Nativename	বাংলা ''Bangla''
Imagecaption	The word "Bangla" in Bangla Assamese alphabet
States	Bangladesh, India and significant communities in UK, USA, Pakistan, Saudi Arabia, Malaysia, Singapore, United Arab Emirates, Australia, Burma, Canada
Region	Bangladesh, Nepal, West Bengal, Tripura, Andaman and Nicobar Islands, Assam, Jharkhand, Orissa, Bihar. Widely spoken in New Delhi, Mumbai and Bangalore. Prominent speakers in Pune, Hyderabad and Chennai.
Speakers	230 million
Familycolor	Indo-European
Fam2	Indo-Iranian
Fam3	Indo-Aryan
Fam4	Eastern Group
Fam5	Assamese-Bengali
Script	Bengali script
Nation	, (West Bengal, Tripura and Barak Valley) (comprising districts of south Assam- Cachar, Karimganj and Hailakandi),24px Sierra Leone (to honour Bangladesh's contributions to UN Peacekeeping Mission in Sierra Leone)
Agency	Bangla Academy (Bangladesh)Paschimbanga Bangla Akademi (West Bengal)
Iso1	bn|iso2ben|iso3ben
Lingua	59-AAF-u (including Sylhetti etc), 30 varieties: 59-AAF-ua to 59-AAF-uk
Notice	Indic
Notice2	IPA}}

Bengali or Bangla (Bengali: , ) is an eastern Indo-Aryan language. It is native to the region of eastern South Asia known as Bengal, which comprises present day Bangladesh, the Indian state of West Bengal, and parts of the Indian states of Tripura and Assam. It is written with the Bengali script. With nearly 300 million total speakers, Bengali is one of the most spoken languages (ranking sixth) in the world.

Along with other Eastern Indo-Aryan languages, Bengali evolved circa 1000-1200 AD from the Magadhi Prakrit, which developed from the Sanskrit language. It is now the primary language spoken in Bangladesh and is the second most spoken language in India.

With a long and rich literary tradition, Bengali binds together a culturally diverse region and is an important contributor to Bengali nationalism. In former East Bengal (today Bangladesh), the strong linguistic consciousness led to the Bengali Language Movement, during which on 21 February 1952, several people were killed during protests to gain its recognition as a state language of the then Dominion of Pakistan. The day has since been observed as Language Movement Day in Bangladesh, and was proclaimed the International Mother Language Day by UNESCO on 17 November 1999.

History

Like other Eastern Indo-Aryan languages, Bengali arose from the eastern Middle Indic languages of the Indian subcontinent. Magadhi Prakrit and Pali, the earliest recorded spoken languages in the region and the language of the Buddha, evolved into Ardhamagadhi ("Half Magadhi") in the early part of the first millennium CE. Ardhamagadhi, as with all of the Prakrits of North India, began to give way to what are called Apabhramsa languages just before the turn of the first millennium. The local Apabhramsa language of the eastern subcontinent, Purvi Apabhramsa or Apabhramsa Abahatta, eventually evolved into regional dialects, which in turn formed three groups: the Bihari languages, the Oriya languages, and the Bengali-Assamese languages. Some argue that the points of divergence occurred much earlier—going back to even 500 but the language was not static: different varieties coexisted and authors often wrote in multiple dialects. For example, Magadhi Prakrit is believed to have evolved into Apabhramsa Abahatta around the 6th century which competed with Bengali for a period of time.

Usually three periods are identified in the history of Bengali: # Old Bengali (900/1000–1400)—texts include ''Charyapada'', devotional songs; emergence of pronouns ''Ami'', ''tumi'', etc.; verb inflections -''ila'', -''iba'', etc. Assamese branch out in this period and Oriya just before this period (8th century-1300). # Middle Bengali (1400–1800)—major texts of the period include Chandidas's ''Srikrishnakirtan''; elision of word-final ''ô'' sound; spread of compound verbs; Persian influence. Some scholars further divide this period into early and late middle periods. # New Bengali (since 1800)—shortening of verbs and pronouns, among other changes (e.g. ''tahar'' → ''tar'' "his"/"her"; ''koriyachhilô'' → ''korechhilo'' he/she had done).

Historically closer to Pali, Bengali saw an increase in Sanskrit influence during the Middle Bengali (Chaitanya era), and also during the Bengal Renaissance. Of the modern Indo-European languages in South Asia, Bengali and Marathi maintain a largely Pali/Sanskrit vocabulary base while Hindi and others such as Punjabi, Sindhi and Gujarati are more influenced by Arabic and Persian.

Until the 18th century, there was no attempt to document Bengali grammar. The first written Bengali dictionary/grammar, ''Vocabolario em idioma Bengalla, e Portuguez dividido em duas partes'', was written by the Portuguese missionary Manoel da Assumpcam between 1734 and 1742 while he was serving in Bhawal. Nathaniel Brassey Halhed, a British grammarian, wrote a modern Bengali grammar (''A Grammar of the Bengal Language (1778)'') that used Bengali types in print for the first time. Raja Ram Mohan Roy, the great Bengali reformer, also wrote a "Grammar of the Bengali Language" (1832).

During this period, the ''Choltibhasha'' form, using simplified inflections and other changes, was emerging from ''Shadhubhasha'' (older form) as the form of choice for written Bengali.

Bengali was the focus, in 1951–52, of the Bengali Language Movement (''Bhasha Andolon'') in what was then East Pakistan (now Bangladesh). Although the Bengali language was spoken by the majority of Bangladesh's population, Urdu was legislated as the sole national language. On February 21, 1952, protesting students and activists were fired upon by military and police in Dhaka University and three young students and several other people were killed. Later in 1999, UNESCO decided to celebrate every 21 February as International Mother Language Day in recognition of the deaths of the three students. In a separate event on May 19, 1961, police in Silchar, India, killed eleven people who were protesting legislation that mandated the use of the Assamese language.

Geographical distribution

Bengali is native to the region of eastern South Asia known as Bengal, which comprises Bangladesh, the Indian state of West Bengal and many parts of Assam and Tripura. Besides this region it is also spoken by majority of the population in the union territory Andaman and Nicobar Islands. There are also significant Bengali-speaking communities in:

the Middle East (namely, UAE, Saudi Arabia, Bahrain, and Kuwait)

Europe

North America

South-East Asia

Pakistan (Karachi; see Bangladeshis in Pakistan)

Official status

Bengali is the national and official language of Bangladesh and one of the 23 official languages recognised by the Republic of India. It is the official language of the states of West Bengal and Tripura. It is also a major language in the Indian union territory of Andaman and Nicobar Islands. It was made an official language of Sierra Leone in order to honour the Bangladeshi peacekeeping force from the United Nations stationed there. It is also the co-official language of Assam, which has three predominantly Sylheti-speaking districts of southern Assam:

Cachar

Karimganj

Hailakandi

The national anthems of both India and Bangladesh were written by the Bengali Nobel laureate Rabindranath Tagore. In 2009, elected representatives in both Bangladesh and West Bengal called for Bengali to be made an official language of the United Nations.

[Barisal Local language different]

Dialects

Regional variation in spoken Bengali constitutes a dialect continuum. Linguist Suniti Kumar Chatterjee grouped these dialects into four large clusters—Rarh, Banga, Kamarupa and Varendra; but many alternative grouping schemes have also been proposed. The south-western dialects (Rarh) form the basis of standard colloquial Bengali, while Bangal is the dominant dialect group in Bangladesh. In the dialects prevalent in much of eastern and south-eastern Bengal (Barisal, Chittagong, Dhaka and Sylhet divisions of Bangladesh), many of the stops and affricates heard in West Bengal are pronounced as fricatives. Western alveolo-palatal affricates চ , ছ , জ correspond to eastern , ছ় , ~. The influence of Tibeto-Burman languages on the phonology of Eastern Bengali is seen through the lack of nasalized vowels. Some variants of Bengali, particularly Chittagonian and Chakma Bengali, have contrastive tone; differences in the pitch of the speaker's voice can distinguish words. Rajbangsi, Kharia Thar and Mal Paharia are closely related to Western Bengali dialects, but are typically classified as separate languages. Similarly, Hajong is considered a separate language, although it shares similarities to Northern Bengali dialects.

During the standardization of Bengali in the late 19th century and early 20th century, the cultural center of Bengal was in the city of Kolkata, then Calcutta, founded by the British. What is accepted as the standard form today in both West Bengal and Bangladesh is based on the West-Central dialect of Nadia, an Indian district located on the border of Bangladesh. There are cases where speakers of Standard Bengali in West Bengal will use a different word than a speaker of Standard Bengali in Bangladesh, even though both words are of native Bengali descent. For example, ''nun'' (salt) in the west corresponds to ''lôbon'' in the east.

Spoken and literary varieties

Bengali exhibits diglossia between the written and spoken forms of the language. Two styles of writing, involving somewhat different vocabularies and syntax, have emerged: # ''Sadhu bhasa'' (সাধু ''shadhu'' = 'chaste' or 'sage'; ভাষা ''bhasha'' = 'language') was the written language with longer verb inflections and more of a Pali/Sanskrit-derived (তৎসম ''tôtshôm'') vocabulary. Songs such as India's national anthem ''Jana Gana Mana'' (by Rabindranath Tagore) and national song ''Vande Mātaram'' (by Bankim Chandra Chattopadhyay) were composed in Shadhubhasha. However, use of ''Shadhubhasha'' in modern writing is negligible, except when it is used deliberately to achieve some effect. # ''Cholito bhasha'' () (চলিত ''cholito'' = 'current' or 'running') , known by linguists as ''Manno Cholit Bangla'' (Standard Colloquial Bengali), is a written Bengali style exhibiting a preponderance of colloquial idiom and shortened verb forms, and is the standard for written Bengali now. This form came into vogue towards the turn of the 19th century, promoted by the writings of Peary Chand Mitra (''Alaler Gharer Dulal'', 1857), Pramatha Chowdhury (''Sabujpatra'', 1914) and in the later writings of Rabindranath Tagore. It is modeled on the dialect spoken in the Shantipur region in Nadia district, West Bengal. This form of Bengali is often referred to as the "Nadia standard" or "Shantipuri bangla".

While most writing is in Standard Colloquial Bengali, spoken dialects exhibit a greater variety. South-eastern West Bengal, including Kolkata, speak in Standard Colloquial Bengali. Other parts of West Bengal and western Bangladesh speak in dialects that are minor variations, such as the Medinipur dialect characterised by some unique words and constructions. However, a majority in Bangladesh speak in dialects notably different from Standard Colloquial Bengali. Some dialects, particularly those of the Chittagong region, bear only a superficial resemblance to Standard Colloquial Bengali. The dialect in the Chattagram region is least widely understood by the general body of Bengalis. The majority of Bengalis are able to communicate in more than one variety—often, speakers are fluent in ''cholitobhasha'' (Standard Colloquial Bengali) and one or more regional dialects.

