GEETA DUTT - The Ethereal Voice

- Rajesh Subramanian

Geeta Dutt’s voice had a mesmerizing effect. Her songs continue to enthrall listeners even forty years after her death.

When she rendered ‘Thandi hawa kali ghata’, you could feel the cool breeze caressing your ears. Her nectarous ‘Nanhi pari sone chali’ is undoubtedly the best lullaby in Hindi cinema and when she sang the haunting ‘Koi door se awaaz de’, you definitely get goose bumps. Geeta Dutt or Geeta Roy was endowed with that intrinsic vocal quality that she glided through the tune. Whatever sang appealed to our auditory senses. Film and music critic Subhash K Jha, aptly defined "Geta Dutt's voice conveys the sweetness of honey and the pain of the bee sting."

                    

Born in Faridpur, East Bengal to a wealthy zamindar, Geeta Ghosh Roy Chowdhuri was one of the ten children. After the family shifted to Bombay composer Hanuman Prasad accidentally heard the 12 year old Geeta singing and decided to fine tune her budding talent. In 1946, she got her first break in the mythological film Bhakta Prahlad followed by Raseeli and Nai Maa. 

However, it was under S D Burman’s baton that her singing matured. Her innate talent was judiciously explored by Dada Burman in songs like Mera sundar sapna beet gaya (Do Bhai ), Tadbir se bigdi hui taqdeer (Baazi ),  Aaj sajan mohe ang lagalo (Pyaasa ), Aan milo aan milo (Devdas) and Waqt ne kiya kya haseen sitam (Kagaz Ke Phool). It was during the recordings of Baazi that she met the upcoming director Guru Dutt and their romance blossomed. It was during this phase that she rendered a spectrum of superlative songs like Babuji dheere chalna, Hoon abhie mein jawan, Yeh lo main haari piya, Sun sun zalima, Jata kahan hai diwane, Jaane kahan mera jigar, Mera naam chin chin, Ae dil hai mushkil, Kaisa jadoo balam with such vivacious verve and velvety swiftness that she created a melodious wave. The sex appeal in her voice and the ease with which she went western was a commendable feat. If she lent her voice for S D Burman and O P Nayyar’s classic compositions then there were scores by other composers like Ae dil mujhe bata de (Madan Mohan), Na jaao saiyaan and Piya aiso jiya mein (Hemant Kumar), Mujhe jaan nah kaho meri jaan (Kanu Roy) and Khayalon mein kisi ki (Roshan) that became immensely popular.

     By 1957, Geeta and Guru Dutt’s domestic scenario had turned ugly with their marriage running into rough weather. The genius director’s close association with actress Waheeda Rehman led to frequent arguments between the couple and finally their marital relation cracked. It had a drastic effect on Geeta Dutt’s career. She started neglecting her daily riyaz and soon word spread in the industry that she was not easily available for recordings or rehearsals. Music directors who once gave her regular work started distancing themselves once they found alternative singers. This was also the phase when she found solace in alcohol. On October 10^th 1964, Guru Dutt died. It was reported that the cause of death was accidental due to an overdose of sleeping pills in his drink. However, the actual reason of his death remains a mystery till date. Geeta was shattered and suffered a nervous breakdown. By the time she recovered she found herself in a financial mayhem. Recording assignments had dwindled drastically. She started doing stage shows. Even acted in a Bengali film Badhu Bharan and recorded a durga pooja album. While her health was rapidly deteriorating her dependence for liquor seemed insatiable. 

On 20^th July 1972, Geeta died of cirrhosis of liver. Her last melodious offering to her fans was from Anubhav in which she sang the captivating ‘Koi Chupke Se Aake’ and ‘Mujhe Jaan Na Kaho meri jaan’. She could infuse life and emotion into any composition. Her unique ability to be both sensual yet sensitive gave Geeta Dutt’s voice that extra zing which none of the others had.

@nosstalgiaaathemag