The Research Ideas, Redefined The Idea of Computation April 24, 2010 at 6:48 am

The Sixth Sense By Pranav Mistry

Find Out The Best Among The Bests? April 23, 2010 at 12:19 pm

Oscars for ‘Best Picture’ at the academy awards since 1975.

1975 Winner – One Flew Over the Cuckoo’s Nest

1976 Winner – Rocky

1977 Winner – Annie Hall

1978 Winner – The Deer Hunter

1979 Winner – Kramer vs. Kramer

1980 Winner – Ordinary People

1981 Winner – Chariots of Fire

1982 Winner – Gandhi

1983 Winner – Terms of Endearment

1984 Winner – Amadeus

1985 Winner – Out of Africa

1986 Winner – Platoon

1987 Winner – The Last Emperor

1988 Winner – Rain Man

1989 Winner – Driving Miss Daisy

1990 Winner – Dances With Wolves

1991 Winner – The Silence of the Lambs

1992 Winner – Unforgiven

1993 Winner – Schindler’s List

1994 Winner – Forrest Gump

1995 Winner – Braveheart

1996 Winner – The English Patient

1997 Winner – Titanic

1998 Winner – Shakespeare in Love

1999 Winner – American Beauty

2000 Winner – Gladiator

2001 Winner – A Beautiful Mind

2002 Winner – Chicago

2003 Winner – The Lord of The Rings: The Return of The King

2004 Winner – Million Dollar Baby

2005 Winner – Crash

2006 Winner – The Departed

2007 Winner – No Country for Old Men

2008 Winner – Slumdog Millionaire

2009 Winner – The Hurt Locker

Find Out The Best Among The Bests?

View Results

Loading ... Loading ...

Indian Film Music March 31, 2010 at 6:39 am

It has 60 years of gorgeous and enrich cinematic history including Satyajit Roy, Guru Dutta, DadaBhai Palke, Raj Kapoor, Shekhar Kapoor, Mira Nair with other numbers of spectacular world cinematic personality. Cinema is the one of the finest language to express art and culture. According to ancient Hindu mythology, as Veda or Purana singing or any form of music is the finest art among all possible categories been practiced by mans on earth. Instead of being frolic about ancient religious myths it is un-doubtable that India is the land of music. Allarakhkha, Jakhir Hussain, Rashid Khan, A. R. Rahaman and countless such musician born in this country and leads a great role to introduced Indian music to the world. But to be very specific we are going to discuss about cinematic language as music in this squib. A film score is essentially the background music of a film which is generally categorically separated from songs used within a film. The second category i.e. film songs are the biggest contribution of Indian film industry towards cinematic language to redefine the ethnic definition of cinema.

History of the Indian Film Song

The birth of the Indian film song may be traced to the advent of India’s first sound motion picture in 1931. This film was entitled “Alam Ara” and heralded in a new era in Indian motion pictures. In the 30′s three major film centres developed. These were based in Bombay (AKA Mumbai), Calcutta, and Madras (AKA Chenai). Of theses centres, Bombay was known for the making of films geared for national distribution, while Madras, and Calcutta were known for their regional films. The early years of this industry were very fruitful. Between 1931 and 1940 India produced 931 Hindi feature films with an average of 10 songs per films. The numbers for the regional films from Madras and Calcutta, were much lower, but the orientation towards music was similar. In the 1940′s and 1950′s, the business began to shift away from the big motion picture studios to the independent producers. The distribution networks began to rely heavily on the “formulas” (i.e., “X” number of big name actors, “Y” numbers of songs, and “Z” number of dances, etc.). These formula films are known in Hindi as “masaala films”. These formulas were determined by commercial and not artistic considerations. From that time on formula music became the norm. The number and variety of the film songs was solidly locked into place. The artistic results of making music by formula rather than inspiration is obvious. The 60′s and 70′s represented a time of relative stability. After that in 70’s to 90’s film comes with some melodious Indian mix like regional genre and relatively less experimental. After 90’s to recent times trend are extremely experimental and music composers are aware of global trends and surely influenced by globalization. Globalization not only affects composers but rather the taste of the audiences outside the screen. Qualitatively or quantitive or stlygraphic differences of historical cinematic time zone of Indian film could not restrict any Indian cine lover to entertain a movie without romantic, sad or most famous “cher-char wale gaane”. Indian film music history could be sub divided into these following categories. These divisions are not very obvious but can well describe the evolution of music in context of cinema.

