by David Courtney working tools

Salil Chowdhuri circa 1943

Salil Chowdhury, fondly referred to as "Salil-da" was a music director, musician, writer, and poet, who worked in Hindi, Bengali, and the south Indian film industries.  He was most active from the 1950's through the 1960's.  His strength was in the fact that he mastered numerous different genre.  He was accomplished on the flute, esraj, violin, and piano; he was also a master lyricist and writer.  He is fondly remembered for some of the most famous songs to come out of Bollywood.

Salil Chowdhury was born on November 19, 1923 in the village of Sonarpur, in Bengal.  He spent his early childhood in the Bengali village of Harinavi.  However, his father was a doctor station in Assam, so he spent a lot of time there as well.  Salil's father had a collection of Western classical music, to which the young Salil spent much of his childhood listening.  This was a musical influence which would be present through much of his life.

It was impressed upon the young Salil that ones art should maintain a sense of social responsibility.  The fusion of art and politics was first presented to him by his father.  His father used to take villagers and labourers and stage plays; these plays reflected the plight and social conditions of the times.

He attended the Bangabhaashi College in Calcutta.  There his political interests grew.  He became interested in the "Quit India" movement, as well as the general plight of the underclass.  After he graduated from college, he joined the Communist Party of India, and became active in the Peasant Movement of 1945.

Shortly after his involvement in the Peasant Movement, he joined the Indian Peoples Theatre Association (IPTA).  The purpose of this theatre was to raise the political consciousness of the common people.  These theatres went from village to village and performed plays that revolved around the themes of British imperialism, various social iniquities, and the growing freedom struggle.

This forced Salil Chowdhury to go underground; for nearly four years he traveled around surreptitiously with the IPTA.  Initially he joined as a flute player, but later he started to write songs.  He lived among the peasants, and spent his time writing, composing, and performing.  His works were by and large banned, so it was impossible to get any mainstream publisher to publish his plays or poetry.  A large number of his works from this period have disappeared.

Life for the performers in the IPTA was very hard.  Many were volunteers, but a few like Salil-da, received a small salary.  They often traveled by foot, and sometimes went for days without food.  If the police came to know that their troupe was performing, they would often arrive and start beating people indiscriminately.  Many members died from torture, beating, and even starvation.

During his time with the IPTA, Salil Chowdhury distinguished himself by introducing a new approach to the music.  The years of listening to his father's Western classical music collection, gave him a feeling for Western concepts of harmony which were very different from traditional Indian music.

Ultimately he had a falling out with the IPTA.  The reasons for his departure are varied, but they involve such factors as the infighting that was going on within the Communist party, petty personal jealousies over his success, as well as the Communist Party's attempts to control the artistic content of his work.

A pivotal event occurred during this period of his life.  He wrote a Bengali story called "Rikshawalla".  This was made into a Bengali movie which became a big hit.  It was the success of this film that was to forever change Salil-da's life.

Salil Chowdhury moved to Bombay in 1953 to adapt his Bengali "Rikshawalla" for Hindi; thus began his work in the Hindi film industry.  This Hindi remake was entitled "Do Bigha Zameen".  The success of this movie ushered in a slew of other Hindi films.  One of the most notable was Madhumati (1958).

Scene from Do Bigha Zameen

Scene from Do Bigha Zameen

During the 50s; and 60s, Salil Chowdhury was kept very busy.  In 1957 he and Ruma Ganguly, established the Bombay Youth Choir.  This drew heavily upon Western concepts of harmony.  Often he was the music director for films.  He also composed background music for the documentaries which were coming out of the Films Division.  Other times, music directors would hire him to do the background music while they would do the song-and-dance numbers.  One example where he wrote the background music for another music director was "Anokhi Raat" (1968).

One of the things which characterised his way of working was that it was backwards from the establish norms of film production.  The normal way of doing things was to first contact the lyricist, then take the lyrics to the music director who would set it to music.  Salil-da would first compose the music and then set words to it.  This high priority given to the music is often considered one of the reasons for the extraordinary quality of his music.

The Bollywood film industry is known for an extensive amount of "borrowing" of musical ideas from other sources.  Like most of the other music directors, Salil Chowdhury has been accused of plagiarism due to his "borrowing" material from Western classical and traditional music.  He has lifted material from a variety of sources from Mozart, to Happy Birthday To You.

There are numerous anecdotes about Salil-da.  On one occasion he disappeared on route from Calcutta to Bombay.  He was gone for several months, but eventually he shows up.  Apparently he had spent time in some remote village to reacquaint himself with village life and village music.

The film world is known for its ego clashes and conflicts; Salil Chowdhury was no exception.  There was a much publicised falling out that he had with Hemant Kumar (a.k.a. Hemanta Mukherjee).  There was a time when their professional collaboration was very close.  It is said the Salil Chowdhury once said, "If God ever decided to sing, he would do so in the voice of Hemant Kumar." But things turned sour.  According to a published obituary that Salil Chowdhury wrote on the death of Hemant Kumar:

"They went to Hemanta-da and complained 'Salil Chowdhury is saying - "Hemanta Mukherjee would not have been popular if he had not sung my songs"'.  And the very same people came to me saying 'Hemanta-da says - "If I had not sung Salil's songs who would have know him today?"'

