Bajilo Kaharo Bina Madhur Sware; Singer - Sromona Guhathakurata; Movie - Aguntuk

[@souradiptoghoshdastidar]

This rendition has touched my soul profoundly. Usually I don't write such appreciation posts, but if I didn't write this, I would be unjust towards this honest effort. Take a bow, the singer and the arranger. Thank you for such a beautiful presentation.

[@AsadAli-jc5tg]

Bhai, kisi ko appreciate kerna koi buri baat nhi. Capitalism has made us so egoistical, and the Hollywood calls this swag, what a pity! As a Bengali you should rather do away with the Private Property, Classism, Banking System and finally the very notion of State itself.

[@sudeshnabasu5234]

The arranger is none other than SATYAJIT RAY.

[@____-ww5me]

রবীন্দ্রসংগীতের এমন অপূর্ব ব্যবহার, অনবদ্য গায়কী ও অসাধারণ লিপসিং খুব কম রয়েছে ভারতীয় সিনেমায়। 🙏💚

[@pbghosh5305]

অসুস্থ অবস্থায় এই মুভিটা সত্যজিৎ রায় তৈরি করেন। এটাই ওনার করা শেষ ছবি। গানটির প্রয়োগ অনবদ্য। 🙏

[@shahroopjalal908]

এ গানে শিল্পী শ্রমণা গুহঠাকুরতার বিশিষ্টতা বুঝতে আমার ক'দিন সময় লেগেছে, সত‍্য। কিন্তু এখন আমার মন ছুঁয়ে গেছে। তথাপি,প্রমিতা মল্লিক এর কণ্ঠে এই গানটি শ্রবণ করার অনুরোধ জানাই।

[@alipuretimes3625]

অপূর্ব। যখন আগন্তুক সিনেমা দেখি তখন মুগ্ধ হয়েছিলাম।রবীন্দ্রনাথের রচিত এই গানটি বারবার শুনতে ও সিনেমাটি দেখতে ইচ্ছে করে।

[@MB-tx6di]

শ্রমনা দেবীর কণ্ঠস্বরে একটা আশ্চর্য মাদকতা আছে, যখনই এই গানটা শুনতে ইচ্ছা হয়, ওঁনার কণ্ঠেই বার বার শুনি। 🙏 R

[@debankur007]

the brilliance of ray and tagore......

[@tanmoychakraborty1328]

The brilliancy lies in the amazing way of presenting Tagore

[@arnabbanerjee1259]

And the expression of Utpal Dutta

[@AsadAli-jc5tg]

Who's the lyricist? Thakurji?

[@debankur007]

@@AsadAli-jc5tg Yes Rabindranath Thakur.

[@dipanwitadasgupta5897]

কতোবার যে শুনলাম। যতোবার শুনি,নতুন করে ভালো লাগে

[@pinakbanerjee5439]

Thik ak janaye Satayjit ray o Gurudev yer bisseshotto

[@biswajitghatak6793]

One of the best Rabindrasangeets sung by any singers , one of the best rabindsangeets heard by me...

[@Aman-et3rq]

I don't know why this is so addictive? Everything of this song, actor's expression, actress's expression, picturisation, whole setup all of these ❣️❣️❣️ I can't explain my love for this

[@GoutamMukherjee-p9x]

At the request of Manmohan...Anila sitting on a divan with tanpura sings...Bajilo Kaharo Bina Madhur Sware... Close shot of Anila. Then camera moves left ( from viewers' point of view ) closely focuses Monmohan. Then close shot of Anila sings a song possessing soul. Again camera moves left ( from viewers'point of view ) focuses Manmohan enchanted by the song closely (who played upon my secluded life/ Dulcet notes on the Veena ).Then Camera moves touching varieties of home decor. We hear the song of Anila in the soundtrack. Then again close shot of Anila singing the song for her and Manmohan ... Then camera takes mid close shot of left side (from viewers'point ) of Sudhindra, front face of Manmohan and that of Anila feeling found decent expression in her song. Thus 'Satyajit' repeats the shot of the three in one frame with their earlier pose and posture. 'Ray' , simply with his camera movement, makes us understand Sudhindra still in two minds about Manmohan's authenticity as Anila's maternal uncle. Whereas Anila's way of seeing ( ' whose exquisite feet helped my heart/ Blossom like morning lotus ) speaks volumes of the fact he IS her uncle. Thus If we analyse shots of Ray's films in such a way we may conclude how easy to understand him. Among the mentors and masters of World Cinema'Satyajit'is famous for his mid close shot. Here in AGANTUK he allows his camera to move too close to the face of his characters. As if , he wants to see their soul. Like Ingmar Bergman in PERSONA. Only camera moveme suggests where the relationship of the three stands at this point. Thus is the language of cinema in which RAY excels.

[@supradg]

Yes, the brilliance of Tagore and Satyajit Ray

[@chandrasen929]

Mone hochhe jano momota shankar nijei gaichhen ..asadharon ..

[@pinakbanerjee5439]

অসাধারণ গেয়েছেন শিল্পী কাহিনীর পরিবেশের সঙ্গে একদম মানানসই

[@niladrichakraborty9991]

কি মধুর! ! ! মন যেনো ঈশ্বরের ছোঁয়া পায়, এই বুঝি ঈশ্বর ! ! ! ❤❤❤🙏🙏🙏

[@malayanandy3032]

A beauty which will touch your soul, each and every time you hear this...ageless rendition!

[@alaypal7484]

This song clearly shows us the difference of presenting Tagore between ray and rituporno...but none of them is less than other.

[@kingshuk4122]

As a film maker..Satyajit Ray is probably one of the best in the world ever..His name should be in the same bracket with likes of Godard,Truffaut,Bergman, Fellini

[@ayushmanbhattacharjee]

Ray was beyond all

[@AsadAli-jc5tg]

Bhai, I'm a Punjabi. Can I get english subtitles. I thought Punjabi is the only living continuation of Gaul/ Celtic culture, but Bengali Culture also is so beautiful.

[@itsALLartVideos]

Saw this in a film last night, just sat there transfixed.... amazing!

[@tapabratasur9694]

Satyajit Ray's last film

[@aratrikarosy8728]

যতবার শুনি ততবার নুতন লাগে-- চিরায়ত !

[@sumanasengupta3293]

বার বার শুনেও আশ মেটে না। আমার ভীষন ফেভারিট ছবি। বারবার দেখি

[@tonmoybhattacharya4078]

এরম সহজ, সাবেক অথচ নির্মেদ ভাবে রবীন্দ্রসঙ্গীত পাই না কেন!

[@subrataghosh4437]

সত্যিই অনবদ্য ৷

[@SKBhunia]

Ahh, what a beautiful voice!

[@prabirkrghosh9235]

Wonderful rendition which touches d inner soul.

[@elecpron5602]

opurbo...kaan dhonno hoye gelo

[@aneekmukherjee9056]

Apurba.... Asadharan...

[@jharnachakravorty2915]

Enchanted my heart...

[@varon404c5]

Sad to see from the heights Indian art fell

[@Mridhas_Card]

English convent e porar fole Amar banglar dosha bhalo na temon Kintu ei shongeeter ei sholpo sobdho guli jothesto Moner trishna metanor jonne ❤

[@rakachaudhuri6866]

Apurbo Sromona.

[@Soma-o7j]

Ruma dir konne to... Tai hobei to...

[@fowzulazim7048]

অসাধারণ

[@palashbhattacharjee6115]

Aguntak abar eso

[@BongTravel1996]

বেহাগের মাধুর্য্য। ❤️

[@sainikdas3355]

শ্রমণা চক্রবর্তী (গুহঠাকুরতা) সম্পর্কে সত্যজিতের নাতনী।

[@shahroopjalal908]

আপন?

[@sainikdas3355]

@@shahroopjalal908 সতীদেবী বিজয়া রায়ের বড় বোন। সতীদেবীর মেয়ে রুমা গুহঠাকুরতা। তার মেয়ে শ্রমণা।

[@pratikshachatterjee5932]

💜💜💜💜💜💜💜💜💜💜💜💜💜💜💜

[@m7bz]

Sublime

[@atmajitmukherjee724]

অনবদ্য

[@AsadAli-jc5tg]

English subtitles plsssss

[@marklakra2745]

Simply beautiful

[@prajjalroy5018]

🙏🙏

[@rock-mq6nk]

এখানে Tanpura এর স্কেল টা কী?

[@somachatterjee73]

Very nice

[@JahangirAlam-dp4ry]

Awesome

[@pratyushapan8811]

Khub bhalo

[@sharifulislam7303]

♥

[@jyotibhattacharjee3147]

apurba.

[@dams0001]

"Shraman" is strange spelling. I believe she herself uses Sromona Chakraborty which is phonetically close to the Bengali.