The Talkie Era

Until 1935

The year 1931 not only marked the beginning of the “talkie” age, but it also naturally became the starting point for movie composers and singers. The playing field became instantly dominated by a handful of strong production studios most of which had their legacy firmly rooted in the silent era. Ardeshir Irani and R.S. Choudhury (Mehboob Khan’s mentors) carried forward the Imperial Studios banner. Himansu Rai, the consummate English nobleman leveraged his experience with British and German moviemakers, Shantaram and Master Vinayak joined forces to further foster Prabhat Films, B.N. Sarkar moved his silent movie gear to South Calcutta where New Theatres was founded, Homi Wadia instituted Wadia Movietone, Sohrab Modi joined his mentors at Minerva, and Chandulal Shah deftly moved his Ranjit Studios banner into the age of sound. There were others like Madan Theatres (also Calcutta), but the names mentioned here would provide the bedrock foundation on which the future would grow and prosper.

The attitudes of that age were interesting. Capital was tight and only a handful of privileged and monied gentry could invest in movie studios. Most of them were carryovers from the silent era anyway. Movie-watchers were still the upper echelons of society. The production studio was the feudal lord. Employees of the company would not dream of quitting or moonlighting. And girls from “good families” would not even dream of having anything to do with the performing arts, least of all the cinema.

All that changed when two daring and beautiful young ladies broke the rules. Devika Rani Choudhury married Himansu Rai and stepped firmly in to moviedom. Not far away, a charming Durga Khote joined Shantaram’s Prabhat Films in AYODHYECHA RAAJA, their first sound venture. These were still the exception to a rule deeply entrenched in a male-dominated tradition. But a beachhead was now created. Others would follow. Durga Khote can be credited with another first. She could well have been the first freelance heroine of that age. As committed as she was to Prabhat, she also spent some time working with the New Theatres contingent.

Musical tastes round the country were still dominated by the Indian motif – one-dimensional melody that drew almost entirely on classical and folk structures. The performance of music was simple at best. Most of the singers were either from “singing families” with delivery styles set in the tradition of their “gharaana” OR were theatre performers trying hard to get by with simple straight-line approximations of the stated melody. Playback technology was available, but there was no implementation handy for scalable reuse. Out in Bengal, New Theatres tried their first playback experiment as early as 1933. It did not go unnoticed.

This was the state of the early to mid ’30s. The alliances were interesting. The East and West were ruled by their respective Holy Trinities. Prabhat was led by Master Govindrao Tembe and his two disciples Keshavrao Bhole and Krishnarao Phulambrikar (with a young Vasant Shantaram Desai still in the pen). Bengal’s New Theatres had their answer in Raichand Boral, Pankaj Mullick and later, Timirbaran Bhattacharya. Imperial Studios leaned on their Parsee patrons. Himansu Rai, with his British Production Company, was still dependent on European craftspersons for music among other things. Bombay Talkie, created in the mid-’30s would hire Khorshed Homji and Ramchandra Pal as their constant composers, but that was a few years away. Funded to a degree by Ram Daryani, Sagar and National Studios brought in maestros Pransukh Nayak and Ashok Ghosh. Chandulal Shah’s Ranjit Studios flexed its musical muscle through classicists like Jhande Khan, Banne Khan and protege Rewashankar Marwari.

The somewhat negative perception of cinema’s musical occupants, pervasive as it was, never quite influenced the classicists of any age, really. In the mid-’30s, grandmasters like Rabindranath Tagore and Kazi Nazrul Islam sought to use the movie medium to further the cause of literature, music, national integration, the independence movement, and on and on.

Emergence of Hindi movie song

Late 30′s

And then it happened. Ram Daryani, a visionary financier, brought a 20 year old tabla player from Calcutta to work with the Sagar Movietone orchestra. It is to the credit of composer Ashok Ghosh that he took young Anil Biswas under his tutelage, and further, gave him enough freedom to create the first real orchestra for a Hindi movie song. In parallel, the Himansu Rai-Devika Rani team launched Bombay Talkie, hired the orchestra-minded Saraswati Devi as their composer, and further strengthened the foundation of a Western outlook, however simplistic it might have been at that time. The groundwork was launched for the Hindi movie song.

The first few songs to hit the nation as a whole may well have been from ACHHUT KANYAA and some contemporary Sagar Movietone productions. The time was 1935-36, and if this is where it started, we might have a candidate here for bringing in the Golden Age.

In the meantime, just out of the blue, New Theatres hit a home run. They augmented their singing talent through Sehgal’s voice. A Punjabi singer far away from his native ambience seemed well at home in Tollygunge, South Calcutta.

With all the busy ins and out, Bombay had its weather eye cocked on an already well-established studio out to the North somewhere. Dalsukh Panchholi was an astute businessman. What did this business-oriented Lahori know of music, anyway? Some of life’s happiest events hang together by threads of serendipity. Had Panchholi not created GUL-E-BAKAAVLI (1939), Baby Noorjehan may never have become known to the world at large. Had he not hired Master Ghulam Haider to do the very traditional, staid and Punjabi music for it, the songs may never have hit the headlines. And Panchholi might never have hired Master Haider to do KHAZAANCHI in 1941, but for a string of such chance events. And where would the Hindi movie song be today without the pioneering framework provided by KHAZAANCHI? We have fast-forwarded through the latter part of the ’30s here, but let us get to 1941 and KHAZAANCHI. Master Haider consciously broke away from the dull and monotonous delivery of the ’30s song. It was not without pain or criticism. Every generation has had its maverick. That he was, and knowingly so. KHAZAANCHI has gone down in history as the movie that defined the very structure of the modern Hindi song, much in the style of Von Neumann who, only 5 years later, defined the essence of stored program execution. Neither the structure of the Hindi song, nor the essential sequencial program execution model have changed much or at all since their inception. In that respect, Ghulam Haider hailed the age of modern Hindi music.

To summarize the ’30s, the professional scene consisted of salaried employees in a handful of movie studios the vast majority of which were brought forward through profits from the silent age. Noorjehan, Ghulam Haider,and Anil Biswas were the frontline names. Looking at the content, we must examine the constituents – the melody, the orchestration, the singing style and ability, the lyrics, and in some ways also the picturization. The dominant singers of the age were KC Dey, Pankaj Mullick, Shanta Apte, Govindrao Tembe, Ashok Kumar, Devika Rani, Surendra, Wahidan Bai and sister Jyoti, Bibbo, Manju and a few more. In a category all by himself stood the theatrical and Sufiana singer Kundanlal Sehgal. Some of his most famous songs had already been created, and he was just warming up.

More coincidence. The rapid and profitable emergence of the movie during the ’30s, while remaining the sole property of a few studios, engaged the entire nation. What had started as the entertainment of the upper crust had trickled down to practically all layers of society – deep enough to threaten the legacy social outing. One such example was the Natak Mandali tradition of Maharashtra. Attendance dropped to all time lows. Mass defections occurred, both in the audience and the performers. Families whose wherewithal was the Natya Sangeet medium felt the most pain. Several went bankrupt. Alcoholism, a very natural companion of the performing arts, only aggravated the suffering. None knew this better than Dinanath Mangeshkar. Five children, a young wife, and nowhere to turn to. Once the darling of the Marathi stage, he now had trouble finding familiar faces in the business. In desperation, he accepted his oldest daughter’s insistence upon finding a job for herself. In this quest, 12-year old Lata Mangeshkar was introduced to Vinayakrao Karnataki. But there was something else. She also signed up for a National Level Talent contest that had recently been labelled the KHAZAANCHI competition. The Northwestern frontier shuddered as the typhoon hit home. A Marathi-speaking winner of all things! Master Haider, the man whose runaway success had contributed the name to the contest, would stop to take notice. Seven years from the day, he would fight tooth and nail to permanently change the sound of Hindi music. Some milestone this. The writer must submit here that no matter when the Golden Era is said to begin, its life must include this landmark event of Lata Dinanath Mangeshkar winning the KHAZAANCHI competition. This voice has provided even our best composers with the motivation to produce the very best of melodies.

War and to Indian Independence

The Early 40′s

The war in Europe seemed far enough away, and yet, the movie industry felt its impact in a rather indirect fashion. The Indian scene had its own domestic perturbations. Politically, Quit India was significant as were the down and dirty war profiteers. Not all the sinners were blue-eyed blondes as some history books would have us believe. Ashish Rajyadhyaksha speculates that many Indian businessmen profited unabashedly during the early period of the war and the Bengal famine. The movie studio was a popular front for channelling illegal money. No wonder the early ’40s saw an explosion in the number of production companies on both sides of what would be the new India-Pakistan border. But Bombay remained the centre of all capital. With the increase in the number of movie productions, the traditional and feudal studio employer of the ’30s could see the walls crumbling around the notion of salaried patronage. The spectre of freelance artists started to become real. The emerging studios, eager to get rid of the blood money that they were bulging with, started to outbid each other for the topmost professionals. This led to “freelancing” by composers and singers. Anil Biswas might have been a pioneer in this regard without realizing it.

