A legacy of Tagore songs in Bengali and Hindi films – The Daily Star

World calls for calm as India-Pakistan crisis deepens
3 fighter jets crashed in India’s J&K: govt sources
Dozens killed as India, Pakistan clash in worst violence in decades
What happened in India’s attack on Pakistan
Today, on 25th Boishakh, the 164th birth anniversary of Nobel laureate Rabindranath Tagore, the legacy of his music continues to echo far and wide- not just in the hearts of Bengalis, but across the cinematic landscapes of both Bengal and Bollywood. While his poetry and songs remain an inseparable part of everyday life, Rabindra Sangeet has also found a cherished place in both Bengali and Hindi cinema, often adapted, referenced, or directly used to elevate cinematic storytelling.
The first known use of a Rabindra Sangeet in film dates back to Tagore’s own lifetime. In Pramathesh Barua’s 1937 film „Mukti“, with music directed by Pankaj Kumar Mullick, Tagore’s music entered cinema for the first time. 
Since then, more than 200 of his songs have been used in Bengali films, with notable examples being Ritwik Ghatak’s „Meghe Dhaka Tara“ featuring „Je Rate Mor Duarguli,“ and Satyajit Ray’s „Kanchanjangha“ and „Jana Aranya“, which beautifully integrate „E Porobashe Rabo Ke“ and „Chhaya Ghanaichhe Bone Bone“ respectively. Tapan Sinha’s Atithi featured „Amar Mukti Aloy Aloy,“ while Ajoy Kar’s „Malyadaan“ included „Ghorete Bhramar Elo Gun Gunie.“
The incorporation of Rabindra Sangeet has often lent a profound emotional weight to cinematic storytelling. In films like „Streer Patra“, the use of „Banglar Maati Banglar Jol“, and in „Ghare Baire“, where „Bidhir Bandhan Katbe Tumi“ is featured, the melodies enhance the narrative’s emotional core. Similarly, in „Teen Kanya“, the inclusion of „Baje Karun Sure“ remains a poignant moment.
Director Tarun Majumdar is particularly noted for seamlessly weaving Tagore’s compositions into his works, with films such as „Shriman Prithviraj“, „Bhalobasa Bhalobasa“, and „Alo“ receiving praise for their melodic sensibility. The film „Nimantran“, featuring the timeless „Dure Kothao Dure Dure“, continues to be remembered for its evocative musicality.
Bollywood, too, has borrowed from Tagore’s musical genius. In the 1950 film „Afsar“, Sachin Dev Burman composed „Naina Diwane“ drawing from „Sedin Dujone.“ In „Sujata“, „Jalte Hain Jiske Liye“ was inspired by „Ekoda Tumi Priye.“ Hrishikesh Mukherjee’s „Abhimaan“ features the legendary „Tere Mere Milan Ki Yeh Raina“, directly inspired by Tagore’s „Jodi Tare Nai Chini Go“.
Several Hindi films have also drawn from the works of Rabindranath Tagore, adapting his melodies to suit diverse cinematic contexts. In „Didar“, the song „Bachpan Ke Din“ is based on Tagore’s „Mone Robe Kina Robe Amare“, while „Taxi Driver“ features „Jaaye To Jaaye Kahan“, inspired by „He Kshoniker Otithi“.
The film „Waaris“ offers another notable example, with the song „Rahi Matwali“ drawing from the composition „O Re Grihobashi Khol Dwar Khol“—reflecting how Tagore’s influence transcends linguistic and cultural boundaries.
Bappi Lahiri’s „Nanha Sa Panchhi Re Tu“ from „Toote Khilone“ drew from „Bhenge Mor Ghorer Chabi,“ while Yarana’s „Chhu Kar Mere Mann Ko“ echoed „Tomar Holo Shuru Amar Holo Shara.“ Jugpurush’s „Bandhan Khula Panchhi Uda“ took cues from „Pagla Hawa’r Badol Dine.“ Shantanu Moitra’s „Piyu Bole“ in Parineeta was crafted in the spirit of „Phule Phule Dhole Dhole“.
In Bangladesh, several films based on Tagore’s stories and songs have been produced, including „Shasti“, „Subha“, „Kabuliwala“, and „Abujh Bou“. Among these, Chashi Nazrul Islam’s „Subha“ stands out for its poignant use of „Chander Hasi Badh Bhangese“.
As the world commemorates Tagore’s birth anniversary, his music continues to transcend time and borders, breathing soul into cinema and reminding us of the enduring power of art that speaks to the deepest human emotions.
