Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Sedin dujone dulechhinu bone

Posted on: May 26, 2020

This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in If this article appears in other sites without the knowledge and consent of the web administrator of, then it is piracy of the copyright content of and is a punishable offence under the existing laws.

Blog Day: 4330 Post No.: 15624

Bangla Song in Hindi Films-2
‘Basu (Bhattacharya) used to be fired up by one-liners. He drew stories from one-line coming from his fertile mind’ thus said Rinki Roy Bhattacharya, daughter of Bimal Roy and the ex-wife of the late Basu Bhattacharya in an interview. After going through the interviews of Rinki Roy Bhattacharya and Gulzar who had been associated with Basu Bhattacharya, I have come with my own one-liner about Basu Bhattacharya. He made high quality films with low budget. His first film as a producer-director, ‘Uski Kahaani’ (1966) was made with a budget of lakh only.

How did Basu Bhattacharya managed to produce and direct low budget films? Except the lead actors, he took his close friends as side actors, lyricists, music director and technicians with a tacit understanding that they will work within his low budget. And none of them seems to mind it as they kept their personal friendship above the professional relationship. He did not shoot the film in a studio but hired flats for shooting. For example, he majorly shot ‘Anubhav’ (1971) in Tanuja’s flat. ‘Aavishkar’ (1974) was majorly shot in his own flat at Khar.

Basu Bhattacharya (1934 -1997) was born in a priestly family in Kassim Bazar of Murshidabad district in West Bengal. From his teenage days, he was fond of watching films which led to his interest in film-related works. After watching Satyajit Ray’s ‘Aparajito’ (1956), he developed interest in film making. After the decline of New Theatres, some artists, technicians moved to Bombay (Mumbai) in early 1950s who were mostly accommodated either by Shashidhar Mukherjee of Filmistan or Bimal Roy. Basu Bhattacharya was so much influenced by Raj Kapoor’s films ‘Aawaara’ (1951) and ‘Shri 420’ (1956) that he came to Bombay (Mumbai) in 1956 with the sole intention of assisting Raj Kapoor. When his efforts to get entry into R K Studios failed, he joined Bimal Roy Productions as an Assistant to Bimal Roy for Madhumati (1958) and ‘Sujata’ (1959). He became the second unit Director for Bimal Roy’s film, ‘Parakh’ (1960).

During the making of ‘Parakh’ (1960), Basu Bhattacharya and Rinki Roy, Bimal Roy’s elder daughter developed liking for each other which was resented by her parents. After the completion of ‘Parakh’ (1960), Basu Bhattacharya left Bimal Roy Productions and became a free-lancer. Rinki Roy and Basu Bhattacharya got married in a court some time in 1963. Soon after the marriage, Basu Bhattachraya was entrusted with directing Shailendra’s maiden film, ‘Teesri Kasam’ (1966). With this film, Basu Bhattacharya got opportunity to direct Raj Kapoor to whom 10 years back, he was keen to assist him.

Basu Bhattacharya turned producer with the film ‘Uski Kahaani’ (1966) which he also directed. Thereafter, he concentrated his three films – a trilogy of marital discords in an urban setting – ‘Anubhav’ (1971), ‘Aavishkar’ (1974) and ‘Grih Pravesh’ (1979). All these films portray the struggle of the husband and wife to protect their marriage despite a third person entering into their married life. At the end, it is mutual realization that a happy home is the platform for a happy married life. In between, Basu Bhattacharya produced and directed ‘Tumhaara Kalloo’ (1975) which dealt with the importance of education in a village setting.

Basu Bhattacharya’s next film, ‘Anand Mahal’ (1977) was based on Badal Sarkar’s popular Bangla play, ‘Ballavpurer Roopkathaa’ which he produced and directed. The film was completed but remained unreleased. Dinesh Shankar Shailendra, younger son of the late Shailendra who was assisting Basu Bhattacharya in the film, very recently revealed on his facebook page that after editing work was over, Salil Chowdhury started composing background music. After completing the background music work, Salil Chowdhury told Basu Bhattacharya that it was a bad film which was shot like a play. He said that the release of the film would harm his reputation as a director. After listening to the flaws in the film in detail, Basu Bhattacharya accepted Salil Chowdhury’s advice and decided not to release the film.

During his life time, Basu Bhattacharya produced/directed around 15 films which included, in addition to those mentioned in the preceding paragraphs, ‘Daakoo’ (1975), ‘Sangat’ (1976), ‘Madhu Malti’ (1980), ‘Sparsh’ (1980), ‘Ek Saas Zindagi’ (1991) and ‘Aastha’ (1997) which was his last film. Although some of his films were critically acclaimed, almost all of his films did not fare well at the box office. His films, ‘Teesri Kasam’ (1966) and ‘Anubhav’ (1971) received National Awards for Best Film and the Second-Best Film respectively.

While Basu Bhattacharya produced three films on marital discord, his own married life with Rinki Roy Bhattacharya was in doldrum for domestic violence. There are details available in the interview of his ex-wife in the public domain. I feel that Basu Bhattacharya had split personalities – as a film director and as a husband.