The result of such games was very predictable.  For some years they refused to work with each other.  Eventually there was a reconciliation, but it appears that by that time, both Hemant and Salil were past their productive prime.

The mid 60's saw Salil Chowdhuri in somewhat of a professional quagmire.  It was not really going anywhere in Bombay and he was just not quite able to duplicate the success he had in Madhumati.  He therefore started to work in the Malayali Cinema.  He was very successful in this regard and over the next few years he scored what many believe are some of the finest songs that the Malayali cinema has ever heard.  Some notable examples of this period are "Chemmeen" (1965).

In the 1970's Salil Chowdhury withdrew from the Hindi film world.  Changing public tastes did not suite him.  He returned to Calcutta.  There he established the Centre for Music Research, and established a recording studio named "Sound on Sound".  He was involved in a number of minor projects in his later years.

Salil Chowdhuri circa 1978

Salil Chowdhuri circa 1978

In his waning years, Salil Chowdhury never lost the sense of social responsibility.  He railed both in the press and privately against commercialism in the mainstream media and the lack of social consciousness.  He also expressed great regret at the fragmentation of leftist movements both in and outside of India.

Salil Chowdhury passed away on Sept 5th, 1995.  Among his survivors were his wife Sabita, his daughter Antara and sons Sanjoy and Bobby.


