Saanwra torey naina laage
Posted on: January 31, 2014
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Suchitra Sen – Passing of a Legend
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The one thing that always fascinates me about her, is her eyes. In all the Hindi films that I have seen, and a couple of her Bangla films, the memory that stays in the mind is that of a very beautiful face, adorned with the loveliest of eyes that I can remember. Large, round, full of expressions of life. It is as if the term doe-eyed was coined just for her.
Early morning on 17th January, just over two weeks ago, these beautiful eyes were closed, forever. The glamour girl of Bangla screen breathed her last. The first message came from Bluefire ji, in comments. Taken aback, I immediately checked the news web sites. Alas, the message was true. Whatever one may want to believe, whatever one may desire should happen, this event of life has a finality that has no recourse.
A screen goddess to the hilt, her screen persona has an unfussy feminine charm and a discreet sensuality that has redefined the screen presence of the leading lady. A beautiful, unblemished face which seems to be immersed in a melancholy thought, even when she appears to be smiling. Her eyes give a feeling of a faraway look, even when she is looking directly into the lens. The mesmerizing quality of her face will remain in the images of memory forever. Maybe one day, someone may do this analysis. That her directors have presented her in maximum close up and montage shots, more in comparison to any other leading lady, constructing stunning visuals with the just the presence of her face and the melancholic eyes on the screen.
It is the beauty of her face that created the glamour which captured the hearts of many generations of movie goers, during her active years. And after she withdrew from films and public exposure in 1978, somehow that glamour and the persona just never went out of the onversations. It comes as a surprise to me as I started to read about her, that she retired from active film making in 1978. To me, it seemed as if she never did leave the world of cinema.
Always within awareness of memories, and yet so distant, aloof and reclusive. The one actress who had the temerity of turning down a call from Satyjit Ray – an unthinkable measure. And Ray went ahead to scrap a prepared script and the entire project, because he felt no one else could do the role of ‘Devi Choudhrani’ – a film that eventually never got made. On the Bombay end of this scale, she is supposedly the only artist who refused a role offered by Raj Kapoor. These stories are legend now. Top up these surprises with her impudence to turn down the Dada Saheb Phalke award in 2005. And we have an enigma to decipher, both on screen and in personal life.
A career that is punctuated with interesting turns. Her debut film ‘Shesh Kothaay’ (1952), never did get released. In 1953, she was paired up with a young upcoming Uttam Kumar in “Sharey Chuattor” – a romantic comedy. The film was a runaway success. The audience came and saw this pair, and loved them, and loved them enough to create a phenomena that is unparalleled anywhere in cinematic history. Thirty films together in a span of 20 years of working together – and as the cine journalists have written often, completely redefined the concept of stardom in cinema. The Suchitra-Uttam pair became a genre all by itself, and two actors became icons that have defied the concept of time.
Comes 1955, and Suchitra is called upon by Bimal Roy – her debut on the Hindi screen. She is cast in the role of Paro opposite to Dilip Kumar in the iconic film ‘Devdaas’. By many a measure, Bimal Roy’s version is acclaimed to be the best interpretation of this temperamental tale of love authored by Sarat Babu. And the steely defiance in the demeanor of the on screen Paro turns out to be the best performance in the film. It won her the National Award for best actress that year. A legendary debut, one might say. But then it defies imagination that she performed in just six more Hindi films over the next two and a half decades.
Bangla cinema remained her focus and preference for her entire career from 1952 to 1978, averaging more than 2 films a year, and averaging at least one, sometimes two, films with Uttam Kumar. Every year. Along the way, in 1963, she gained the distinction of being the first Indian actress to be honored at an international film festival, when she won the best actress award at the Moscow Film Festival for her portrayal of a strong willed feminine half of a troubled matrimony in ‘Saat Paake Bandha’. (This film was remade in 1974, in Hindi with the title ‘Kora Kaagaz’ with Jaya Bhaduri assaying the role done by Suchitra Sen in the original, opposite to Vijay Anand.)
One of her best considered performances is her portrayal of the nurse Radha in the 1959 film ‘Deep Jwele Jaaye’. She played the role of a nurse in a psychiatric hospital, wherein the doctor experiments with a progressive method of treating psychiatric patients, by establishing personal relationships with them. Readers will clearly recognize the role when reminded of the Hindi remake of this film by Asit Sen in 1969, titled ‘Khamoshi’, wherein Waheeda Rehman has assayed the nurse’s role, opposite to Dharmendra and Rajesh Khanna.
Suchitra was born Rama Dasgupta, on 6th April 1931 at the Sen Bangabaari village in Pabna district (now in Bangladesh). Her father, Karunamoy Dasgupta was a school teacher. The partition of India in 1947 brought the family to Calcutta. She was 16. The same year, she was married to Dibanath Sen, scion of a wealthy business family. Originally, she was more interested to become a singer, and in fact in 1951, she auditioned for being a playback singer. Instead, director Sukumar Dasgupta offered her an acting role, which she accepted. Thus she came to be an actress. Her husband and her father-in-law supported her decision to work in films.
In later years, there were persistent rumors in print media, about her strained family relations. The rumors were never confirmed. Her husband passed away in 1970. She continued to work even after that. But suddenly, in 1978, she forsook the industry and her career. The decision surprised everyone, for she was still at the peak of her popularity, and was expected to continue for many more years. But just like that, she slipped away from films and from public view. She became a follower of Swami Ramakrishna Paramhans and adopted a life of spiritual and meditative pursuit.