Today, on 25th Boishakh, the 164th birth anniversary of Nobel laureate Rabindranath Tagore, the legacy of his music continues to echo far and wide- not just in the hearts of Bengalis, but across the cinematic landscapes of both Bengal and Bollywood. While his poetry and songs remain an inseparable part of everyday life, Rabindra Sangeet has also found a cherished place in both Bengali and Hindi cinema, often adapted, referenced, or directly used to elevate cinematic storytelling.
The first known use of a Rabindra Sangeet in film dates back to Tagore’s own lifetime. In Pramathesh Barua’s 1937 film „Mukti“, with music directed by Pankaj Kumar Mullick, Tagore’s music entered cinema for the first time. 
Since then, more than 200 of his songs have been used in Bengali films, with notable examples being Ritwik Ghatak’s „Meghe Dhaka Tara“ featuring „Je Rate Mor Duarguli,“ and Satyajit Ray’s „Kanchanjangha“ and „Jana Aranya“, which beautifully integrate „E Porobashe Rabo Ke“ and „Chhaya Ghanaichhe Bone Bone“ respectively. Tapan Sinha’s Atithi featured „Amar Mukti Aloy Aloy,“ while Ajoy Kar’s „Malyadaan“ included „Ghorete Bhramar Elo Gun Gunie.“
The incorporation of Rabindra Sangeet has often lent a profound emotional weight to cinematic storytelling. In films like „Streer Patra“, the use of „Banglar Maati Banglar Jol“, and in „Ghare Baire“, where „Bidhir Bandhan Katbe Tumi“ is featured, the melodies enhance the narrative’s emotional core. Similarly, in „Teen Kanya“, the inclusion of „Baje Karun Sure“ remains a poignant moment.
Director Tarun Majumdar is particularly noted for seamlessly weaving Tagore’s compositions into his works, with films such as „Shriman Prithviraj“, „Bhalobasa Bhalobasa“, and „Alo“ receiving praise for their melodic sensibility. The film „Nimantran“, featuring the timeless „Dure Kothao Dure Dure“, continues to be remembered for its evocative musicality.
Bollywood, too, has borrowed from Tagore’s musical genius. In the 1950 film „Afsar“, Sachin Dev Burman composed „Naina Diwane“ drawing from „Sedin Dujone.“ In „Sujata“, „Jalte Hain Jiske Liye“ was inspired by „Ekoda Tumi Priye.“ Hrishikesh Mukherjee’s „Abhimaan“ features the legendary „Tere Mere Milan Ki Yeh Raina“, directly inspired by Tagore’s „Jodi Tare Nai Chini Go“.
Several Hindi films have also drawn from the works of Rabindranath Tagore, adapting his melodies to suit diverse cinematic contexts. In „Didar“, the song „Bachpan Ke Din“ is based on Tagore’s „Mone Robe Kina Robe Amare“, while „Taxi Driver“ features „Jaaye To Jaaye Kahan“, inspired by „He Kshoniker Otithi“.
The film „Waaris“ offers another notable example, with the song „Rahi Matwali“ drawing from the composition „O Re Grihobashi Khol Dwar Khol“—reflecting how Tagore’s influence transcends linguistic and cultural boundaries.
Bappi Lahiri’s „Nanha Sa Panchhi Re Tu“ from „Toote Khilone“ drew from „Bhenge Mor Ghorer Chabi,“ while Yarana’s „Chhu Kar Mere Mann Ko“ echoed „Tomar Holo Shuru Amar Holo Shara.“ Jugpurush’s „Bandhan Khula Panchhi Uda“ took cues from „Pagla Hawa’r Badol Dine.“ Shantanu Moitra’s „Piyu Bole“ in Parineeta was crafted in the spirit of „Phule Phule Dhole Dhole“.
In Bangladesh, several films based on Tagore’s stories and songs have been produced, including „Shasti“, „Subha“, „Kabuliwala“, and „Abujh Bou“. Among these, Chashi Nazrul Islam’s „Subha“ stands out for its poignant use of „Chander Hasi Badh Bhangese“.
As the world commemorates Tagore’s birth anniversary, his music continues to transcend time and borders, breathing soul into cinema and reminding us of the enduring power of art that speaks to the deepest human emotions.
পুলিশ জানিয়েছে, ঘটনাস্থলেই একজন মারা যান এবং বাকি চার জনকে ঢাকা মেডিকেল কলেজ হাসপাতালে নিয়ে যাওয়ার পর মৃত ঘোষণা করা হয়।

source