Year  Film  Language  Comments 
1949  Poribartan  Bengali   
1951  Barjaatri  Bengali   
1952  Paasher Baari  Bengali   
1953  Baansher Kella  Bengali   
1953  Bhor Hoye Elo  Bengali   
1953  Do Bigha Zamin  Hindi   
1954  Aaj Sondhaay  Bengali   
1954  Biraj Bahu  Hindi   
1954  Mohila Mahal  Bengali   
1954  Naukri  Hindi   
1955  Amaanat  Hindi   
1955  Rickshawaala  Bengali   
1955  Taangewaali  Hindi   
1956  Ak din Raatre  Bengali   
1956  Awaaz  Hindi   
1956  Jagte Raho  Hindi   
1956  Parivaar  Hindi   
1956  Raat Bhore  Bengali   
1957  Aparadhi Kaun  Hindi   
1957  Ek Gaaon ki Kahaani  Hindi   
1957  Laal Batti  Hindi   
1957  Musafir  Hindi   
1957  Zamaana  Hindi   
1958  Madhumati  Hindi   
1959  Baadi Thekey Paaliye  Bengali   
1960  Ganga  Bengali   
1960  Honeymoon  Hindi   
1960  Jawaahar  Hindi   
1960  Parakh  Hindi   
1960  Qaanoon  Hindi   
1960  Usne Kaha Tha  Hindi   
1961  Chaardeewaari  Hindi   
1961  Chhayaa  Hindi   
1961  Kaabuliwaala  Hindi   
1961  Maaya  Hindi   
1961  Memdidi  Hindi   
1961  Rai Bahadur  Bengali   
1961  Sapan Suhaane  Hindi   
1962  Half Ticket  Hindi   
1962  Jhoola  Hindi   
1962  Prem Patra  Hindi   
1962  Sunbai  Marathi   
1964  Ayanaanto  Bengali   
1964  Kinu Goaalaar Goli  Bengali   
1964  Laal Paathor  Bengali   
1965  Chand Aur Suraj  Hindi   
1965  Chemmeen  Malayalam   
1965  Poonam Ki Raat  Hindi   
1966  Jawaab Aayega  Hindi   
1966  Netaji Subhash Chandra Bose  Hindi   
1966  Paari  Bengali   
1966  Pinjre Ki Panchhi  Hindi   
1968  Ezhuraathrikal  Malayalam   
1969  Sara Akaash  Hindi   
1970  Abhayam  Malayalam  Salil Chowdhury did the background music only. 
1970  Aparajeyo  Assami   
1971  Anand  Hindi   
1971  Gehraa Raaz  Hindi   
1971  Ghar Sansaar  Gujarati   
1971  Mere Apne  Hindi   
1971  Samsayaphala  Kannada   
1971  Uyir  Tamil  Salil did the background music only 
1972  Annadata  Hindi   
1972  Anokha Daan  Hindi   
1972  Anokha Milan  Hindi   
1972  Marjina Aabdullah  Bengali   
1972  Mere Bhaiyaa  Hindi   
1972  Raktaakto Baangla  Bengali  This film was made in Bangladesh 
1972  Sabse Bada Sukh  Hindi   
1973  Karumbu  Tamil   
1973  Swapnam  Malayalam   
1974  Chairman Chalamayya  Telugu   
1974  Nellu  Malayalam   
1974  Rajnigandha  Hindi   
1975  Chhoti Si Baat  Hindi   
1975  Mausam  Hindi   
1975  Neelaponman  Malayalam   
1975  Onde Rupa Eradu Guna  Kannada   
1975  Prateeksha  Malayalam   
1975  Raagam  Malayalam   
1975  Rasaleela  Malayalam   
1975  Sangat  Hindi   
1975  Thomasleeha  Malayalam   
1976  Aparadhi  Malayalam   
1976  Jeevan Jyoti  Hindi   
1976  Mrigayaa  Hindi   
1976  Thulavarsham  Malayalam   
1976  Udan Choo  Hindi   
1977  Anand Mahal  Hindi   
1977  Chinna Ninna Muddaduve  Kannada   
1977  Dweep  Malayalam   
1977  Etho Oru Swapnam  Malayalam   
1977  Kobita  Bengali   
1977  Kokila  Kannada   
1977  Madanolsavam  Malayalam   
1977  Minoo  Hindi   
1977  Samayamayilla Polum  Malayalam   
1977  Sister  Bengali   
1977  Vishukkanni  Malayalam   
1978  Devdasi  Malayalam   
1978  Parumavazhai  Tamil   
1979  Azhiyatha Kolangal  Tamil   
1979  Chuvanna Chirakkukal  Malayalam   
1979  E Ganam Marakkumo  Malayalam   
1979  Jeena Yehaan  Hindi   
1979  Jibon Je Rakam  Bengali   
1979  Puthiya Velicham  Malayalam   
1979  Rupali Soikate  Bengali  This film was made in Bangladesh 
1979  Srikaanter Will  Bengali   
1980  Air Hostess  Malayalam   
1980  Akaler Sandhaney  Bengali   
1980  Antarghaat  Bengali   
1980  Byapika Bidaay  Bengali   
1980  Chehre Pe Chehra  Hindi   
1980  Chemmeen Lahrein  Hindi   
1980  Chirutha  Hindi   
1980  Daisy  Hindi   
1980  Kuhaasa  Hindi   
1980  Naani Maa  Hindi   
1980  Parabesh  Bengali   
1980  Room no.203  Hindi   
1980  Thooraththu Idimuzhakkam  Tamil   
1981  Agni Pareeksha  Hindi   
1981  Atmadaan  Hindi   
1981  Batasi Jhada  Oriya   
1981  Plot no. 5  Hindi   
1982  Anthiveylile Ponnu  Malayalam   
1982  Artap  Bengali   
1982  Artap  Hindi   
1982  Darpok ki Dosti  Hindi   
1982  Dil Ka Saathi Dil  Hindi   
1984  Kanoon Kya Karega  Hindi   
1985  Debikaa  Bengali   
1985  Manas Kanya  Assami   
1985  Mowchor  Bengali   
1985  Protiggya  Bengali   
1986  Jibon  Bengali   
1986  Zevar  Hindi   
1988  Trishaagni  Hindi   
1989  Kamla Ki Maut  Hindi   
1989  Nehru the Jewel of India  Hindi   
1989  Swarnatrishaa  Bengali   
1990  Aashrita  Bengali  The music director for this film was Hridaynath Mangeskar, but Salil Chowdhury was engaged to do the backgrtound music. 
1990  Vaasthuhaara  Malayalam  Salil did the background music only. 
1991  Netraheen Saakshi  Hindi   
1994  Mahabharoti  Bengali   
1994  Swami Vivekananda  Hindi   
1994  Thumboli Kadappuram  Malayalam   
1995  Mera Damaad  Hindi   
????  Hamaari Shaadi  Hindi   
????  Maange Miley na Pyaar  Hindi   
????  Mitti Ka Dev  Hindi   
????  Raat Ki Uljhan  Hindi   
19??  Aswamedher Ghoraa  Bengali   
19??  Chalo Kolkataa  Bengali   
19??  Ei Ritur Akdin  Bengali   
19??  Haraaner Naatjamaai  Bengali   
19??  Komol Gandhaar  Bengali   
19??  Obhisake  Bengali   
19??  Sei Samoy  Bengali   
199?  Aakhiri Badlaa  Hindi   
199?  Tiriacharittar (or Striyascharittram)  Hindi   
19?4  Vellam  Malayalam  Salil did the background music only 


Selected Video

Dilip Kumar Sings with Lata ji...


pathe ebar namo sathi


Dil Tadap Tadap Ke


Pa Ma Ga Re Sa....


Aaj Noi Gun Gun Gunjon Preme....


Shyamal Barani Ogo Kanya


o alor jatri (Traveller to light)


Kahin Door Jab Din Dhal Jaye (Film: Anand, Singer:Mukesh)


Ogo Aar Kichu to Nai....


Aaj koi nahi apna - Agni Pareeksha


Chadh Gayo Papi Bichhua


Parivaar - Yaar Tum Shaadi Mat Karna


Suhana Safar


Prem Patra -Ab Aur Na Kuchh


Ho jab se mili tose akhiyaan - Amaanat


Ghunghat hata na dene goriye - Sapan Suhane


Prem Patra -Do Ankhiyan Jhuki


O Mor Moyna Go - Original - Lata Mangeshkar....


Jete Dao Amay Dekona - RD & Asha - Puja Songs


Prem Patra -Khush Ho Rahe The


Poth Harabo Bolei Ebar Pothe Nemechi




© 1998, 1999, 2000, 2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017 David and Chandrakantha Courtney

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