A few other facts are interesting. Himansu Rai died in the early ’40s leaving the fragile management of Bombay Talkie to its fate. Mehboob Khan decided to part company with his Sagar and National patrons. And playback singing gained momentum as cinema music demanded a better deal than the constriction it met at the hands of limited talents. Oddly enough, one of the first few “pioneers” of playback, Suraiyya Jamaal Sheikh, would essentially spend a career singing mainly for songs filmed on herself.

Anil Biswas, a longtime Mehboob friend, decided to part company, and left Mehboob Studios floundering for a few years in the quest of a stable musical guide and composer. Bombay Talkie stepped into an antithesis phase with a major exodus of some big names. And on a completely different front, Noorjehan, Panchholi, VM Vyas and Ghulam Haider all individually contributed to the invisible skyline connection between the souls of Bombay and Lahore. All of a sudden, the world was smaller, more talented, and utterly competitive.

The ’40s witnessed some of the quickest changes in the way the industry operated. Bombay Talkie, once the “big blue” of the industry, could be seen floundering. The days of stable employment were coming to an end. Artists, young and old, high and low profile, from all walks of the industry, were now on their own. New studios emerged notable among them being the one founded by Abdul Rashid Kardar. His musical soulmate, Naushad Ali, injected a new sound into the spirit of the young Indian movie. Mehboob started his productions with a flourish. Bombay Talkie brought in Anil Biswas and brother-in-law Pannalal Ghosh. New singers, better sounding and accomplished than those of the previous decade, suddenly appeared in the recording studio. Parul Ghosh, Kanan Devi, Amirbai Karnataki, Arun Kumar, Snehprabha, Zohrabai Ambaalewaali, and to be complete, Noorjehan, were all household names already.

আসছে বছর আবার হবে September 14, 2009 at 1:34 am

ব্যাপারটা সোশিও-সাইকো-ইকনমিও-মেডিশিও-হিস্টোরিশিও ভাবে প্রোফান্ড পেইন কিলার, বুকের বিষের থলিটা যখন বাড়তে বাড়তে ডবল এক্স এল এর সাইজ নেয়, সারা বাংলাদেশ জুড়ে একগাদা ভূমিহীন কৃষক, আয়লা পিড়ীত মানুষ, মাওবাদী হানা, খাদ্য আন্দোলনের পঞ্চাশ বছর পূর্তি অথবা রাজ্য রাজনীতিতে রেল্মন্ত্রীর শকট যানে চড়ে মহাকরন প্রবেশের প্রবীন লালায়িত স্বপ্নের নাভিশ্বাস ওঠে তখন সমাজ পৌরানিক কল্কি অবতারের ভূমিকায় (প্রসঙ্গত নীতিশ ভরদ্বাজ অভিনয় থেকে অবসর নিয়েছেন বহুদিন)সেলফ ডিফেন্স মেকানিজমে দূর্গাপূজোর প্রত্যাবর্তন করে।আমরা অর্থাৎ বং-রা(নামকরনটি অঞ্জন দত্তের আমাকে দোষারোপ করবেন না; প্রসঙ্গত সং বলার সৎ-সাহস নেই তাই ইনলাইন অক্ষরেই বললাম) এখন ভেবে বসেছি জল পড়া, পাতা নড়া, বৃষ্টি পড়া, সূর্য ওঠা ও পাশের বাড়ির ন্যাপার এবারও অঙ্কে ফেল করার মতোই এটাও এক নিয়মানুবর্তিক পর্যায়বৃত্ত প্রাকৃতিক সত্য। কিন্তু মুশকিল হল যে এই গরল ইসাবগুলের গুলি খেয়ে কোঁত পেড়ে বের না করে দিতে পারলে বিষাক্ত জ্বলুনীতে গা ফুটিফাটা এবং দাগড়া দাগড়া বিরক্তির জ্বরুলে আমাদের এই লাহ্যময়ী বঙ্গললনা হয়ে উঠবে শঙ্কিনী। তাই শতাব্দী প্রাচীনকাল থেকে আমাদের পূর্বপুরুষ সমাজবন্ধুরা অটো সাজেশান অথবা সেলফ হিপন্যোটিজমের মতো কষ্টলাঘবকারী দমদম দাওয়াই আবিষ্কার করেন; যা সেবনের নিয়মাবলী প্রেচক্রিপশন থুড়ি পজ্ঞিকা নামে সুবিখ্যাত।