[@arijitgupta89]

শ্রমণা

[@shramanamondal4624]

Shramana is more accurate.

[@LK-gx2zg]

hello what is the name of the song and the original singer?

[@sudhinathsarkar2631]

It is a song written by Rabindranath Tagore, the Bengali Indian poet ,winner of Nobel prize for literature in 1913. This can be found in a literary compilation of Tagore,named 'Shephaly'.It has no name. It is open for anyone to sing.

[@somabiswas8650]

Shromona Guha Thakurota...

[@rituparnabiswas5894]

Without instrumentation

[@soumyajitsarkar5353]

তুলনাহীন

[@arunabhaadhikari5651]

"কার দুটি নিরুপম চরণ তরে" অংশটার সুর একটু ব্যতিক্রমী মনে হল। হয়ত বিজয়া রায় এমনই শিখেছিলেন

[@samikchak]

Shromona Guha thakurta

[@mazedurrahaman2307]

এই গানের শিল্পী কে?

[@arijitgupta89]

শ্রমণা গুহঠাকুরতা

[@GoutamMukherjee-p9x]

At the request of Manmohan...Anila sitting on a divan with tanpura sings...Bajilo Kaharo Bina Madhur Sware... Close shot of Anila. Then camera moves left ( from viewers' point of view ) closely focuses Monmohan. Then close shot of Anila sings a song possessing soul. Again camera moves left ( from viewers'point of view ) focuses Manmohan enchanted by the song closely (who played upon my secluded life/ Dulcet notes on the Veena ).Then Camera moves touching varieties of home decor. We hear the song of Anila in the soundtrack. Then again close shot of Anila singing the song for her and Manmohan ... Then camera takes mid close shot of left side (from viewers'point ) of Sudhindra, front face of Manmohan and that of Anila feeling found decent expression in her song. Thus 'Satyajit' repeats the shot of the three in one frame with their earlier pose and posture. 'Ray' , simply with his camera movement, makes us understand Sudhindra still in two minds about Manmohan's authenticity as Anila's maternal uncle. Whereas Anila's way of seeing ( ' whose exquisite feet helped my heart/ Blossom like morning lotus ) speaks volumes of the fact he IS her uncle. Thus If we analyse shots of Ray's films in such a way we may conclude how easy to understand him. Among the mentors and masters of World Cinema'Satyajit'is famous for his mid close shot. Here in AGANTUK he allows his camera to move too close to the face of his characters. As if , he wants to see their soul. Like Ingmar Bergman in PERSONA. Only camera moveme suggests where the relationship of the three stands at this point. Thus is the language of cinema in which RAY excels.

[@GoutamMukherjee-p9x]

At the request of Manmohan...Anila sitting on a divan with tanpura sings...Bajilo Kaharo Bina Madhur Sware... Close shot of Anila. Then camera moves left ( from viewers' point of view ) closely focuses Monmohan. Then close shot of Anila sings a song possessing soul. Again camera moves left ( from viewers'point of view ) focuses Manmohan enchanted by the song closely (who played upon my secluded life/ Dulcet notes on the Veena ).Then Camera moves touching varieties of home decor. We hear the song of Anila in the soundtrack. Then again close shot of Anila singing the song for her and Manmohan ... Then camera takes mid close shot of left side (from viewers'point ) of Sudhindra, front face of Manmohan and that of Anila feeling found decent expression in her song. Thus 'Satyajit' repeats the shot of the three in one frame with their earlier pose and posture. 'Ray' , simply with his camera movement, makes us understand Sudhindra still in two minds about Manmohan's authenticity as Anila's maternal uncle. Whereas Anila's way of seeing ( ' whose exquisite feet helped my heart/ Blossom like morning lotus ) speaks volumes of the fact he IS her uncle. Thus If we analyse shots of Ray's films in such a way we may conclude how easy to understand him. Among the mentors and masters of World Cinema'Satyajit'is famous for his mid close shot. Here in AGANTUK he allows his camera to move too close to the face of his characters. As if , he wants to see their soul. Like Ingmar Bergman in PERSONA. Only camera moveme suggests where the relationship of the three stands at this point. Thus is the language of cinema in which RAY excels.

