Introduction
Bengali music directors comprise of some of the most talented people in the history of Indian cinema, especially Bengali cinema. Over the years these personalities have consistently delivered impressive work that has stayed on among the people for years. The early stages of Bengali film music saw the rise of stalwarts like Raichand Baral, Pankaj Mullick, Krishna Chandra Dey, Kundan Lal Saigal and others. While some of the songs were based on Indian classical music, others were so melodious that they are hummed even today. A number of mythological films were also made initially. These films pelted out devotional numbers. The Bengali cinema lyricists were equally talented. As a result, the combination of songs and lyrics had an outstanding effect.
Stalwarts of Music in Bengali Cinema
In the films of Uttam Kumar, Suchitra Sen, Anil Chatterjee, Soumitra Chatterjee, Tanuja, Swaroop Dutta and others, soul stirring songs were quite prevalent. Songs like "Ei Poth Jodi Na Sesh Hoe," "Ei Raat Tomar Amar"(music by Hemanta Mukherjee), "Gaane Bhuban Bhoriye Debe," "Dole Dodul Dole" (music by Shyamal Mitra) and others are popular with the young generation too. The timeless songs of Rabindranath Tagore were a constant source of inspiration for the Bengali music directors. Filmmakers like Satyajit Ray and Ritwik Ghatak used the poet laurel`s songs in their films. "Ami Chini Go Chini Tomare," "Je Raate Mor Duar Gulo," and others are some of the Rabindra Sangeet being used in these films.
Apart from the regular Bengali music directors, classical musicians were have also contributed to enrich the Bengali film music. Indian classical music maestros, such as, Pandit Ravi Shankar, Ali Akbar Khan, Vilayat Khan and Bahadur Khan have also composed music for the Bengali films. Some of the film directors, like Satyajit Ray, themselves often provided music for their films.
Early Music Directors of Bengali Cinema
Music in early Bengali cinema was deeply rooted in traditional themes and melodic frameworks. Renowned composers and music directors of the era drew extensively from classical and folk idioms, creating timeless compositions that blended sophistication with familiarity. These works not only defined the music of early Bengali films but also continue to resonate with audiences today.
Kamal Dasgupta: Kamal Dasgupta was a prominent Bengali music director, lyricist, composer, and folk artist who was active in both Hindi and Bengali cinema, particularly during pre-partition British India. His musical style was deeply influenced by raga-based compositions and thumri, which formed the core elements of his work. Over the course of his career, he composed music for several cult classics in both Bengali and Hindi films. His contributions to Bengali cinema include notable works such as Shesh Uttar (1942), Garmil (1942), Malancha (1952), Sandhan (1953), Madhu Malati (1956), Bodhu Baran (1967), among many others. In Hindi cinema, his musical legacy includes films such as Megdoot (1945), Iran Ki Ek Raat (1949), Phulwari (1951), and several more.
Nachiketa Ghosh: Nachiketa Ghosh was an Indian music director known for his contributions to Bengali, Hindi, and Oriya music. He composed memorable soundtracks for several iconic films, leaving a lasting imprint on Indian cinema. Among the notable movies for which he created music are Dhanyi Meye (1971), Stree (1972), Nanigopaler Biye (1973), Mouchak (1974), Priyo Bandhabi (1975), Ananda Mela (1976), along with many others.
Bhupen Hazarika: Bhupen Hazarika, widely known as Sudha Kantha, was an Indian singer, songwriter, writer, filmmaker, and politician from Assam. His musical and literary work was primarily rooted in the Assamese language and was distinguished by themes of humanity and universal brotherhood. Many of his songs were translated into other languages, most notably Bengali and Hindi, allowing his message to reach a wider audience. Centered on ideals of communal harmony, universal justice, and empathy, his compositions gained timeless popularity across Assam, West Bengal, and Bangladesh. In addition to his work as a lyricist and singer, he also served as a music director for several films, including Mahut Bandhu Re, Chik Mik Bijuli, Mon-Prajapati, Swikarokti, Siraj, and many others.
R. D. Burman: Rahul Dev Burman, popularly known as R. D. Burman, was an Indian music director and singer widely regarded as one of the most influential and successful composers in the Hindi film music industry. Between the 1960s and the 1990s, he composed musical scores for 331 films, introducing innovative orchestration and ensemble techniques that transformed the soundscape of Indian cinema.
