There was no voice like that of Geeta Dutt—melodious, earthy, and with a sensuality that does not evoke lust but love, admiration, awe, and a deep yearning. At the same time, there was a sadness in that voice, the same sadness that Meena Kumari had. Anyway, both of them share much more than just a voice; they share the fate of a broken heart and an untimely death. On the death anniversary of Geeta Dutt, let’s look into her life.
when an unknown printer took a galley of type and scrambled it to make a type area specimen book It has survived not only five centuries.but also the leap introduce electronic typesetting, remaining essentially unchanged.
Willum Skeener
Geeta Dutt was born Geeta Ghosh Roy Chowdhuri on November 23, 1930, in Faridpur, which is now in Bangladesh, into an affluent family of land owners. Her family moved from Bengal to Calcutta, then to Assam, eventually settling in Bombay in the early 1940s.
In Mumbai, Geeta’s melodious voice caught the attention of music director K. Hanuman Prasad, who decided to give young Geeta music lessons to improve her singing technique. He also gave her a break in the 1946 film “Bhakta Prahlad,” where she sang in chorus. But before this, Geeta sang “Aayi Baloonwali Aayi Re,” “O Mere Mann Ke Meet Aa,” in “Adhar (1945)” under S.N. Tripathi, “Vandan Kare Ri Sakhi” in “Shri Krishnarjun Yuddh (1945)” under Jagannath Prakash, and “ab Chand Jawan Hoga” in “Bairam Khan (1946)” under Master Ghulam Haider.
She then sang in films like Circus King (1946), Flying Prince (1946), Kashmir Ki Kali (1946), Manasarovar (1946), Milan (1946), Nai Maa (1946), Rasili (1946), Bhookh (1947), and Dil Ki Rani (1947).
Geeta Dutt’s major breakthrough came with the film “Do Bhai (1947),” under the music direction of S. D. Burman. The film’s songs, such as “Mera Sundar Sapna Beet Gaya,” “Yaad Karoge Yaad Karoge,” and “Hamen Chhod Piya Kis Desh Gaye,” established her as a prominent playback singer. Geeta Dutt then sang songs like “Watan Ki Maati Haath Mein Lekar Maathe Tilak Laga Lo (Gaon, 1947),” “Aaja Bedardi Baalma (Shaheed, 1948),” “Yeh Kaisi Dillagi Hai (Amar Kahani),” “Kyun Karta Maan Jawani Ka (Naach, 1949),” “Kismat Mein Bichhadna Tha (Shabnam, 1949),” “Khayalon Mein Kisi Ke Is Tarah Aaya Nahin Karte (Bawre Nain, 1950),” and many more.
One of Geeta Dutt’s most notable film albums in her early career was Dilip Kumar’s Nargis starrer “Jogan,” where she sang Meera Bhajans under the music direction of Bulo C. Rani. The film’s bhajans, such as “Eri Main To Prem Diwani,” “Gend Kheloon Gend Kheloon Kanha Ke Sang,” “Ghunghat Ke Pat Khol,” “Main To Girdhar Ke Ghar Jaaoon,” “Mat Ja Mat Ja Jogi,” “Sakhi Ri Chitchor Nahin Aaye,” “Uthat Chale Avdhoot,” and “Pyare Darshan Deejo Aaj,” are considered the land mark in Indian cinema.
Her career and life took a turn when she first worked with future husband Guru Dutt in “Baazi (1951),” where she sang “Aaj Ki Raat Piya Dil Na Todo,” “Dekh Ke Akeli Mohe Barkha Sataye,” “Suno Gajar Kya Gaaye,” and “Tadbeer Se Bigdi Hui Taqdeer Bana Le.” The films she did with Guru Dutt are a highlight of her career, especially “Aar Paar (1954),” which has songs like “Ja Ja Ja Ja Bewafa,” “Babuji Dheere Chalna,” “Ye Lo Main Haari Piya,” and “Sun Sun, Sun Sun Zalima.” “Mr. & Mrs. ’55 (1955)” has “Jaane Kahan Mera Jigar Gaya Ji,” “C.I.D. (1956),” where she sang “Yeh Hai Bombay Meri Jaan,” “Jaata Kahaan Hai Dewaane,” and “Aankhon Hi Aankhon Mein.” “Pyaasa (1957)” has “Aaj Sajan Mohe Ang Lagalo,” “Ham Aapki Aankhon Me,” and “Jaane Kya Tune Kahi.” “Kaagaz Ke Phool (1959)” has “Waqt Ne Kiya Kya Haseen Sitam” and “Balam Se Milan Hoga, Sharmaane Ke Din Aaey” in “Chaudhvin Ka Chand (1960).”
Her unique voice, capable of expressing a range of emotions, made her a favourite among music directors and the public alike. From sorrowful ballads to peppy numbers, Geeta Dutt lent her voice to a variety of genres, showcasing her versatility as a singer.
