{"id":411,"date":"2025-06-17T03:35:00","date_gmt":"2025-06-16T22:05:00","guid":{"rendered":"https:\/\/vindhyasatta.com\/?p=411"},"modified":"2025-06-17T03:35:00","modified_gmt":"2025-06-16T22:05:00","slug":"hemant-kumar-at-105-how-the-been-tune-of-nagin-made-him-immortal","status":"publish","type":"post","link":"https:\/\/vindhyasatta.com\/hi\/hemant-kumar-at-105-how-the-been-tune-of-nagin-made-him-immortal\/","title":{"rendered":"\u0939\u093f\u0902\u0926\u0940 \u0938\u093f\u0928\u0947\u092e\u093e \u092e\u0947\u0902 \u0915\u0941\u091b \u0928\u093e\u092e \u0910\u0938\u0947 \u0939\u094b\u0924\u0947 \u0939\u0948\u0902 \u091c\u094b \u0938\u093f\u0930\u094d\u092b \u0906\u0935\u093e\u091c\u093c \u0928\u0939\u0940\u0902, \u0906\u0924\u094d\u092e\u093e \u092c\u0928 \u091c\u093e\u0924\u0947 \u0939\u0948\u0902\u0964"},"content":{"rendered":"<h3>When the been cast its spell: Hemant Da and the immortal tune of Nagin<\/h3>\n<h3>(Birth centenary-year tribute | June 16, 1920 \u2013 September 26, 1989)<\/h3>\n<h3>\u201cI wanted to go back to Calcutta, but then a tune stopped me \u2014 and stilled the whole world!\u201d<\/h3>\n<h3>\u2014 Hemant Kumar<\/h3>\n<p>In Hindi cinema, some names became not just a voice but a soul. Hemant Kumar was one of those rare names. As singer, composer and producer, he not only impressed his contemporaries but set a high standard for generations to come.<\/p>\n<p>None of this happened by chance. Hemant Da\u2019s journey was full of struggle, and the biggest turning point came in 1954, when he composed the music for the film Nagin.<\/p>\n<h3>From Calcutta to Bombay: a reluctant journey<\/h3>\n<p>Hemant Kumar Mukhopadhyay was born on June 16, 1920 in Varanasi but raised in Calcutta. A deep affinity for classical music and a special love for Rabindra Sangeet drew him into the finer points of music. He had already made his name as a singer in Bengali films, but for Hindi cinema it was a challenging time.<\/p>\n<p>He came to Bombay with hope, but soon felt stifled. \u201cStaying here, I felt cut off from my roots,\u201d he later admitted.<\/p>\n<p>In 1952, however, his music for Anandmath, based on Bankim Chandra Chattopadhyay\u2019s novel, brought the song \u201cVande Mataram\u201d echoing with the spirit of freedom. It brought him attention, but Hemant Kumar himself was not satisfied.<\/p>\n<h3>Sashadhar Mukherjee\u2019s insistence and a promise<\/h3>\n<p>Sashadhar Mukherjee, founder of Filmistan Studio, had unwavering faith in Hemant Da\u2019s talent. When Hemant Kumar was ready to return to Calcutta, Mukherjee told him plainly: \u201cHemant, give me one hit film. Then, if you want to go, by all means go.\u201d<\/p>\n<p>Hemant Da stayed. He composed music for two more films, Sharada and Rahi, but neither did well commercially. Hemant Kumar was somewhat disheartened, but Mukherjee\u2019s promise was still unfulfilled.<\/p>\n<h3>Nagin: a miracle of music<\/h3>\n<p>Then came the 1954 black-and-white film Nagin. Directed by Nandlal Jaswantlal, the folklore-based romantic drama told the love story of Pritam (Premnath) and Nagin (Vyjayanthimala).<\/p>\n<p>But the real hero of the film was its music.<\/p>\n<p>Hemant Kumar knew the story needed an otherworldly quality, a tribal mystery and music that touched the spirit of India\u2019s snake-worship tradition. It was then that he imagined the tune of the been \u2014 a tune that would not merely be heard but seep into the audience\u2019s veins.<\/p>\n<h3>When no been could be had, innovation followed<\/h3>\n<p>Hemant Da wanted the tune played on the traditional snake charmer\u2019s been (pungi). He searched for several snake charmers, but bringing them to the studio and fitting their been to an orchestra became a logistical nightmare.<\/p>\n<p>So he took another route: an artificial instrument arrangement.<\/p>\n<p>He remembered a unique sound he had heard a few years earlier in the film Nagpanchami, composed by Chitragupt. The instrument that produced it was the Clavioline, an electronic keyboard instrument that could produce violin- and been-like tones.<\/p>\n<p>It was played by a young, emerging musician, Kalyanji Veerji Shah, who later became part of the famous duo Kalyanji-Anandji.<\/p>\n<p>Hemant Da called him and said: \u201cI want the tune of the been, one that becomes the cry of Nagin\u2019s love.\u201d<\/p>\n<h3>The tune that became immortal<\/h3>\n<p>Then the magic happened.<\/p>\n<p>Kalyanji played the Clavioline while Hemant Da directed it, blending it with the harmonium.<\/p>\n<p>The been tune became so powerful that even 70 years later, whenever snakes or a nagin were mentioned, this was the tune that echoed in the mind.<\/p>\n<p>The film featured the voices of singers including Lata Mangeshkar, Asha Bhosle, Hemant Kumar and Mohammed Rafi.<\/p>\n<p>Songs such as \u201cMan Dole Mera Tan Dole\u201d, \u201cTere Dwar Khada Ek Jogi\u201d and \u201cNazar Lagi Raja Tore Bungle Par\u201d remained a treasure for music lovers.<\/p>\n<h3>Hemant Da: a legacy<\/h3>\n<p>After the success of Nagin, Hemant Kumar never looked back.<\/p>\n<p>He composed music for films such as Bees Saal Baad, Khamoshi, Anupama, Biwi Aur Makaan, Bisvin Sadi and Jagriti that remained timeless.<\/p>\n<p>In the 1950s to 1970s he was the voice that turned even sadness into sweetness.<\/p>\n<h3>Remembering him<\/h3>\n<p>June 16 was Hemant Da\u2019s 105th birth anniversary.<\/p>\n<p>The Nagin tune he created became not only a symbol of film music but a cultural memory. His music taught us that when there is dedication in devotion, limits break \u2014 then even instruments begin to speak, and voices become immortal.<\/p>\n<p>Heartfelt tributes were paid to Hemant Da, whose voice, the tribute said, would forever echo in our hearts.<\/p>","protected":false},"excerpt":{"rendered":"<p>A centenary-year tribute to Hemant Kumar (1920\u20131989) recalled how, urged by Sashadhar Mukherjee to stay in Bombay, he composed the 1954 film Nagin, whose been tune became iconic.<\/p>","protected":false},"author":2,"featured_media":412,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11],"tags":[],"class_list":["post-411","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment"],"_links":{"self":[{"href":"https:\/\/vindhyasatta.com\/hi\/wp-json\/wp\/v2\/posts\/411","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/vindhyasatta.com\/hi\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/vindhyasatta.com\/hi\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/vindhyasatta.com\/hi\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/vindhyasatta.com\/hi\/wp-json\/wp\/v2\/comments?post=411"}],"version-history":[{"count":2,"href":"https:\/\/vindhyasatta.com\/hi\/wp-json\/wp\/v2\/posts\/411\/revisions"}],"predecessor-version":[{"id":1733,"href":"https:\/\/vindhyasatta.com\/hi\/wp-json\/wp\/v2\/posts\/411\/revisions\/1733"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/vindhyasatta.com\/hi\/wp-json\/wp\/v2\/media\/412"}],"wp:attachment":[{"href":"https:\/\/vindhyasatta.com\/hi\/wp-json\/wp\/v2\/media?parent=411"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/vindhyasatta.com\/hi\/wp-json\/wp\/v2\/categories?post=411"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/vindhyasatta.com\/hi\/wp-json\/wp\/v2\/tags?post=411"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}