Basu Bhattacharya left for the heavenly abode on 27/08/1997.

‘Anubhav’ (1971) was Basu Bhattacharya’s first film of the trilogy of marital discords. The film was made with the assistance of Film Corporation of India (now National Film Development Corporation). The cast included Sanjeev Kumar and Tanuja in lead roles as married couple with Dinesh Thakur as the third person and A K Hangal as the man servant in the household of the couple.

As per Rinki Roy Bhattacharya’s interview, the film started with Pran and Tanuja in the lead role. Some scenes were already shot with Pran. However, after watching the rushes of shots, Basu Bhattacharya decided that the role of an office going husband did not suit Pran. So, he was replaced with Sanjeev Kumar.

I had watched the film many years back (probably on TV) but I failed to recall sequential progression of the story of the film especially as to how the film ended. Recently, I watched the film with HD quality DVD on one of the video sharing platforms. Wow! What a film. After ‘Pyaasa’ (1957), I have immensely enjoyed watching this film in Black and White photography. I feel that the film would not have looked cinematically great if it was made in colour.

‘Anubhav’ (1971) is the story of Meeta (Tanuja), the lonely wife of the workaholic Amar (Sanjeev Kumar) who is the editor of a newspaper. There is not much time for Meeta for the companionship of her husband as he leaves for office early morning and returns late in the night fully exhausted. The one dialogue of Meeta in the film sums up her position in the house when she says to Amar that she felt as if she has been staying in a hotel with all the comforts but nothing for her to do.

She starts rediscovering herself. The first thing she does is that she removes all her servants except Hari (A K Hangal) so that she can keep herself busy with her household work. Now, she is the real in charge of her home. She is able to persuade Amar to spend more time in the house. He hosts parties in the house. Thus, Meeta is able to make him understand the joy of marital bliss.

When things were moving in the right direction for Amar and Meeta, one day, Shashi Bhushan (Dinesh Thakur) comes to meet Meeta without any prior intimation. He was Meeta’s first lover to whom she has forgotten after her marriage. In fact, he has come to get her recommendation for a job at Amar’s office where he has given an interview. He has no intention of reviving his love interest when Meeta seems to be very happy with her married life. She refuses to recommend his case by telling him that she does not interfere in Amar’s office matters. However, Shashi Bhushan does get a job at Amar’s office and in due course of time, he becomes his right- hand man.

When Amar comes to know about the past of Shashi being a lover of Meeta, his male ego creates a storm in their married life. Some time the discord in their married life is open in the presence of Shashi who often visits Amar in his house for office related work. At last, Amar in the fists of anger asks Shashi to resign from the job. But Shashi has already decided to leave the job when he comes to know that he has become the reason for marital discord between Amar and Meeta. When Amar reads the resignation letter of Shashi, he has change of heart. He rejects his resignation letter and ask him to continue the work.

After the resignation drama, there is an apt dialogue between Shashi and Amar. Shashi says ‘mujhe pataa nahin, beeta huwa kal aaj hamaare beech kaisa aa gaya.’ (I don’t know how our bygone days have come between us in our present-day life). To which Amar says ‘beeta huwa kal aaj hamaare beech tab hi aata hai jab hum aaj ko puri tarah se jee nahi paate’. (Bygone days between us comes only when we are not able to enjoy fully our present-day life). The film ends with a positive note clearing all the misunderstanding between Amar, Meeta and Shashi and Meeta giving news to Amar of her pregnancy.

The film has been nicely produced with excellence in almost all the major aspects of the film – direction, acting, dialogues, photography, music etc. The background music in the film has been innovatively done with signature tune of Aakashvani and songs being played in the radio etc. I could faintly hear a Bangla song and a Hindi film song, taash ke baawan patte as part of background music.

Another highlight of the film is the excellent picturization of 4 melodious songs set to music by Kanu Roy with a minimal orchestration. I liked the picturization of one of the film’s songs, meri jaan mujhe jaan na kaho. It is to the credit of Basu Bhattacharya that such a romantic song has been picturised just at one place – at one of the closed windows of the house with the background of heavy rains outside the house. With this song, he has proved that an intense romantic mood in the song can be picturised without going to outdoor shooting or even to Switzerland as Yash Chopra may have done with similar situation. And what a play of words by Gulzar! The words ‘jaan’ has been used both as ‘love’ as well as ‘life’.

All the 4 songs of ‘Anubhav’ (1971) have been covered in the Blog. But there is one more song, a Bangla song ‘sedin dujone dulechhinu bone’, a Tagore song which is rendered by and picturised on Subir Sen. The occasion is a party hosted by Amar in his house in which Subir Sen, (in the role of Subir Sen, the singer) is also invited. The lyrics and the tune are by Gurudev Rabindranath Tagore which he composed in 1922. In this song, no orchestration has been used except the harmonium.

I have taken the lyrics, Hindi poetic translation and English translation of the song from I was surprised to note that the Hindi poetic translation was composed in the same metre as Tagore Song. So one can sing Hindi translated song in the tune used for Bangla song.

S D Burman has used the tune of this Tagore song in naina deewaane ek nahin maane from the film ‘Afsar’ (1950).