Some of her other notable songs include “Jai Jagdish Hare (Aanad Math).” “Dekho Jadoo Bhare More Nain,” “Na Fiza Hoon Main,” (Aasman),” “De Bhi Chuke Hum Dil (Jaal),” “Darshan Pyasi Aayi Daasi,” “Dharti Se Door Gore Baadalon Ke Paar Aaja,” (Sangdil),” “Aa Jaan-E-Wafa (Anarkali),” “Kaise Koyi Jiye Zeher Hai Zindag (Baadbaan),” “Daaman Na Chhuda Yun Door Na Kar (Lakeeren),” “Aan Milo Shyam Saanwre (Devdas),” “Ae Dil Mujhe Bata De (Bhai Bhai),” “Tumhi Ne Dard Diya Hai (Chhoo Mantar),” “Hum Panchhi Mastane (Dekh Kabira Roya),” “Mera Naam Chin Chin Chu (Howrah Bridge),” “Ankhiyan Bhool Gayi Hain Sona (Goonj Uthi Shehnai),” “Jaanu Jaanu Ri (Insan Jaag Utha),” Nanhi Kali Sone Chali Hawa Dheere Aana,” “Bachpan Ke Din Bhi Kya Din The” (Sujata), “Hum Bhi Hain Tum Bhi Ho (Jis Desh Men Ganga Behti Hai),” “Rimjhim Ke Tarane Leke Aayi Barsaat (Kala Bazar),” “Teri Taqdeer Ka Sitara (Zabak),” and many more.
In “Sahib, Biwi Aur Ghulam (1962),” with music by Hemant Kumar and lyrics from Shakeel Badayuni, Geeta sang “Piya Aiso Jiya Men Samaya Gao,” “Na Jao Saiyan Chhuda Ke Baiyan,” and “Chale Aao Chale Aao,” which depict the various phases of Chhoti Bahu’s life, from love to longing to despair. These songs, which are integral to the film’s atmosphere, are not just melodious but also carry the narrative forward, reflecting the inner turmoil of the characters. The film’s story is a shadow of Indian cinema’s two greatest artists, “Geeta Dutt and Meena Kumari,” who both gave their hearts and souls to the film.
In 1953, Geeta married Guru Dutt, a rising director in the Indian film industry, after meeting him during the recording of songs for the movie ‘Baazi’. Their union was blessed with three children: Tarun (born 1954), Arun (born 1956), and Nina Dutt (born 1962). Their marriage was initially a harmonious blend of two creative individuals. However, their marital bliss was short-lived. The couple faced personal turmoil, exacerbated by Guru Dutt’s intense involvement in his work and his bouts of depression. Geeta and Guru’s involvement with alcohol was also a big problem in their lives. There were times when Geeta’s relationship with Guru Dutt was at an all-time low, and she was drowning in alcohol.
Apart from these, Guru Dutt’s much-publicised working and personal relationship with Waheeda Rahman also became a source of conflict between them. Despite so much media scrutiny, Guru Dutt and Waheeda both remained tight-lipped about their relationship. Waheeda Rahman always thinks of him as a guru, mentor, and dear friend who understood her.
According to Guru Dutt’s sister, Lalita Lajmi, Waheeda was “unnecessarily blamed for Guru Dutt’s disturbed marriage.” He considered her his muse—nothing much. She adds that he was not an alcoholic, contrary to the media’s portrayal.
Their lives may have been back on track, but Guru Dutt’s untimely death in 1964 had a profound impact on Geeta’s personal and professional lives. She had a mental breakdown and went deep into depression and self-pity. She withdrew from the outside world completely for a long time. In the meantime, her already dwindling film singing career came to a sad end.
Although she was not singing in films, she continued to perform at Durga Puja and even did a few stage shows. She even acted in Dilip Nag’s Bengali movie, “Badhu Baran” (1967), with Abhi Bhattacharya, Rakhi, Ajoy Biswas, and Pradeep Kumar.
In this period, one of her rare songs came in Basu Bhattacharya’s first movie, Uski Kahani (1966). The song was “Aaj ki kaali ghata,” under the music direction of Kanu Roy and written by Kaifi Azmi.
Geeta Dutt’s last film as a singer was Basu Bhattcharya’s Anubhav (1971). Under Kanu Roy’s direction, Geeta Dutt sang “Koi Chupke Se Aake,” “Mera Dil Jo Mera Hota,” and “Meri Jaan Mujhe Jaan Na Kaho.”
One of her most beautiful songs, “Lat Uljhi Hai Suljha De More Balma,” came in “Insan Aur Insaan,” which has a delayed release.
Geeta Dutt passed away on July 20, 1972, but her voice continues to resonate with music lovers around the world. Her songs remain timeless, and her influence on Indian cinema and music is indelible. Geeta Dutt’s personal struggles are a poignant reminder of the human behind the voice—a woman who faced life’s highs and lows with resilience.