[@GoutamMukherjee-p9x]

At the request of Manmohan...Anila sitting on a divan with tanpura sings...Bajilo Kaharo Bina Madhur Sware... Close shot of Anila. Then camera moves left ( from viewers' point of view ) closely focuses Monmohan. Then close shot of Anila sings a song possessing soul. Again camera moves left ( from viewers'point of view ) focuses Manmohan enchanted by the song closely (who played upon my secluded life/ Dulcet notes on the Veena ).Then Camera moves touching varieties of home decor. We hear the song of Anila in the soundtrack. Then again close shot of Anila singing the song for her and Manmohan ... Then camera takes mid close shot of left side (from viewers'point ) of Sudhindra, front face of Manmohan and that of Anila feeling found decent expression in her song. Thus 'Satyajit' repeats the shot of the three in one frame with their earlier pose and posture. 'Ray' , simply with his camera movement, makes us understand Sudhindra still in two minds about Manmohan's authenticity as Anila's maternal uncle. Whereas Anila's way of seeing ( ' whose exquisite feet helped my heart/ Blossom like morning lotus ) speaks volumes of the fact he IS her uncle. Thus If we analyse shots of Ray's films in such a way we may conclude how easy to understand him. Among the mentors and masters of World Cinema'Satyajit'is famous for his mid close shot. Here in AGANTUK he allows his camera to move too close to the face of his characters. As if , he wants to see their soul. Like Ingmar Bergman in PERSONA. Only camera moveme suggests where the relationship of the three stands at this point. Thus is the language of cinema in which RAY excels.

[@GoutamMukherjee-p9x]

At the request of Manmohan...Anila sitting on a divan with tanpura sings...Bajilo Kaharo Bina Madhur Sware... Close shot of Anila. Then camera moves left ( from viewers' point of view ) closely focuses Monmohan. Then close shot of Anila sings a song possessing soul. Again camera moves left ( from viewers'point of view ) focuses Manmohan enchanted by the song closely (who played upon my secluded life/ Dulcet notes on the Veena ).Then Camera moves touching varieties of home decor. We hear the song of Anila in the soundtrack. Then again close shot of Anila singing the song for her and Manmohan ... Then camera takes mid close shot of left side (from viewers'point ) of Sudhindra, front face of Manmohan and that of Anila feeling found decent expression in her song. Thus 'Satyajit' repeats the shot of the three in one frame with their earlier pose and posture. 'Ray' , simply with his camera movement, makes us understand Sudhindra still in two minds about Manmohan's authenticity as Anila's maternal uncle. Whereas Anila's way of seeing ( ' whose exquisite feet helped my heart/ Blossom like morning lotus ) speaks volumes of the fact he IS her uncle. Thus If we analyse shots of Ray's films in such a way we may conclude how easy to understand him. Among the mentors and masters of World Cinema'Satyajit'is famous for his mid close shot. Here in AGANTUK he allows his camera to move too close to the face of his characters. As if , he wants to see their soul. Like Ingmar Bergman in PERSONA. Only camera moveme suggests where the relationship of the three stands at this point. Thus is the language of cinema in which RAY excels.

[@GoutamMukherjee-p9x]

At the request of Manmohan...Anila sitting on a divan with tanpura sings...Bajilo Kaharo Bina Madhur Sware... Close shot of Anila. Then camera moves left ( from viewers' point of view ) closely focuses Monmohan. Then close shot of Anila sings a song possessing soul. Again camera moves left ( from viewers'point of view ) focuses Manmohan enchanted by the song closely (who played upon my secluded life/ Dulcet notes on the Veena ).Then Camera moves touching varieties of home decor. We hear the song of Anila in the soundtrack. Then again close shot of Anila singing the song for her and Manmohan ... Then camera takes mid close shot of left side (from viewers'point ) of Sudhindra, front face of Manmohan and that of Anila feeling found decent expression in her song. Thus 'Satyajit' repeats the shot of the three in one frame with their earlier pose and posture. 'Ray' , simply with his camera movement, makes us understand Sudhindra still in two minds about Manmohan's authenticity as Anila's maternal uncle. Whereas Anila's way of seeing ( ' whose exquisite feet helped my heart/ Blossom like morning lotus ) speaks volumes of the fact he IS her uncle. Thus If we analyse shots of Ray's films in such a way we may conclude how easy to understand him. Among the mentors and masters of World Cinema'Satyajit'is famous for his mid close shot. Here in AGANTUK he allows his camera to move too close to the face of his characters. As if , he wants to see their soul. Like Ingmar Bergman in PERSONA. Only camera moveme suggests where the relationship of the three stands at this point. Thus is the language of cinema in which RAY excels.