Acknowledgements for the sources of information on Basu Bhattacharya: (1) Interview of Rinki Roy Bhattacharya by Sonal Pandya published in ‘Cinestan’, Feb 04, 2018 and (2) Interview of Gulzar published in a old issue of ‘Filmfare’, republished in

Video Clip:

Song-Sedin dujone dulechhinu bone (Anubhav)(1971) Singer-Subir Sen, Lyrics-Rabindranath Tagore, MD-Rabindranath Tagore

Lyrics (Sourced from

sedin dujone dulechhinu bone
phulodore bandhaa jhulonaa
sei sritituku kobhu khone khone
jeno jaage mone bhulo na
bhulo na
bhulo na..aa
sedin dujone dulechhinu bone
phulodore baandhaa jhulonaa
se din baatase chhilo tumi jaano
aamari monero prolapo joraano,
se din baatase chhilo tumi jaano
aamari monero prolapo joraano,
aakashe aakashe aachhilo chhoraano
tomaro haasiro tulona
bhulo na
bhulo na
bhulo na
sedin dujone dulechhinu bone
phulodore baandhaa jhulonaa

jete jete paathe poornima raate
chaand uthechhilo gaagone
dekha hoyechhilo tomaate aamate
ki jaani ki mahalagone
ekhon aamar bela naahi aar….

Lines not covered in the song

bohibo ekaaki birohero bhaar –
Bnaadhinu je raakhi porane tomar se
raakhi khulo na khulo na

Hindi Poetic Translation
(Sourced from
वो दिन सुहाना-फुलडोर-बंधे
झूले थे हम वन में झूलना ॥
छोटी-मोटी वो यादें मन में जो जागे
पल वो हम कभी भूले-ना, भूलें-ना ॥

उस दिन हवा में, तुमने भी माना
पागल-वन मेरे, मन का सामाना ।
नीले नीले नभ ने, हरष छा जाता,
तेरे ही हँसी की तुलना ।
भूलो ना, भूलो ना, भूलो ना ॥

राह पे हमराही रात पूनम थी,
चांद चमका नभ में
न जाने वो कौन सी महालगन में
हम ओर तुम थे मिले

(जब) चांद चमकता नभ पे
अब वो बेला बीत चली
बार विरह के सहुं अकेले ।
जो राखी बांधे मैंने प्राण संग तेरे
वो राखी खुले ना, खुले ना, भुले ना ॥

English Translation (Sourced from

We had had a swing in the forest on the other day,
It was a swing adorned with garlands.
Wish we do not lose that tiny remembrance which looms about every now and then.

The air was filled with, you know, the meaningless words of my mind,
The sky (was) sprinkled with samples of your smile.
The moon was seen to rise in the sky on the full-moon day while strolling.
Just have no idea of the divine moment on which we had had met each other.

Now I have no time left, and will bear the feeling of solitude alone in myself-

(Please be kind enough) Not to shed the friendship band that (I had) tied with your soul.

11 Responses to "Sedin dujone dulechhinu bone"

Sadanand Ji.
Liked your post. Pleased to read about Basu Bhattacharya’s journey in Hindi filmdom. Thanks also for Hindi & English translation of the song which enhanced my listening pleasure.
Sharing an amusing moment while watching’ ‘Aavishkar’.
Perhaps already burdened with slow pace of the movie, somewhere towards the later part at a point when the camera moved towards the sky slowly,, many in the audience got up to leave thinking the movie ended, and when the next scene started to unfold after a while, some came back and there was a loud chuckle in the theater.

Liked by 1 person

Thanks Satish ji,
The new wave films’ directors expect the audience to assume or interpret ending scenes of their films. In ‘Anubhave’ (1979), I had exactly the opposite of how the audience had reacted in ‘Aavishkar’ (1974). The last scene of Sanjeev Kumar and Tanuja gets dissolved from one scene to another. I was expecting, there will be one more scene to end the film. But no, in the background comes the announcement on the radio ‘iss samay raat ke teek saade gyaarah baje hain. Ab hammari aaj ki antim sabha samapt hoti hai…..Namaskar’.

Liked by 1 person

Thanks Sadanand ji for the informative post about Basu Bhattacharya, enjoyed reading very much




A very informative and engrossing post. Thanks, Sadanand ji.




Sadanand ji,

Excellent narration of both the movie as well as the life and times of the director.





Thank you for this song and its translation and meaning.




I was pleasantly surprised to find that this song was first rendered by Kanan Devi in Bangla film ‘Anirvan’ (1948). Audio clip of the song:


Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

This site uses Akismet to reduce spam. Learn how your comment data is processed.

What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over FOURTEEN years. This blog has over 17200 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2022) The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed


Number of movies covered in the blog

Movies with all their songs covered =1334
Total Number of movies covered=4626

Total visits so far

  • 15,540,096 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,971 other followers


Bookmark and Share

Category of songs

Current Visitors

Historical dates

Blog Start date: 19 july 2008

Active for more than 5000 days.



visitors whereabouts



Music Blogs - BlogCatalog Blog Directory
%d bloggers like this: