BAUL INFLUENCE IN FILMS AND LITERATURE

Recently a Bengali film ‘Moner Manush’ based on Sunil Gangopadhyay’s novel of the same name was made by Goutam Ghosh. It was premiered on the same day in India and Bangladesh, creating a milestone in cultural synergy between the two countries. The film, an Indo-Bangladesh co-production has won the Golden Peacock award at the International Film Festival of India in Goa. The film is a partly fictionalised, partly real documentary of the strange life of Lalon Phokir, who over time became an institution unto himself. The film is structured within the discussions between Lalon Phokir (Prosenjit Chatterjee) and Jyotirindranath Tagore (Priyangshu Chatterjee), during the time the latter was sketching a portrait of the former. The essence of Baul philosophy comes across brilliantly in Ghose’s musical – and it merits this tag because, “it has 32 songs that form part of the verbal interaction between and among the characters.” It is also an educational film, shedding light on a little-known sect, on their unique ideology and lifestyle and their resurrection in modern times through cinema, theatre, literature and so on.

 Aan milo aan milo (Devdas, 1955, Sahir / Geeta Dutt and Manna Dey) – remade from SD Burman’s own Bengali hit “Rongila re” is a shining example of minimal use of instruments with the prominent ektara resounding – a typical Baul instrument.

The most notable influence of Baul culture in literature can be observed through the works of Rabindranath Tagore. In his long career as a musician, Rabindranath Tagore experimented with different genres of eastern and western music traditions but his experimentation with the traditional Baul songs of the Bengal took his talent, both as a lyricist and a composer, to a new height. ‘Tagore was deeply moved by the lyrical beauty and tune of Baul songs. The spiritual romanticism of Baul philosophy influenced Tagore so deeply that he went as far as calling himself Rabindra Baul. Later, he even played the role of a blind baul in his play Phalguni’, said eminent Rabindra Sangeet singer Rezwana Chowdhury Bannya. Tagore himself termed his Baul-influenced songs as ‘Rabindra Baul-er Gaan’ and many of such songs like Tora Je Ja Bolis Bhai, Tumi Je Surer Agun, Sedine Apad Amar Jabe, Sabai Jare Sab Diteche, Roilo Bole Rakhle Kare, Phire Chal Matir Tane, Phagun Haway Haway, Kanna Hasir Dol, Ami Tarei Khuje Berai, O Amar Mon Jakhan, Kon Alote Praner Pradip, Jodi Tor Dak Shune, Je Tomay Chhare Chharuk, Je Tore Pagol Bole, Gram Chhara Oi Rangamatir, Megher Kole Rod Heseche and others are very popular even after a century of their compositions. Even the tune of his song Amar Sonar Bangla, the national anthem of Bangladesh, is directly influenced by a Baul song titled ‘Ami Kothy Pabo Tarey.’