The Bengali masters of Hindi film music drew on everything from classical Hindustani melodies and Rabindra Sangeet to the songs of bauls and boatmen to reach every home in India, whatever their class. Roy turned away from the British academic style of painting in which he was trained, to the visual language of the patua scroll painters of Bengal with the avowed purpose of reaching every middle-class home in Bengal. The show is of 200 art works by Jamini Roy, the Bengal master whom M F Husain once acknowledged as “.truly the father of Indian modern art”. There was a link, however tenuous, between this programme and the current exhibition on display at the NGMA.
Here Amarendra Dhaneshwar, the popular exponent of the Gwalior gharana, trained by no less a guru than Neela Bhagwat, promised an evening of compositions by the Bengal masters - S D Burman, Salil Chowdhary, Pankaj Mullick, Anil Biswas and Hemant Kumar. But if your special interest was in raag-based Hindi film songs, then the place to go was the National Gallery of Modern Art at Kala Ghoda.
Madan Mohan was being remembered somewhere, Mukesh and Manna Dey somewhere else. On Saturday, they had blossomed all over the city. I don’t think I speak for myself alone, but for a whole generation of music lovers when I say that nothing evokes a more profoundly pleasurable nostalgia than old Hindi film songs.
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