Bhupen Hazarika: The multifaceted maestro of Indian cinema

Zahid Ahmed Tapadar

(zahidtapadar@gmail.com)

From child artiste to cultural icon: A seven-decade journey

Bhupen Hazarika’s journey with Indian cinema began in 1939, when he appeared as a child artiste in the Assamese film Indramalati. Over the next seven decades, Hazarika would shape cinema as a director, producer, music composer, lyricist, singer, actor and storyteller of rare vision. His films and songs were never confined to the boundaries of entertainment; they became cultural texts—bridges between tradition and modernity, the regional and the universal, the personal and the political.

As singer and lyricist

Bhupen Hazarika’s first creative expression in films was through songs and lyrics. After his debut in Indramalati (1939), he continued as lyricist and singer in Siraj (1948), Parghat (1949), and Biplabi (1950). By the 1950s, he was writing and singing for films such as Sati Beula (1954), Piyali Phukan (1955), and Dhumuha (1957), where his deep, resonant voice gave a new character to Assamese film music.

The decade also marked his entry into Bengali cinema, where he wrote and sang memorable songs in Asamapta (1956), Jiban Trishna (1957), Kadi O Komol (1957), and Jonakir Alo (1958). His lyrical craft was equally strong in Assamese films like Kesha Sone (1959), Puati Nishar Sopon (1959), and Chaknoia (1959).

Through the 1960s, Hazarika’s voice became inseparable from Assamese film culture. He sang in Maniram Dewan (1964), Protiddhoni (1965), Latighati (1966), and Chikmik Bijuli (1969). In the 1970s, his voice echoed through Banaria Phool (1973), Rashmirekha (1973), Khoj (1975), Bristi (1975), Kachghar (1975), Chameli Memsaab (1975), Palasar Rong (1976), Pranganga (1976), Banahansha (1977), Dharmakai (1977), Bonjui (1978), Niyati (1978), and Mon Prajapati (1979).

Even in films where he was not the music director, he often contributed as lyricist or playback singer. He lent his voice in Bishesh Erati (1979), Srimati Mahimamoyee (1979), Akon (1980), Moinajaan (1980), Chameli Memsaab (Hindi version, 1981), Aparoopa (1982), Jeevan Surabhi (1984), Angikar (1985), Bohagor Duparia (1985), Juge Juge Sangram (1986), Maa (1986), Sankalpa (1986), Mayuri (1986), Pratishudh (1987), JiuniSimang (Bodo, 1987), and Siraj (1988).

In the 1990s, his lyrics and singing enriched Miri Jiyori (1990), Agni (1992), Priyajan (1993), Ashanta Prahar (1994), Agnigarh (1994), Paani (1995), Sesh Upahar (2001), and his voice was still powerful in the multilingual Gandhi To Hitler (2011). Through songs and lyrics, Hazarika built the emotional foundation of his films, binding audiences with music that was simple yet profound. His voice carried not just melody but also emotion and social consciousness, making his songs timeless companions of the Assamese and Indian heart. His lyrics, often simple yet profound, reflected compassion, human dignity, and the struggles of the common man.

As music director

If his voice stirred hearts, his compositions defined the soundscape of Assamese and Indian cinema. His career as a music director began with Sati Beula (1954) and continued with Piyali Phukan (1955). His directorial debut Era Bator Sur (1956) also bore his music, as did Dhumuha (1957).

He broadened his reach with Bengali films such as Asamapta (1956), Jiban Trishna (1957), Kadi O Komol (1957), and Jonakir Alo (1958). By the end of the 1950s, his music directed films included Kesha Sone (1959), Puati Nishar Sopon (1959), and Mahut Bandhure (1959).

The 1960s saw him composing for Dui Bechera (1960), Sakuntala (1961), Maniram Dewan (1964), Protiddhoni (1965), Latighati (1966), and Chikmik Bijuli (1969). Each score revealed his ability to fuse Assamese folk with broader Indian and even Western influences. In Hindi cinema, he composed music for Aarop (1974), Mera Dharam Meri Maa (1977), Ek Pal (1986), Rudali (1993), Papiha (1994), Pratimurti (1995), Saaz (1996), Darmiya (1997), Mil Gayee ManjilMujhe (1998), Daman (2000), Gaja Gamini (2000), and Kyun (2003). His music for Chameli Memsaab (1975) in Assamese earned him the National Award, and he recreated the magic in its Bengali (1979) and Hindi (1981) versions.

He also enriched Bhojpuri cinema with Sath Maia Ki Mahima (1979) and lent his genius to Bengali films like Dampati (1976), Simana Perie (1978), and Gajamukta (1994). Even regional Assamese films in the 1980s and 1990s—Aparoopa (1982), Angikar (1985), Pratishudh (1987), Priyajan (1993), Ashanta Prahar (1994), and Paani (1995)—carried his unique melodic stamp.His compositions gave soul to the films, elevating stories with the emotional depth of his music.

As film director

Bhupen Hazarika’s directorial journey began with Era Bator Sur (1956), where he combined direction, music, story, and songs into a holistic creation. His second directorial venture, Mahut Bandhure (Bengali, 1959), proved that his directorial sensibility transcended languages. With Sakuntala (1961), he showed his command over every aspect of filmmaking, from art direction to music. He continued this mastery with Protiddhoni (1965) and Latighati (1966), both of which won the President’s Award. In Chikmik Bijuli (1969), his direction merged satire with song.

The 1970s gave him the platform of Hindi cinema, where he directed Aarop (1974) and Mera Dharam Meri Maa (1977). In Assamese, he directed Mon Prajapati (1979), a deeply personal project where he handled nearly all creative duties. Later, he remade Siraj (1988), revisiting the story he had first contributed to in 1948, but now with the authority of a seasoned filmmaker.

His television directorial venture Miri Jiyori (1990) for Doordarshan showed his adaptability to changing media landscapes, while keeping Assamese narratives at the centre.

As a director, he often infused humanism and realism, making his films both artistic and socially conscious.

As producer and screenwriter

In films like Era Bator Sur (1956), Sakuntala (1961), Protiddhoni (1965), Latighati (1966), Chikmik Bijuli (1969), and Mon Prajapati (1979), Hazarika acted not just as director but also as producer, screenplay writer, and lyricist. His creative control over these productions ensured that the final film was a unified artistic statement, blending his vision with cultural depth.

As documentary filmmaker

Bhupen Hazarika also used the documentary format to preserve cultural memory. His Rup Konwar Jyotiprasad Aru Joymoti (1976) celebrated Assamese artistic heritage, while later works documented facets of Northeast India’s cultural life. His television film Miri Jiyori (1990) further cemented his commitment to regional narratives. His documentaries reflected his intellectual depth and social concern, often focusing on issues of identity, culture, and humanity. He believed cinema was not merely for entertainment but also a medium of education and awakening.

As actor

Though better known for his music, Bhupen Hazarika also appeared on screen as an actor. He acted in Era Bator Sur (1956), Shakuntala (1961), Pratidhwani (1964), Lotighoti (1966), Chikmik Bijuli (1969), For Whom the Sun Shines (1974), Mon Projapati (1979), and Swikarokti (1986). His acting was natural and unpretentious, often portraying characters that embodied the cultural spirit of Assam.