‘Uttar Falguni’ from 1963, was a landmark film directed by Asit Sen. The film told the story of Panna, a lady of the dancing profession, who is determined to ensure that her daughter grows up in a clean and healthy environment away from the circumstantial roots of her mother. In 1966, the film was remade in Hindi titled as ‘Mamta’, wherein Suchitra Sen herself reprised the dual role of Panna and the daughter Suparna. The Hindi version had Ashok Kumar and Dharmendra in the other significant roles. The film and its music had a successful run. The songs created by Majrooh Sb and Roshan are evergreen melodies that are still remembered by lovers of Hindi film songs.
As I had started to write this article, my mind was actually in a despair, for I was not certain what song to present here. The reason being practically all the songs performed by her in the seven Hindi films, are already showcased on this blog. There is one film, ’Sarhad’ (1960) which I have not explored fully. But before going there, I was searching for a memory – a song from the film ‘Mamta’ that does not quite make it to the list of songs of this film. I remembered it from my earlier viewings of the film, and so I went back into my disc collection, pulled out this film and did a quick scan. And yes, this performance is very much there in the film. Then searching for it online, I was glad to find that another kindly soul has already uploaded this.
This piece of music is a traditional classical thumri, that is just about a minute and half in duration. On screen, it is Suchitra Sen in a memorable performance. What she achieves in this ninety seconds of rendition is a tour de force that will leave you breathless and wondering why this could not have been a more complete song. Yes, this is an unlisted piece of music. Not released on record, this is not even listed in the Geet Kosh. Ah but what a superb performance this one is. It is just the eyes, the lips and the smile – and a repeated remonstration of love. The beloved is complaining to the lover, how his glances effect her – “Saanwra, Torey Naina Laage”.
The singing voice is that of Sandhya Mukherjee, who has been the playback alter ego for Suchitra Sen in Bengali cinema. It is ninety seconds of a heavenly experience – the husky rendering of the complain in Sandhya Mukherjee’s voice, and Suchitra Sen’s performance that expresses complete abandon to the feelings contained in the rendered lines. The movement of eyes, the smile, the coy expressions – all combine to make this an oh so delightful an experience. Suchitra Sen at her bewitching best.
It is her eyes that always had me under a spell. I am glad to be able to do this article – my tribute to this glamour goddess, whose forays into Hindi cinema seem dreamlike and elusive. And I am glad I am able to locate this clip – probably the last item of music performed by her on the Hindi screen, to find its place on this blog. A thumri about eyes and glances, that she has performed so effectively, using her eyes. I could not ask for more.
Rest in peace, Suchitra Sen – and be beautiful, forever.
Song-Saanwra torey naina laage (Mamta)(1966) Singer-Sandhya Mukherji, Lyrics-Majrooh Sultanpuri, MD-Roshan
Lyrics
torey naina laage
laage
torey naina laage
saanwraa. . aa
saanwraa
saanw. . a. . raa. . .
saa. . . nwraa
saanw. . raa. .
torey naina laage
torey naina la. . . aage
torey naina laage
torey naina la. . . aa. . aage
tore. .ey. . ey nainaa
nainaa. . la. . . aa. . aage
saanwraa
saa. . . nwraa
saanwraa re
torey naina la. . . aa. . aage
nainaa. . la. . . aage
torey naina laage
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Hindi script lyrics (Provided by Sudhir)
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तोरे नैना लागे
लागे
तोरे नैना लागे
सांवरा ॰ ॰ आs
सांवरा
सांव ॰ अs ॰ राss
साss ॰ ॰ आंवरा
सांव ॰ ॰ राss
तोरे नैना लागे
तोरे नैना लाss ॰ ॰ आगे
तोरे नैना लागे
तोरे नैना लाss ॰ ॰ आss ॰ ॰ आगे
तोरे ॰ ॰ ऐ ॰ ॰ ऐ नैना
नैना लाss ॰ ॰ आss ॰ ॰ आगे
सांवरा
साss ॰ ॰ आंवरा
सांवरा रे
तोरे नैना लाss ॰ ॰ आss ॰ ॰ आगे
नैना लाss ॰ ॰ आगे
तोरे नैना लागे
8 Responses to "Saanwra torey naina laage"
January 31, 2014 at 1:22 pm
I have no words to express my gratitude for this beautiful write up to pay rich tributes to Suchitra Sen. Thanks.
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January 31, 2014 at 1:22 pm
This article is also that mesmerizing and lovely ….
thanks for this beautiful post !
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January 31, 2014 at 5:32 pm
Wah! Mamta had such beautiful songs. Very underrated Roshan was! Thanks Sudhir Ji.
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February 1, 2014 at 7:53 am
Sudhirji,
Congratulations for an excellent write-up, and this beautiful song I am hearing for the first time.
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February 9, 2014 at 5:34 pm
What a beautiful piece of music, sheer magic….
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February 10, 2014 at 2:37 am
AK ji, Prakash ji, Usha ji, Avinash ji, Umesh ji, Satyajit ji and Shenoy Sb,
Thanks to all for your kind words of appreciation. 🙂
Rgds
Sudhir
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
January 31, 2014 at 1:21 pm
Sudhir ji
Thank you very much for this rich tribute and I am waiting for a tribute to Late Farooque Sheikh from you.
Regards and Love
Prakash
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