এতদূর পড়েই যারা মনে মনে সুর ধরেছেন “চলো পাল্টাই-আমরা নতুন বাঙালী” সেসব পোষ্ট মডার্ন স্বাধীনচেতা পরিবর্তনবাদী (পরিবর্ত্নকারী আদৌ নয়) দোর্দন্ডপ্রতাপ আধুনিক বঙ্গ তরুন তরুণিদের বলবো সংযম (শব্দটার ভাবার্থ জানা না থাকলে অভিধান দেখতে পারেন তাতেও বোধগম্য না হলে রাজশেখর বসুকে প্ল্যানচেটে ডাকতে পারেন) রক্ষা করতে। আসলে কি জানেন কোনও ভালোবাসা, কোনও ধর্ম, কোনও গুরুবানী কোনও মহৎ উদ্দেশ্য মানুষকে এতটা সঙ্গবদ্ধ করতে পারে না, যতটা পারে ঘেন্না।ধরুন প্রেমিকা প্রিয়ংবদার সাথে প্রেমালাপ সেরে বুদ্ধির গোঁড়ায় সিগারেটের ধোঁয়া ছুঁড়ে পটলের কাকার অকষ্মাৎ মৃত্যুর শোকসভায় অংশগ্রহন করার আগে রুমাল দিয়ে যেমন আপনার শেষ হাসিটুকু মুছে ফেলতে হয় এবং প্রমান করতে হয় দখিন বাতাস যতই সুড়সুড়ি দিক আপনাকে, আপনি আসলে রামগড়ুরের আদর্শ বংশধর।তেমনই দূর্গাপূজোতে এর সম্পূর্ন বিপরীত বাধ্যতা, আপনি যতই বিষাদগ্রস্ত হন আপনাকে হাসিমুখে অপরের হাস্যবান বিনা দ্বিধায় মেনে নিতে হবে এবং সর্বদা কোলগেটের চলতি-ফিরতি ইস্তেহার সেজে থাকতে হবে।আপনাকে অহেতুক সাজুগুজু করে গায়ে সুগন্ধী ছিটিয়ে এবং সর্বোপরি নতুন জুতোর ফোসকার অসহ্য যন্ত্রনা সহ্য করেও মাইলের পর মাইল জনারন্য ঠেলে বীভৎস-বীভৎস বিভিন্ন প্রজাতির দূর্গা পরিদর্শন করতে হবে এবং দিনশেষে কোনও রেঁস্তোরায় বিটকেল স্বাদের আহার সেরে সদানন্দ হাসিটি নিয়েই বাড়ি ফিরতে হবে পাছে আপনাকে কেউ হুঁকোমুখো হ্যাঁংলা বলে এই ভয়ে।এর থেকে যুদ্ধক্ষেত্রে বন্দুক হাতে দেশাত্মবোধের মুখোশের আড়ালে একবুক শাণিত লকলকে ঘেন্না নিয়ে বিপক্ষকে লক্ষ কোটি গালাগাল দিয়ে প্রচুর নাম না জানা আমারই মতো বিপক্ষের ঘৃন্য পশুগুলোকে বুলেট বিদ্ধ করে শেষে নিজেও সেই গুলি বৃষ্টিতে নিহত হওয়া অনেক অনেক বেশি শ্রেয় ছিল। অন্তত কিছু একটা করা যাতে মনের একগাদা থকথকে বিষাক্ত গরল ঘেন্নাটা একেবারে নিষ্কাশন করা যেত আর মৃত্যু নেশায়—প্রানটা জুড়াত।

