| 4 | | Second-generation Bengali-Hindi composer (after Rai Chand Boral and Pankaj Mullick) born in Mymensingh (now Bangladesh). Studied music under his father Atul Ghatak and later under Keshab Ganesh Dhekan, becoming a noted flautist. Sang on radio (1930). Assisted composer Bishen Chand Boral in Hiren Bose’s Mahua (1934) at New Theatres, and then Rai Chand Boral for the classic Bidyapati/ Vidyapati (1937). First independent film score: Payer Dhulo. Later worked at Sagar Film in Bombay, composing Zia Sarhadi’s Bhole Bhale and a series of films for Badami, Luhar et al. (1939). Returned to Calcutta, notably for Barua’s Shapmukti; thereafter had assignments in both Calcutta and Lahore. Known for his wide range, from the sentimental Ekti paisa dao go babu in Shapmukti to the experimental Gane more kon indradhanu in Agni Pareeksha. |
| | 4 | Second-generation Bengali-Hindi composer (after [[Rai Chand Boral]] and [[Pankaj Mullick]]) born in Mymensingh (now Bangladesh). Studied music under his father Atul Ghatak and later under Keshab Ganesh Dhekan, becoming a noted flautist. Sang on radio (1930). Assisted composer Bishen Chand Boral in Hiren Bose’s Mahua (1934) at [[New Theatres]], and then Rai Chand Boral for the classic [[Bidyapati/ Vidyapati]] (1937). First independent film score: Payer Dhulo. Later worked at [[Sagar Film]] in Bombay, composing [[Zia Sarhadi]]’s Bhole Bhale and a series of films for [[Badami, Luhar]] et al. (1939). Returned to Calcutta, notably for Barua’s Shapmukti; thereafter had assignments in both Calcutta and Lahore. Known for his wide range, from the sentimental Ekti paisa dao go babu in Shapmukti to the experimental Gane more kon indradhanu in Agni Pareeksha. |