has a different story to tell, “Films that cater to the multiplex audience like Antaheen, Madly Bangali or The Bong Connection find a lot of takers for their music. But to be honest there aren’t that many a number interested in the music of commercial Bengali films. What draws them are the oldies or parallel/multiplex movies. But yes we have noticed that Bengali film songs now have more takers than what they used to say in the beginning of the new millennium.”
There is no denying the fact that Bengali film music is getting a makeover but at the same time one should remember that there is a long way to go before Tollywood music can regain its lost glory. But with directors, music composers, lyricists putting their best foot forward one hopes such a day is not that far away.

I am the emperor of all i see

Time really flies. It seems like yesterday that Subhrangshu Mitra was walking down the hallowed precincts of one of the most reputed colleges in Calcutta, his heart beating faster than usual due to excitement as well as trepidation. His happiness at having gained admission into one of the most sought after colleges in the city was marred by one word that brings fear into the hearts of every new college entrant—ragging. This small town boy had heard horror stories of the humiliation a “fresher” is subjected to during his first few days in the college. It didn’t help matters that Mitra had to seek admission in the boys’ hostel adjoining the college, infamous for its notoriety. What followed in the next 72 hours almost forced this 18 year old to forsake his studies and return home. But this guy was a survivor. He stuck around and those very seniors who had made his life miserable are now his closest pals. Mitra passed the litmus test and is now eyed with considerable respect.
A year down the line he is sitting with a group of friends in the college portico, eyeing the first years trooping down. Some of them look distinctly uncomfortable as if passing through a scanner; some carry with them an air of false bravado. Mitra smirks. He knows exactly the thoughts that can filter through their minds. After all he had been in their shoes only a year back. And he is pretty sure that his seniors had also been scrutinizing their lot as a hunter sizes his prey. The juniors have been asked to assemble in the common room so that the seniors, mostly second years, can get to know them, so as to “break the ice”. Mitra as well as his friends know that the real fun will begin much later, outside the boundaries of the college. What with anti-ragging committees keeping vigil during the new session, stretching the limits of the “getting to know each other” session could get them into serious trouble. However being part of the ruling students union has given Mitra and his friends quite a lot of power.
Around 60 newcomers have been assembled into the room, herded like sheep by the “dadas” who are walking down the room like executioners. Mitra and his comrades enter the room and silence descends like a pall. Mitra had been watching the pretty chick with colored hair for a long time. This one did not seem as intimidated by the proceedings as the rest. He decided that this was the one who had to be taught the first commandment of college life -- “respect your seniors”. The female and another first year guy who looked like he would soil his pants any time were called upon. They were asked to dance to an extremely lewd Bollywood number. Both put up some resistance. Mitra’s friend Bhaskar took the reins in his hands and informed the duo that they would not be allowed to attend their classes if they could not cater to their seniors’ demand for some “harmless” fun. The red faces and the almost crying countenances of the two had Mitra and his friends break out into peals of laughter. More such “bakras” followed.
Its night and the seniors at different wards of the hostel are gearing up for the whole night ragging session. Bottles of alcohol have been emptied and rounds of weed and “charas” have been smoked. After all this is a day to celebrate. A year back these very “seniors” had been ragged mercilessly to provide entertainment to boys a year senior to them. Their privacy had been invaded, the sanctity of their bodies violated. And they had been able to do nothing. But now the tables had turned, the power was theirs and this power; this superiority had to be driven home. The youngsters have to be cowed down; they have to be shown who is the boss. And having survived the “grilling” last year, Mitra is the leader of the group.
The first years of ward number three have been asked to assemble in the dormitory sharp at the stroke of midnight. Mitra and his friends have had a hearty dinner and the group of about 25 “seniors” head towards the destination. He spots a guy in the last row. This one does not look as nervous as the rest. He is called upon and asked to parade the room in a pair of polka-dotted briefs. The guy refuses to oblige and launches into a lecture on the evils of ragging. Mitra knows that breaking down this stubborn “mare” would show the rest that messing with your seniors is not the thing to do. After repeated orders, threats and a few slaps the guy still does not “cooperate”. Mitra notices a few guys gathering courage from their peer’s “heroism”. He knows now that a few slaps and colourful abuses won’t suffice. He lights a cigarette and asks his friends to pin down the arms of the guy and threatens to “design” his handsome face with cigarette burns. This works and the guy walks the room in polka dotted briefs amid jeers and catcalls. Ah! The feeling of euphoria. The point has been driven home. Supremacy has been established. Any feeling of guilt? Not at all. They aren’t doing anything that already hasn’t been done. Moreover why should he alone feel guilty? Whatever is being done is being done as a group, so any sense of individual responsibility has been reduced, rather nullified. He alone isn’t enjoying the feeling of power; the other guys are also feeling like emperors of yore, witnessing the humiliation of lesser powerful fellow humans.
Now that the first blood has been drawn it is time to go for the kill. The “freshers” are asked to drop their trousers. This is the moment every senior waits for. Mitra still remembers the exact moment when he had to strip naked in front of leering seniors and in his heart he still shudders at the total invasion of privacy. No amount of insults and beatings can measure up to sexual subjugation, the humiliation of having their most intimate organs exposed to scrutiny. The seniors have devised a host of activities—the juniors are asked to simulate orgies, to measure the size of each other’s “manhood”, and to take a round of the fields stark naked. Mitra had wondered for the last one year what joy did a 19-20 year old derive by abusing the privacy of guys a year younger than them. Today he understands. As he watches the naked boys running in the fields, fear etched on their faces, he experiences a rush of power, adrenaline shoots through his body. For this one night, he is invincible, he is king.