মনে পড়ে সেইসব দিনের পূজোর দিনগুলোর কথা যখন বুদ্ধির প্রাচুর্যে মননের নির্মল অনুভূতি গুলো আত্মহত্যা করে নি। পূজো বলতে তখন ছিল মন কেমন করা স্ফটিকস্বচ্ছ শরৎ এর নীল আকাশ অথবা কোনওদিন না বলতে পারা অথচ মনে মনে নির্ধারিত প্রেমিকার পাড়ার পুজামন্ডপের একশো ছত্রিশ পাক আর একবার সলজ্জ দৃষ্টি বিনিময়ের নিদারুন তৃপ্তি। ছিল একগাদা বন্ধু মিলে সময়ের ঘড়িকে উপেক্ষা করে নিয়মের সংবিধানকে বুড়ো আঙুল দেখানোর দিন।ছিল বড় হওয়ার আকাঙ্খায় একটি সিগেরেটকে ভাগ করে সুখানুভূতি নেওয়ার দিন। আবার বাড়ির ভয়ে তটস্থ কিশোরের দল একগুচ্ছ মুখসুদ্দির আয়োজন করতো পাছে গন্ধ বিচারে ধরা না পড়তে হয়।ছিল শহরের অলিগলি চষে নতুন রাস্তা আবিষ্কারের নেশা অনেকটা নতুন দেশ আবিষ্কারের মতো। ছিল কাশফুলের মাঠে পবিত্র বাৎসল্যের লুকোচুরি খেলবার দিন।ছিল নিষিদ্ধ গানগুলো প্রকাশ্যে শোনবার আনন্দ। এখনকার প্রতিটি পূজামন্ডপ তো সংস্কৃতির একনিষ্ট আখড়া, সেখানে দরাজ গলায় সুচিত্রা বা মানবেন্দ্রর রবিগান ছাড়া শোনা যায় না। জানি সংস্কৃতি পরায়ন বাবুরা এই কথায় বিদ্রোহ ঘোষণা করতে চলেছেন। কিন্তু প্রাসঙ্গিকতাও তো একটা উল্লেখযোগ্য অঙ্গ নাকি? ভাবুন আপনার বিয়েতে যদি বিশমিল্লা খান সাহেবের সানায়ের বদলে পাড়ার দাদা্রা সংস্কৃতির নাম নিয়ে যদি “মুক্তিরও মন্দিরও সোপান তলে/ কত প্রান হল বলিদান” বাজিয়ে দিয়ে যায়, তাতে সত্যিই আপনার বিয়ে স্মরনীয় হয়ে থাকবে কি? আসলে শিল্প তখনই শ্রেষ্ট যখন তা প্রাসঙ্গিক।

এখন তো আমরা প্রাপ্তবয়স্ক, এখনকার পূজো অনেক পুরোন বন্ধুবান্ধবদের একসাথে মিলিত হওয়ার দিন। যারা জীবনের শৈশব, কৈশোর আর যৌবনের প্রথমার্ধ পেরিয়ে এখন কর্মসূত্রে বিচ্ছিন্ন ,চিন্তাশক্তি আর চিন্তাসূত্রও বিচ্ছিন্ন। পূজোর প্রথমার্ধ অর্থাৎ সপ্তমী-অষ্টমী কাটে এক বছরের ইতিহাস পর্যালোচনায় যাতে একগাদা নাম না জানা চরিত্রের পটচিত্র অঙ্কন করে শ্রুতিনাটকটা বোধগম্য করতে হয়। তার পরের অর্ধে ধীরে ধীরে বোধগম্য হয় যতই প্রবল আমাদের নস্টালজিয়া হোক না কেন আসলে আমরা ভিন্ন রঙের ভিন্ন স্বাদের আর ভিন্ন মতাদর্শের কতকগুলি ভিন্ন মুখ ছাড়া আর কিছুই নয়।নবমীর সন্ধ্যের হাস্পাতাল চত্ত্বরের প্রতিমা দর্শনকালে ফিরবার সময় হয়তো চোখে পড়ে বাবার মৃত্যুশয্যা পাশে কোনও কিশোরীর অশ্রুক্লিষ্ট নির্মল মুখখানি। মনটা কেন জানি না বড় উদাস (পঙ্কজ উদাস নয়) হয়ে যায়, কৈশোরের নির্মলতা, প্রথম প্রেমের যন্ত্রনা, উৎসবের নির্মমতা আর জীবনের সমস্ত ব্যার্থতার জ্বালাগুলো একসাথে বুকে করে নিয়ে গুটিসুটি মেরে ফিরে আসি সেই চেনা বিছানার কোলে।নিকটবর্তী কোনও পূজোমন্ডপ থেকে ভেসে আসে।

“দিল নাউম্মিদ তো নহী/ নাকাম হী তো হ্যা

লম্বী হ্যা গমকি শাম/ মগর ইয়ে শাম হী তো হ্যা”