Even in Standard Colloquial Bengali, Muslims and Hindu use different words. Due to cultural and religious traditions, Hindus and Muslims might use, respectively, Pali/Sanskrit-derived and Perso-Arabic words. Some examples of lexical alternation between these two forms are:

hello: nômoshkar (S) corresponds to assalamualaikum/slamalikum (A)

invitation: nimontron/nimontonno (S) corresponds to daoat (A)

water : jol (S) corresponds to paani (S)

father : baba (P) corresponds to abbu/abba (A)

(here S = derived from Sanskrit and/or Pali, P = derived from Persian, A = derived from Arabic)

Writing system

The Bengali writing system is not an alphabetic writing system (e.g. the Latin alphabet), rather an abugida, i.e. its consonant graphemes in general represent a consonant followed by an "inherent" vowel. The script is a variant of the Eastern Nagari script used throughout Bangladesh and eastern India (Assam, West Bengal and the Mithila region of Bihar). The Eastern Nagari script is believed to have evolved from a modified Brahmic script around 1000 CE and is similar to the Devanagari abugida used for Sanskrit and many modern Indic languages (e.g. Hindi, Marathi and Nepali). The Bengali script has particularly close historical relationships with the Assamese script, the Oriya script (although this relationship is not strongly evident in appearance) and Mithilakshar (the native script for Maithili language).

The Bengali script is a cursive script with eleven graphemes or signs denoting nine vowels and two diphthongs, and thirty-nine graphemes representing consonants and other modifiers. There are no distinct upper and lower case letter forms. The letters run from left to right and spaces are used to separate orthographic words. Like Devanagari, Bengali script has a distinctive horizontal line running along the tops of the graphemes that links them together.

Since the Bengali script is an abugida, its consonant graphemes usually do not represent phonetic segments, but carry an "inherent" vowel and thus are syllabic in nature. The inherent vowel is usually a back vowel, either as in মত "opinion" or , as in মন "mind", with variants like the more open . To emphatically represent a consonant sound without any inherent vowel attached to it, a special diacritic, called the ''hôshonto'' (্) (cf. Arabic ''sukūn''), may be added below the basic consonant grapheme (as in ম্‌ ). This diacritic, however, is not common, and is chiefly employed as a guide to pronunciation. The abugida nature of Bengali consonant graphemes is not consistent, however. Often, syllable-final consonant graphemes, though not marked by a ''hôshonto'', may carry no inherent vowel sound (as in the final ন in মন or the medial ম in গামলা ).

A consonant sound followed by some vowel sound other than the inherent is orthographically realized by using a variety of vowel allographs above, below, before, after, or around the consonant sign, thus forming the ubiquitous consonant-vowel ligature. These allographs, called ''kar''s (cf. Hindi ''matra''s) are dependent, diacritical vowel forms and cannot stand on their own. For example, the graph মি represents the consonant followed by the vowel , where is represented as the diacritical allograph ি (called ''i-kar'') and is placed ''before'' the default consonant sign. Similarly, the graphs মা , মী , মু , মূ , মৃ , মে ~, মৈ , মো and মৌ represent the same consonant ম combined with seven other vowels and two diphthongs. It should be noted that in these consonant-vowel ligatures, the so-called "inherent" vowel is first expunged from the consonant before adding the vowel, but this intermediate expulsion of the inherent vowel is not indicated in any visual manner on the basic consonant sign ম.

The vowel graphemes in Bengali can take two forms: the independent form found in the basic inventory of the script and the dependent, abridged, allograph form (as discussed above). To represent a vowel in isolation from any preceding or following consonant, the independent form of the vowel is used. For example, in মই "ladder" and in ইলিশ "Hilsa fish", the independent form of the vowel ই is used (cf. the dependent form ি). A vowel at the beginning of a word is always realized using its independent form.

In addition to the inherent-vowel-suppressing ''hôshonto'', three more diacritics are commonly used in Bengali. These are the superposed ''chôndrobindu'' (ঁ), denoting a suprasegmental for nasalization of vowels (as in চাঁদ "moon"), the postposed ''onushshôr'' (ং) indicating the velar nasal (as in বাংলা "Bengali") and the postposed ''bishôrgo'' (ঃ) indicating the voiceless glottal fricative (as in উঃ! "ouch!") or the gemination of the following consonant (as in দুঃখ "sorrow").

The Bengali consonant clusters (যুক্তব্যঞ্জন ''juktobênjon'' in Bengali) are usually realized as ligatures (যুক্তাক্ষর ''juktakkhor''), where the consonant which comes first is put on top of or to the left of the one that immediately follows. In these ligatures, the shapes of the constituent consonant signs are often contracted and sometimes even distorted beyond recognition. In Bengali writing system, there are nearly 285 such ligatures denoting consonant clusters. Although there exist a few visual formulas to construct some of these ligatures, many of them have to be learned by rote. Recently, in a bid to lessen this burden on young learners, efforts have been made by educational institutions in the two main Bengali-speaking regions (West Bengal and Bangladesh) to address the opaque nature of many consonant clusters, and as a result, modern Bengali textbooks are beginning to contain more and more "transparent" graphical forms of consonant clusters, in which the constituent consonants of a cluster are readily apparent from the graphical form. However, since this change is not as widespread and is not being followed as uniformly in the rest of the Bengali printed literature, today's Bengali-learning children will possibly have to learn to recognize both the new "transparent" and the old "opaque" forms, which ultimately amounts to an increase in learning burden.

Bengali punctuation marks, apart from the downstroke ''daŗi'' (|), the Bengali equivalent of a full stop, have been adopted from western scripts and their usage is similar.

Whereas in western scripts (Latin, Cyrillic, etc.) the letter-forms stand on an invisible baseline, the Bengali letter-forms hang from a visible horizontal headstroke called the ''matra'' (not to be confused with its Hindi cognate ''matra'', which denotes the dependent forms of Hindi vowels). The presence and absence of this ''matra'' can be important. For example, the letter ত and the numeral ৩ "3" are distinguishable only by the presence or absence of the ''matra'', as is the case between the consonant cluster ত্র and the independent vowel এ . The letter-forms also employ the concepts of letter-width and letter-height (the vertical space between the visible ''matra'' and an invisible baseline).

There is yet to be a uniform standard collating sequence (sorting order) of Bengali graphemes. Experts in both India and Bangladesh are currently working towards a common solution for this problem.

Orthographic depth

The Bengali script in general has a comparatively shallow orthography, i.e., in most cases there is a one-to-one correspondence between the sounds (phonemes) and the letters (graphemes) of Bengali. But grapheme-phoneme inconsistencies do occur in certain cases.

One kind of inconsistency is due to the presence of several letters in the script for the same sound. In spite of some modifications in the 19th century, the Bengali spelling system continues to be based on the one used for Sanskrit, and thus does not take into account some sound mergers that have occurred in the spoken language. For example, there are three letters (শ, ষ, and স) for the voiceless alveolo-palatal fricative , although the letter স does retain the voiceless alveolar fricative sound when used in certain consonant conjuncts as in স্খলন "fall", স্পন্দন "beat", etc. The letter ষ also does retain the voiceless retroflex fricative sound when used in certain consonant conjuncts as in কষ্ট "suffering", গোষ্ঠী "clan", etc. Similarly, there are two letters (জ and য) for the Voiced alveolo-palatal affricate . Moreover, what was once pronounced and written as a retroflex nasal ণ is now pronounced as an alveolar when in conversation (the difference is seen heard when reading) (unless conjoined with another retroflex consonant such as ট, ঠ, ড and ঢ), although the spelling does not reflect this change. The near-open front unrounded vowel is orthographically realized by multiple means, as seen in the following examples: এত "so much", এ্যাকাডেমী "academy", অ্যামিবা "amoeba", দেখা "to see", ব্যস্ত "busy", ব্যাকরণ "grammar".

Another kind of inconsistency is concerned with the incomplete coverage of phonological information in the script. The inherent vowel attached to every consonant can be either or depending on the context, but this phonological information is not captured by the script, creating ambiguity for the reader. Furthermore, the inherent vowel is often not pronounced at the end of a syllable, as in কম "less", but this omission is not generally reflected in the script, making it difficult for the new reader.

Many consonant clusters have different sounds than their constituent consonants. For example, the combination of the consonants ক্‌ and ষ is graphically realized as ক্ষ and is pronounced (as in রুক্ষ "rugged") or (as in ক্ষতি "loss") or even (as in ক্ষমতা "power"), depending on the position of the cluster in a word. The Bengali writing system is, therefore, not always a true guide to pronunciation.

For a detailed list of these inconsistencies, consult Bengali script.

Uses

The Bengali script, with a few small modifications, is also used for writing Assamese. Other related languages in the region also make use of the Bengali alphabet. Meitei, a Sino-Tibetan language used in the Indian state of Manipur, has been written in the Bengali abugida for centuries, though Meitei Mayek (the Meitei abugida) has been promoted in recent times. The Bengali script has been adopted for writing the Sylheti language as well, replacing the use of the old Sylheti Nagori script.

Romanization

Several conventions exist for writing Indic languages including Bengali in the Latin script, including "International Alphabet of Sanskrit Transliteration" or IAST (based on diacritics), "Indian languages Transliteration" or ITRANS (uses upper case alphabets suited for ASCII keyboards), and the National Library at Calcutta romanization.

In the context of Bangla Romanization, it is important to distinguish transliteration from transcription. Transliteration is orthographically accurate (i.e. the original spelling can be recovered), whereas transcription is phonetically accurate (the pronunciation can be reproduced). Since English does not have the sounds of Bangla, and since pronunciation does not completely reflect the spellings, being faithful to both is not possible.

Although it might be desirable to use a transliteration scheme where the original Bangla orthography is recoverable from the Latin text, Bangla words are currently Romanized on Wikipedia using a phonemic transcription, where the pronunciation is represented with no reference to how it is written. The Wikipedia Romanization scheme is given in the table below, with the IPA transcriptions as used above.