Burman collaborated extensively with legendary playback singers such as Kishore Kumar, Lata Mangeshkar, Asha Bhosle, and Mohammed Rafi, producing some of the most memorable songs of the era. He made his debut as a music director with the Bengali film Rajkumari in 1970. His work in Bengali cinema includes iconic films such as Troyee, Anyay Abichar, Ekanto Apon, Apon Amar Apon, Lorai, Ahankar, Purushottam, Shraddhanjali, Birodh, among many others.
Salil Chowdhury: Salil Chowdhury was an Indian music director, songwriter, lyricist, writer, and poet who composed predominantly for Bengali, Hindi, and Malayalam cinema, while also contributing to films in a total of 13 languages. He made his debut as a music director in Bengali cinema with Paribortan in 1949. His final Bengali film, Mahabharati, released in 1994, marked the conclusion of his work across 41 Bengali films. Renowned for his versatility and depth, Chowdhury created memorable soundtracks for numerous iconic films, including Barjatri, Pasher Bari, Aaj Sondhyay, Mohila Mahal, Ek Din Ratre, Bari Theke Paliye, Gangaa, Lal Pathore, Paari, Sister, Sei Somoy, among many others.
Hemanta Mukherjee: Hemanta Mukherjee, popularly known as Hemant Kumar, was an Indian music director and playback singer who performed primarily in Bengali and Hindi, while also lending his voice to songs in several other Indian languages. A recipient of two National Film Awards for Best Male Playback Singer, he earned the affectionate title of the “Voice of God” for his rich and emotive vocal style.
In Bengali cinema, he made significant contributions as a music director to several iconic films, including Jighansa (1951), Shapmochan (1955), Surjatoran (1958), Deep Jwele Jaai (1959), Saptapadi (1961), Agun (1962), Pratinidhi (1964), Parineeta (1969), Dadar Kirti (1980), Subarna Golak (1981), among many others. He also composed memorable music for popular Hindi films such as Anand Math (1952), Nagin (1954), Ek Hi Raasta (1956), Miss Mary (1957), Bees Saal Baad (1962), Khamoshi (1969), Love in Canada (1979), and several more.
Krishna Chandra Dey: Krishna Chandra Dey, popularly known as K. C. Dey, was a distinguished Indian music director, composer, musician, singer, actor, and music teacher, born in Calcutta (now Kolkata). A pivotal figure in Indian music history, he is especially remembered as the first musical teacher and mentor of S. D. Burman.
Dey’s career in cinema spanned from 1932 to 1946, during
which he made significant contributions as both a singer and a composer.
Alongside his musical work, he also appeared as an actor in films during the
same period. His work as a music composer includes notable films such as Shaher
Ka Jadoo (1934), Sonar Sansar (1936), Milap (1937), Purabi (1948), among many
others, leaving behind a lasting legacy in Indian film music.
Bappi Lahiri: Bappi Lahiri, popularly known as Bappi Aparesh Lahiri and fondly referred to as Bappi Da, was an Indian singer, composer, and record producer who transformed the soundscape of Indian cinema by popularising synthesised disco music. He often lent his own voice to his compositions and rose to prominence during the 1980s and 1990s with a string of successful film soundtracks. Lahiri delivered major box-office hits across Hindi, Telugu, and Bengali cinema, establishing himself as a defining musical force of the era. His music continued to find wide acceptance well into the 21st century. Among his iconic works are films such as Zakhmee (1975), Disco Dancer (1982), Sharaabi (1984), Sheesha (1986), Thanedaar (1990), Neelanjana (1994), Gunday (2014), Baaghi 3 (2020), and many others.
S. D. Burman: Sachin Dev Burman, popularly known as S. D. Burman, was a celebrated Indian music director and singer whose legacy left an indelible mark on Indian cinema. Born into the royal family of Tripura, he began his artistic journey in 1937, composing music for Bengali films. His distinctive style and deep understanding of melody soon set him apart, paving the way for his transition into Hindi cinema.
As his career expanded, Burman emerged as one of the most successful and influential composers in Indian film history. Over the decades, he composed music for more than 100 films across both Bengali and Hindi cinema, shaping the soundscape of an era. His work as a music director featured in several iconic films, including Amar Geeti (1940), Shikari (1946), Baazi (1951), Shahenshah (1953), Funtoosh (1956), Bewaqoof (1960), Jugnu (1973), Phagun (1973), Mili (1975), and Tyaag (1977), among many others.
Shyamal Mitra: Shyamal Mitra was a distinguished Indian playback singer, music director, and film producer whose contributions left a lasting impact on both Hindi and Bengali cinema. Active across multiple decades, he emerged as one of the prominent voices of the golden era of the Bengali music industry. His work placed him among an illustrious group of contemporaries that included Hemanta Mukherjee, Kishore Kumar, Manabendra Mukhopadhyay, Manna Dey, and other celebrated Bengali singers of the time.
Beyond his achievements as a vocalist, Mitra earned wide recognition as a composer, crafting memorable soundtracks that resonated with audiences across generations. His work as a music director featured in several notable films such as Lakh Taka (1953), Bhranti Bilas (1963), Rajkanya (1965), Andha Atit (1972), Amanush (1974), Anand Ashram (1977), and Ekaki (1990), among many others.
Sudhin Dasgupta: Sudhin Dasgupta was a prolific Bengali music director, lyricist, and singer whose creative vision significantly shaped the evolution of Bengali music. While deeply rooted in the Bengali tradition, his artistic reach extended beyond linguistic boundaries, as he also worked in Hindi, Assamese, and Oriya, reflecting the versatility and breadth of his musical expression.
Dasgupta’s contributions opened new horizons for Bengali music, influencing both the domain of Bengali modern songs and the soundscape of Bengali cinema. His work as a composer and lyricist featured in numerous acclaimed films, including Ulka (1957), Jatri (1960), Antaral (1965), Prothom Kadam Phool (1970), Basanta Bilap (1973), Aparajita (1976), Amrita Kumbher Sandhane (1982), and Banashree (1983), among many others.
V. Balsara: V. Balsara was an accomplished Indian music arranger, conductor, orchestrator, and instrumentalist, widely admired for his exceptional versatility across multiple instruments, including the violin, mandolin, and piano. His technical mastery and adaptability made him a valued presence in the early years of Indian cinema music.
He began his career in Hindi cinema in 1942 as an assistant to Ustad Mushtaq Hossain on the film Badal. Balsara later went on to work closely with Ghulam Haider, further refining his musical craft. In 1943, he took on a more prominent role as one of the music directors for the film Circus Girl. Over the course of his career, he contributed to approximately 35 Hindi films as an assistant music director and independently composed music for about a dozen Hindi films between the 1940s and 1950s, leaving behind a noteworthy legacy in film music.
Mrinal Bannerjee: Mrinal Bannerjee was a multifaceted music director, composer, lyricist, and vocal artiste whose name became synonymous with melodious music. A well-known figure in the music and film industry of West Bengal and India, he earned admiration from countless music lovers both in the country and abroad for his enduring contributions. Born into a family steeped in music, Bannerjee was immersed in the art from an early age. As a boy, he often watched his father engage in rihaz of Hindustani classical music and train aspiring learners, experiences that nurtured his deep-rooted aspiration to enter the world of music. This early exposure shaped his artistic sensibilities and laid the foundation for a lifelong musical journey.
Among his notable works was a modern Bengali song album released under the Asha Audio label, beginning with Amon Sakaal Ami Dekhinito Age, a composition based on the raga Ashir Bhairon, which received widespread appreciation. Additionally, several songs originally made famous by the late S. D. Burman were re-recorded in the voice of Mrinal Bandyopadhyay, and these renditions continue to be cherished by listeners for their emotive depth and musical authenticity.
Kalipada Sen: Kalipada Sen was a music director and actor who made a significant and lasting contribution to Bengali cinema, particularly during the 1950s, 1960s, and 1970s. As a composer, his work played an important role in shaping the musical character of Bengali films during this prolific period.
Among his most notable achievements as a music director were
the soundtracks for acclaimed films such as Sade Chuwattor (1953), Biraj Bou
(1972), and Binduor Chele (1973). In addition to these, Sen lent his musical
expertise to numerous other productions, including Devi Chaudhuri (1949),
Kulhara (1951), Kankavati Ghat (1955), Mahalagna (1963), Ram’s Sumati (1977),
Devdas (1979), Suvarnalata (1981), and Agradani (1983), among many others,
reinforcing his stature as a respected figure in the Bengali film industry.
A formative moment in Chatterjee’s career came when he received the opportunity to accompany Kazi Nazrul Islam during a public meeting organized by Subhash Chandra Bose in Kolkata. He later trained in Tappa under Kolobabu, also known as Jitendranath Bandopadhyay, refining a style that would become central to his musical identity. His professional journey gained momentum when Sarat Chandra Pandit appointed him as a regular artist at Akashbani Kolkata, a milestone that firmly established him as a professional singer.
Chatterjee was particularly admired for his ability to infuse traditional musical forms with subtle humor and quirky nuances, a skill that resonated strongly with classical music connoisseurs. He earned widespread popularity for his performances of Shyama Sangeet and Bengali Puratani songs, also known as Baithaki Gaan. In addition to his contributions as a vocalist, he composed music for two Bengali films, Strir Patra (1972) and Parikrama (1996), and worked extensively as a playback singer in numerous Bengali films throughout his career.
Anupam Ghatak: Anupam Ghatak was one of the most influential composers in the history of Bengali music in India, with a particularly strong presence in the world of cinema. Renowned for his evocative and enduring compositions, he is best remembered for his work on the 1954 Bengali-language film Agni Pariksha, which remains a landmark in Bengali film music.
Anil Biswas: Anil Biswas was a pioneering Indian film music director and playback singer whose career spanned from 1935 to 1965. Widely regarded as one of the architects of modern Indian film music, he played a crucial role in the early development of playback singing. He is also credited with introducing the first Indian orchestra comprising twelve musicians, as well as bringing orchestral arrangements and rich choral effects into Indian cinema, innovations that significantly transformed film music.
In recognition of his immense contribution to the performing arts, Biswas was honored with the Sangeet Natak Akademi Award in 1986. Over the course of his prolific career, he composed music for numerous landmark films, including Dharam Ki Devi (1935), Jagirdar (1937), Ek Hi Raasta (1939), Aurat (1940), Kismet (1943), Anokha Pyar (1948), Tarana (1951), Pardesi (1957), Angulimaal (1960), and Chhoti Chhoti Baatein (1965), among many others, leaving behind an enduring legacy in Indian cinema.
Pankaj Mullick: Pankaj Mullick, born Pankaj Kumar Mullick, was an Indian music composer, playback singer, and actor who played a pioneering role in the evolution of film music in both Bengali and Hindi cinema. Emerging at the advent of playback singing, he was instrumental in shaping its early form and was also recognized as one of the earliest exponents of Rabindra Sangeet in cinema.
As a music director, Mullick contributed to several landmark films that helped define an era of Indian film music. His notable works include Manzil (1936), Devdas (1936), Dushman (1939), Nartaki (1940), Dikshul (1943), Manzoor (1949), and Raikama (1955), among many others, securing his legacy as a foundational figure in Indian cinematic music.
Satyajit Ray: Satyajit Ray was an Indian film director, screenwriter, author, lyricist, magazine editor, illustrator, calligrapher, and composer, widely regarded as one of the greatest and most influential filmmakers in the history of world cinema. His multifaceted creativity extended across literature, visual arts, and music, making him a towering figure in Indian cultural history.
Contemporary Music Directors of Bengali Cinema
Contemporary Bengali film music has evolved into a rich and diverse soundscape, blending soulful melodies with folk-inspired fusion and modern pop-rock influences. Moving beyond traditional musical structures, it increasingly mirrors urban sensibilities, emotional depth, and youthful narratives, reflecting the changing cultural and social rhythms of modern life.
Jeet Gannguli: Jeet Gannguli, born Chandrajeet Ganguly on 24 May 1971, is an Indian playback singer and composer known for his work in both Hindi and Bengali cinema. His entry into the film industry came with an early breakthrough when filmmaker Sanjay Gadhvi was signed to direct Tere Liye and, in turn, brought on his friends Jeet Gannguli and Pritam as music composers.
Over the years, Gannguli has established himself as a
prominent name in Bengali film music, composing a wide range of popular songs
that resonated strongly with audiences. His notable works include soundtracks
for films such as Shubhodrishti, Chirodini Tumi Je Amar, Mon Mane Na,
Challenge, Dui Prithibi, Paglu, Awara, Paglu 2, Challenge 2, Boss: Born to
Rule, Rangbaaz, Boss 2: Back To Rule, and Tonic, among others.
Prasenjit Ghosal: Prasenjit Ghosal, professionally known as Dabbu, is a music composer based in Mumbai who has made notable contributions to both the Mumbai and Kolkata film industries. He began his career as a music director in Kolkata with Shree Venkatesh Films and went on to develop a close professional association with the production house SVF, for which he composed numerous Bengali film songs.
Over the years, Dabbu’s compositions have been brought to life by some of the most prominent voices in the industry, including Arijit Singh, Armaan Malik, Papon, Anupam Roy, and Shaan. In 2009, he relocated to Mumbai, expanding his creative footprint while continuing to work across regional and mainstream cinema. His work as a music director features in several popular films such as Bangali Babu English Mem (2014), Bossgiri (2016), Rangbaz (2017), Shahenshah (2020), Magic (2021), and many others.
Indraadip Dasgupta: Indraadip Dasgupta, born on 17 January 1973, is an Indian composer widely recognized for the breadth and versatility of his musical work in Bengali cinema. Known for his ability to adapt across genres and narrative tones, he has established a strong presence in contemporary film music.
In 2017, Dasgupta contributed to the Hindi film Begum Jaan by composing its background score, further showcasing his range beyond regional cinema. Over the years, he has composed music for several popular and critically noted films, including Prohor (2004), Le Chakka (2010), Charuulata (2012), Proloy (2013), Yoddha (2014), Rajkahini (2015), Kelor Kirti (2016), Bijoya (2019), Kabuliwala (2023), and Grihapravesh (2025), among many others.
Neel Dutt: Neel Dutt is an Indian composer and singer from Kolkata who has earned widespread recognition for his innovative approach to film music. In 2012, he received the National Film Award for Best Music Direction from the Government of India for the soundtrack of the Bengali film Ranjana Ami Ar Ashbona, becoming the third recipient from West Bengal to receive this honor.
Widely regarded as a trailblazer, Dutt is considered one of the first music directors in India to reinterpret a Rabindranath Tagore composition using modern electronic elements, marking a significant moment in the evolution of contemporary Indian music. His work as a composer spans several iconic Bengali films, including Bow Barracks Forever (2004), Brake Fail (2009), Byomkesh Bakshi (2010), Abar Byomkesh (2012), Ganesh Talkies (2013), Khola Hawa (2014), Hemanta (2016), Uma (2018), Shonar Pahar (2018), Tiki-Taka (2020), among many others.
Neeta Sen: Neeta Sen was an Indian classical music director and singer whose work reflected both her rigorous training and her deep personal devotion. Trained in Indian classical music, she began her professional journey with All India Radio in Kolkata, where she established a strong foundation as a vocalist and musician. In the early phase of her career, she focused on modern Bengali music, gradually building recognition within the industry.
Her major commercial breakthrough came in 1977 with the
Bengali feature film Baba Taraknath, directed by A. K. Chatterjee and starring
Biswajeet, Sandhya Roy, and Sulochana. Following its success, Sen continued to
compose music for several Bengali films, including Krishna Bhakta Sudhama. In
her later years, her deeply spiritual outlook increasingly shaped her creative
output, leading her to focus predominantly on devotional films, television
serials, and music albums. Among the popular films for which she composed music
are Golap Bou (1977), Sonar Bangla (1982), and Baba Loknath (1994), along with
many others that reinforced her legacy in devotional and classical Bengali
music.
Nachiketa Chakraborty: Nachiketa Chakraborty, popularly known as Nachiketa, is an Indian singer, songwriter, musician, composer, and playback singer widely recognized for his distinctive modern Bengali lyrics. He rose to prominence in the early 1990s with the release of his debut album “Ei Besh Bhalo Achi,” which marked a turning point in contemporary Bengali music and resonated strongly with a new generation of listeners.
In addition to his success as a lyricist and vocalist, Nachiketa has made notable contributions as a music director in Bengali cinema. His work in films such as Hothat Bristi (1998), Khelaghar (1999), Tumi Asbe Bole (2014), and Ajker Shortcut (2022), among many others, reflects his enduring influence and versatility across both popular music and film soundtracks.
Other Bengali music directors are:
