Nayyar in shaping Asha rather than wait for Geeta. But due to her troubled marriage, Geeta was not able to practice in the style required by Burman who was a hard taskmaster regarding rehearsals. After all Geeta was a mature singer while Asha was still raw. In fact, in 1958, when he fell out with Lata Mangeshkar, Burmanda was looking to make Geeta his main singer rather than the upcoming Asha Bhosle. This was the time when one heard complaints from music directors about her not being easily available for rehearsals and recordings. She was to be launched as a singing star and it was to be India's first film in cinemascope but the film was shelved after just a few days of shooting. To quieten things down, Guru Dutt launched a film Gauri (1957) with her in the lead. The breaking up of her marriage also began giving repercussions on her career. Guru Dutt had gotten romantically involved with his new leading lady Waheeda Rehman. However by 1957, Geeta's marriage had run through rough weather and was on the rocks. who got Geeta to stop being overly emotional in sad songs. Under his freewheeling baton, Geeta developed into a really hep singer who could belt out any number - soft, sultry, happy, snappy, romantic, teasing or tragic. Nayyar had developed the side of Geeta which had emerged with Baazi. In fact, no female singer has better articulated the spirit of Burmanda's music in its early years. He effectively used the Bengali lilt in her voice memorably in films like Devdas (1955) and Pyaasa (1957). Burman was amongst the earliest to discover the magic in her voice with Do Bhai. Geeta went on to sing some of her best songs in his films while continuing to sing in various outside assignments as well. They had to overcome a lot of family oppostition to marry. Thus blossomed a romance and they became engaged. From then on in the 1950s for a club dance and a seductive song, was the first choice was Geeta.ĭuring the recording of a song, she met the young and upcoming director of the film, Guru Dutt. The sex appeal in her voice and the ease with which she went western was marvelous to behold. The jazzy musical score of the film by SD Burman created a new facet in Geeta's singing. Initially, Geeta was a singer well known for singing bhajans and weepy, sad songs, but 1951 saw the release of Baazi. Though relegated to the second spot, Geeta managed to hold her own against Lata for more than a decade, and she and Lata became the premier female playback singers of the 1950s. Only two playback singers managed to survive Lata's onslaught in the 1950s. The music of that film clicked in a big way and Geeta became a top playback singer.ġ947 - 1949 saw Geeta as the number one playback singer in the Bombay film industry as she moved from strength to strength. Her major assignment was in the following year with Do Bhai. But her rendering of those two lines stood out and astonished everybody in the recording studio. He launched her in a chorus song in Bhakht Prahlad (1946), where she sang only two lines. Over there in their modest flat at Dadar, composer/music director Hanuman Prasad, overheard her singing casually and agreed to impart her training in singing. In 1942, her parents shifted to a Dadar apartment in Bombay when she was twelve. Geeta Dutt was born into a rich zamindaar's family as Geeta Ghosh Roy Chowdhuri in Faridpur, East Bengal in 1930. Geeta Dutt (Bengali: à¦-ীতা দতà§à¦¤) (Novem– July 20, 1972) was an Indian playback singer, considered one of the best to have hit the Indian film world.
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