Sounds

The phonemic inventory of Bengali consists of 29 consonants and 14 vowels, including the seven nasalized vowels. An approximate phonetic scheme is set out below in International Phonetic Alphabet (upper grapheme in each box) and romanization (lower grapheme). {| style="align:center; width:60%; margin:1em auto 1em auto;" |- valign="top" | {|class="wikitable" |+Vowels ! ||Front||Central||Back |- style="text-align:center" !Close ||| || |- style="text-align:center" !Close-mid ||| || |- style="text-align:center" !Near-open ||| || |- style="text-align:center" !Open | ||||  |} | {|class="wikitable" |+Consonants !colspan="2"|  !Labial !Dental/Alveolar !Retroflex !Alveolo-palatal !Velar !Glottal |-align="center" !colspan="2"|Nasal |m||n|| || ||ng||  |-align="center" !rowspan="4"|Plosive ! voiceless |p||t||ṭ||ch|| k||  |-align="center" ! aspirated |ph||th||ṭh||chh|| kh||  |-align="center" !voiced |b||d||ḍ||j|| g||  |-align="center" !aspirated |bh||dh||ḍh||jh|| gh||  |-align="center" !colspan="2"|Fricative |f||, s   ||ṣ||sh||  ||h |-align="center" !colspan="2"|Approximant | ||l||||| || ||  |-align="center" !colspan="2"|Rhotic | ||r|||ṛ|| || ||  |} |}

Diphthongs

Magadhan languages such as Bengali are known for their wide variety of diphthongs, or combinations of vowels occurring within the same syllable. Several vowel combinations can be considered true monosyllabic diphthongs, made up of the main vowel (the nucleus) and the trailing vowel (the off-glide). Almost all other vowel combinations are possible, but only across two adjacent syllables, such as the disyllabic vowel combination in কুয়া ''kua'' "well". As many as 25 vowel combinations can be found, but some of the more recent combinations have not passed through the stage between two syllables and a diphthongal monosyllable. There are nineteen diphthongs in Bangal language.

+Diphthongs	!IPA	!Transliteration	!Example	!English
	ii	nii	I take
	iu	biubhôl	upset
	ei	nei	there is not
	ee	khee	having eaten
	eu	ḍheu	wave
	eo	kheona	do not eat
	êe	nêe	she takes
	êo	nêo	you take
	ai	pai	I find
	ae	pae	she finds
	au	pau	sliced bread
	ao	pao	you find
	ôe	nôe	she is not
	ôo	nôo	you are not
	oi	noi	I am not
	oe	dhoe	she washes
	oo	dhoo	you wash
	ou	nouka	boat
	ui	dhui	I wash

Stress

In standard Bengali, stress is predominantly initial. Bengali words are virtually all trochaic; the primary stress falls on the initial syllable of the word, while secondary stress often falls on all odd-numbered syllables thereafter, giving strings such as ''shô-ho-jo-gi-ta'' "cooperation", where the boldface represents primary and secondary stress. The first syllable carries the greatest stress, with the third carrying a somewhat weaker stress, and all following odd-numbered syllables carrying very weak stress. However in words borrowed from Sanskrit, the root syllable is stressed, causing them to be out of harmony with native Bengali words.

Adding prefixes to a word typically shifts the stress to the left. For example, while the word ''shob-bho'' "civilized" carries the primary stress on the first syllable [shob], adding the negative prefix [ô-] creates ''ô-shob-bho'' "uncivilized", where the primary stress is now on the newly added first syllable অ ''ô''. In any case, word-stress does not alter the meaning of a word and is always subsidiary to sentence-stress.

Intonation

For Bengali words, intonation or pitch of voice has minor significance, apart from a few isolated cases. However in sentences intonation does play a significant role. In a simple declarative sentence, most words and/or phrases in Bengali carry a rising tone, with the exception of the last word in the sentence, which only carries a low tone. This intonational pattern creates a musical tone to the typical Bengali sentence. This intonation with low and high tones alternating until the final drop in pitch to mark the end of the sentence.

In sentences involving focused words and/or phrases, the rising tones only last until the focused word; all following words carry a low tone. This intonation pattern extends to wh-questions, as wh-words are normally considered to be focused. In yes-no questions, the rising tones may be more exaggerated, and most importantly, the final syllable of the final word in the sentence takes a high falling tone instead of a flat low tone.

Vowel length

Vowel length is not contrastive in Bengali; all else equal, there is no meaningful distinction between a "short vowel" and a "long vowel", unlike the situation in many other Indic languages. However, when morpheme boundaries come into play, vowel length can sometimes distinguish otherwise homophonous words. This is due to the fact that open monosyllables (i.e. words that are made up of only one syllable, with that syllable ending in the main vowel and not a consonant) have somewhat longer vowels than other syllable types. For example, the vowel in ''cha:'' "tea" is somewhat longer than the first vowel in ''chaṭa'' "licking", as ''cha:'' is a word with only one syllable, and no final consonant. (The long vowel is marked with a colon : in these examples.) The suffix ''ṭa'' "the" can be added to ''cha:'' to form ''cha:ṭa'' "the tea". Even when another morpheme is attached to ''cha:'', the long vowel is preserved. Knowing this fact, some interesting cases of apparent vowel length distinction can be found. In general Bengali vowels tend to stay away from extreme vowel articulation.

Furthermore, using a form of reduplication called "echo reduplication", the long vowel in ''cha:'' can be copied into the reduplicant ''ṭa:'', giving ''cha:ṭa:'' "tea and all that comes with it". Thus, in addition to ''cha:ṭa'' "the tea" (long first vowel) and ''chaṭa'' "licking" (no long vowels), we have ''cha:ṭa:'' "tea and all that comes with it" (both long vowels).

Consonant clusters

Native Bengali (''tôdbhôbo'') words do not allow initial consonant clusters; the maximum syllabic structure is CVC (i.e. one vowel flanked by a consonant on each side). Many speakers of Bengali restrict their phonology to this pattern, even when using Sanskrit or English borrowings, such as গেরাম ''geram'' (CV.CVC) for গ্রাম ''gram'' (CCVC) "village" or ইস্কুল ''iskul'' (VC.CVC) for স্কুল ''skul'' (CCVC) "school".

Sanskrit (তৎসম ''tôtshômo'') words borrowed into Bengali, however, possess a wide range of clusters, expanding the maximum syllable structure to CCCVC. Some of these clusters, such as the ''mr'' in মৃত্যু ''mrittu'' "death" or the ''sp'' in স্পষ্ট ''spôshṭo'' "clear", have become extremely common, and can be considered legal consonant clusters in Bengali. English and other foreign (বিদেশী ''bideshi'') borrowings add even more cluster types into the Bengali inventory, further increasing the syllable capacity to CCCVCCCC, as commonly used loanwords such as ট্রেন ''ṭren'' "train" and গ্লাস ''glash'' "glass" are now even included in leading Bengali dictionaries.

Final consonant clusters are rare in Bengali. Most final consonant clusters were borrowed into Bengali from English, as in লিফ্ট ''lifṭ'' "lift, elevator" and ব্যাংক ''bæņk'' "bank". However, final clusters do exist in some native Bengali words, although rarely in standard pronunciation. One example of a final cluster in a standard Bengali word would be গঞ্জ ''gônj'', which is found in names of hundreds of cities and towns across Bengal, including নবাবগঞ্জ ''Nôbabgônj'' and মানিকগঞ্জ ''Manikgônj''. Some nonstandard varieties of Bengali make use of final clusters quite often. For example, in some Purbo (eastern) dialects, final consonant clusters consisting of a nasal and its corresponding oral stop are common, as in চান্দ ''chand'' "moon". The Standard Bengali equivalent of ''chand'' would be চাঁদ ''chãd'', with a nasalized vowel instead of the final cluster.

Grammar

Bengali nouns are not assigned gender, which leads to minimal changing of adjectives (inflection). However, nouns and pronouns are highly declined (altered depending on their function in a sentence) into four cases while verbs are heavily conjugated.

As a consequence, unlike Hindi, Bengali verbs do not change form depending on the gender of the nouns.

Word order

As a Head-Final language, Bengali follows subject–object–verb word order, although variations to this theme are common. Bengali makes use of postpositions, as opposed to the prepositions used in English and other European languages. Determiners follow the noun, while numerals, adjectives, and possessors precede the noun.

Yes-no questions do not require any change to the basic word order; instead, the low (L) tone of the final syllable in the utterance is replaced with a falling (HL) tone. Additionally optional particles (e.g. কি ''-ki'', না ''-na'', etc.) are often encliticized onto the first or last word of a yes-no question.

Wh-questions are formed by fronting the wh-word to focus position, which is typically the first or second word in the utterance.

Nouns

Nouns and pronouns are inflected for case, including nominative, objective, genitive (possessive), and locative. The case marking pattern for each noun being inflected depends on the noun's degree of animacy. When a definite article such as -টা ''-ţa'' (singular) or -গুলা ''-gula'' (plural) is added, as in the tables below, nouns are also inflected for number.

{| style="align:center; width:60%; margin:1em auto 1em auto;" |- valign="top" |

+ Singular noun inflection	!	! Animate	! Inanimate
! Nominative	ছাত্রটাchhatro-ţathe student	জুতাটা juta-ţathe shoe
! Objective	ছাত্রটাকে chhatro-ţa-kethe student	জুতাটা juta-ţathe shoe
! Genitive	ছাত্রটার chhatro-ţa-rthe student's	জুতাটার juta-ţa-rthe shoe's
! Locative	-	জুতাটায় juta-ţa-(t)eon/in the shoe

|

+ Plural noun inflection	!	! Animate	! Inanimate
! Nominative	ছাত্ররাchhatro-rathe students	জুতাগুলা/জুতোগুলো juta-gula/juto-gulothe shoes
! Objective	ছাত্রদের(কে)chhatro-der(ke)the students	জুতাগুলা/জুতোগুলো juta-gula/juto-gulothe shoes
! Genitive	ছাত্রদেরchhatro-derthe students'	জুতাগুলা/জুতোগুলোর juta-gula/juto-gulo-rthe shoes'
! Locative	-	জুতাগুলা/জুতোগুলোতেjuta-gula/juto-gulo-teon/in the shoes

|}

When counted, nouns take one of a small set of measure words. As in many East Asian languages (e.g. Chinese, Japanese, Thai, etc.), nouns in Bengali cannot be counted by adding the numeral directly adjacent to the noun. The noun's measure word (MW) must be used between the numeral and the noun. Most nouns take the generic measure word -টা ''-ţa'', though other measure words indicate semantic classes (e.g. -জন ''-jon'' for humans).

+ Measure words
! Bengali	! Bengali transliteration	! Literal translation	! English translation
নয়টা গরু	Nôe-ţa goru	Nine-MW cow	Nine cows
কয়টা বালিশ	Kôe-ţa balish	How many-MW pillow	How many pillows
অনেকজন লোক	Ônek-jon lok	Many-MW person	Many people
চার-পাঁচজন শিক্ষক	Char-pãch-jon shikkhôk	Four-five-MW teacher	Four or five teachers

Measuring nouns in Bengali without their corresponding measure words (e.g. আট বিড়াল ''aţ biŗal'' instead of আটটা বিড়াল ''aţ-ţa biŗal'' "eight cats") would typically be considered ungrammatical. However, when the semantic class of the noun is understood from the measure word, the noun is often omitted and only the measure word is used, e.g. শুধু একজন থাকবে। ''Shudhu êk-jon thakbe.'' (lit. "Only one-MW will remain.") would be understood to mean "Only one person will remain.", given the semantic class implicit in -জন ''-jon''.

In this sense, all nouns in Bengali, unlike most other Indo-European languages, are similar to mass nouns.

Verbs

Verbs divide into two classes: finite and non-finite. Non-finite verbs have no inflection for tense or person, while finite verbs are fully inflected for person (first, second, third), tense (present, past, future), aspect (simple, perfect, progressive), and honor (intimate, familiar, and formal), but ''not'' for number. Conditional, imperative, and other special inflections for mood can replace the tense and aspect suffixes. The number of inflections on many verb roots can total more than 200.

Inflectional suffixes in the morphology of Bengali vary from region to region, along with minor differences in syntax.

Bengali differs from most Indo-Aryan Languages in the zero copula, where the copula or connective ''be'' is often missing in the present tense. Thus "he is a teacher" is ''she shikkhôk'', (literally "he teacher"). In this respect, Bengali is similar to Russian and Hungarian.

Vocabulary

Bengali has as many as 100,000 separate words, of which 50,000 are considered ''tôtshômo'' (direct reborrowings from Sanskrit), 21,100 are ''tôdbhôbo'' (native words with Sanskrit cognates), and the rest being ''bideshi'' (foreign borrowings) and ''deshi'' (Austroasiatic borrowings) words.

However, these figures do not take into account the fact that a large proportion of these words are archaic or highly technical, minimizing their actual usage. The productive vocabulary used in modern literary works, in fact, is made up mostly (67%) of ''tôdbhôbo'' words, while ''tôtshômo'' only make up 25% of the total. ''Deshi'' and ''Bideshi'' words together make up the remaining 8% of the vocabulary used in modern Bengali literature.

Due to centuries of contact with Europeans, Mughals, Arabs, Turks, Persians, Afghans, and East Asians, Bengali has incorporated many words from foreign languages. The most common borrowings from foreign languages come from three different kinds of contact. Close contact with neighboring peoples facilitated the borrowing of words from Hindi, Assamese and several indigenous Austroasiatic languages (like Santali). of Bengal. After centuries of invasions from Persia and the Middle East, numerous Persian, Arabic, Turkish, and Pashtun words were absorbed into Bengali. Portuguese, French, Dutch and English words were later additions during the colonial period.

Sample text

The following is a sample text in Bengali of the Article 1 of the Universal Declaration of Human Rights (by the United Nations):

.|Bengali in Transcription|faithful to pronunciation}}

.|Bengali in IPA}}

See also

Notes

References

External links

Haldar, Narayan : Jibananda : Kabitar Mukhomukhi, Pustak Bipani, Kolkata, 2003. Haldar, Naryan : Bangla Abhidhan : Prasanga Atithi Shabda, Pustak Bipani, Kolkata, 2009.

Amra Bangladeshi Blog

Bengali Phrasebook at Wikitravel

Bangla Academy, regulatory body in Bangladesh.

Biswas, Sailendra. Samsada Bangala abhidhana. 7th ed. Calcutta, Sahitya Samsad, 2004. Requires unicode enabled browser.

Biswas, Sailendra. Samsad Bengali-English dictionary. 3rd ed. Calcutta, Sahitya Samsad, 2000. Requires unicode enabled browser.

Free Bangla Unicode Solutions.

The South Asian Literary Recordings Project, The Library of Congress. Bengali Authors.

Bangla computing resources at TDIL

* Category:Bengali literature Category:Eastern Indo-Aryan languages Category:Languages of Bangladesh Category:Languages of India Category:SOV languages

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name	Kishore Kumar| image Gangulybros01.jpg
background	solo_singer
spouse	Rama Devi, Madhubala, Yogeeta Bali, Leena Chandawarkar
birth name	Abhas Kumar Ganguly
born	August 04, 1929Khandwa, Central Provinces and Berar
died	October 13, 1987Mumbai, Maharashtra
genre	Playback, Rabindra Sangeet, rock and roll
occupation	Singer, actor, director, musician, producer
years active	1946–1987 }}

Kishore Kumar (, , ; born Abhas Kumar Ganguly 4 August 1929 – 13 October 1987) was an Indian film playback singer and an actor who also worked as lyricist, composer, producer, director, screenwriter and scriptwriter. Kishore Kumar sang in many Indian languages including Bengali, Hindi, Marathi, Assamese, Gujarati, Kannada, Bhojpuri, Malayalam and Oriya. He was the winner of 8 Filmfare Award for Best Male Playback Singer and holds the record for most number of Filmfare Awards won for that category.

Early life

Kishore Kumar was born into the Bengali Brahmin Ganguly family in Khandwa, Central Provinces and Berar (now in Madhya Pradesh) as Abhas Kumar Ganguly. His father Kunjalal Ganguly (Gangopadhya) was a lawyer. His mother Gouri Devi came from a wealthy Bengali family. Kishore was the youngest of four siblings, the other three being Ashok Kumar (the eldest), Sati Devi, and Anoop Kumar.

While Kishore was still a child, Ashok Kumar became a Bollywood actor. (Later, Anoop Kumar also ventured into cinema with the help of Ashok Kumar). Spending time with his brothers, Kishore also started to take a keen interest in movies and music. He became a fan of singer-actor Kundan Lal Saigal, whom he considered his guru, and tried to follow Saigal's singing style.

Career

After Ashok Kumar became a Bollywood star, the Ganguly family used to visit Bombay regularly. Abhas Kumar changed his name to Kishore Kumar and started his cinema career as a chorus singer at Bombay Talkies, where his brother worked. His first film as an actor was ''Shikari'' (1946), in which Ashok Kumar played the lead role. Music director Khemchand Prakash gave him a chance to sing the song ''Marne ki duayen kyon mangu'' for the film ''Ziddi'' (1948). After this, Kishore Kumar got many other assignments, but he was not very serious about a film career. In 1949, he decided to settle in Mumbai.

Kishore Kumar played hero in the Bombay Talkies film ''Andolan'' (1951), directed by Phani Majumdar. Although Kishore Kumar got some assignments as an actor with help of his brother, he was more interested in becoming a singer. He was not interested in acting, but his elder brother Ashok Kumar wanted him to be an actor like himself.

He starred in Bimal Roy's ''Naukri'' (1954) and Hrishikesh Mukherjee's directorial debut ''Musafir'' (1957). Salil Chowdhury, the music director for ''Naukri'' was initially dismissive of him as a singer, when he came to know that Kishore Kumar didn't have any formal training in music. However, after hearing his voice, he gave him the song ''Chhota sa ghar hoga'', which was supposed to be sung by Hemant Kumar.

Kishore Kumar starred in films ''New Delhi'''' (1957), ''Aasha'' (1957), ''Chalti Ka Naam Gaadi'' (1958), ''Half Ticket'' (1962), and ''Padosan'' (1968). ''Chalti Ka Naam Gaadi'', his home production, starred the three Ganguly brothers, and Madhubala. The film is about romance between a city girl (Madhubala) and a car mechanic (Kishore Kumar), with a subplot involving brothers.

Music director S. D. Burman is credited with spotting Kishore Kumar's talent as a singer, and advancing his singing career. During the making of ''Mashaal'' (1950), Burman visited Ashok Kumar's house, where he heard Kishore imitating K. L. Saigal. He complimented Kishore, but also told him that he should develop a style of his own, instead of copying Saigal. Kishore Kumar did not have a formal training in music. He kept Burman's advice in mind, and eventually developed his own style of singing, which featured the yodeling that he had heard on some records of Jimmie Rodgers bought by his brother Anoop Kumar.

S. D. Burman recorded with Kishore for Dev Anand's ''Munimji'' (1954), ''Taxi Driver'' (1954), ''House No. 44'' (1955), ''Funtoosh'' (1956), ''Nau Do Gyarah'' (1957), ''Paying Guest'' (1957), ''Guide'' (1965), ''Jewel Thief'' (1967), ''Prem Pujari'' (1970), and ''Tere Mere Sapne'' (1971). He also composed music for Kishore Kumar's home production ''Chalti Ka Naam Gaadi'' (1958). Some of their initial films included the songs ''Maana Janaab Ne Pukara Nahin'' from ''Paying Guest'', ''Hum Hain Rahi Pyar Ke'' from ''Nau Do Gyarah'' (1957), ''Ai Meri Topi Palat Ke Aa'' from ''Funtoosh'', and ''Ek Ladki Bheegi Bhaagi Si'' and ''Haal Kaisa Hai Janaab Ka'' from ''Chalti Ka Naam Gaadi'' (1958). Asha Bhosle and Kishore Kumar performed duets composed by S. D. Burman including ''Chhod Do Aanchal'' from ''Paying Guest'' (1957), ''Ankhon Mein Kya Ji'' from ''Nau Do Gyarah'' (1957), ''Haal Kaisa Hai Janaab Ka'' and ''Paanch Rupaiya Baara Aana'' from ''Chalti Ka Naam Gaadi'' (1958), ''Chhedo Na Meri Zulfein'' from ''Ganga Ki Lahren'' (1964), and ''Arre Yaar Meri Tum Bhi Ho Gajab'' from ''[Teen Devian|Teen Deviyan]'' (1965).

C. Ramchandra was another music director who recognized Kishore Kumar's talent as a singer. and their collaborations include ''Eena Meena Deeka'' from ''Aasha'' (1957). Kishore Kumar's work includes, ''Nakhrewaali'' from ''New Delhi'' (1956) by Shankar Jaikishan, and ''C.A.T. Cat Maane Billi'' and ''Hum To Mohabbat Karega'' from ''Dilli Ka Thug'' (1958) by Ravi.

Kishore Kumar produced, directed, and acted in the film ''Jhumroo'' (1961). He wrote the lyrics for the title song, ''Main Hoon Jhumroo'', and composed music for all the songs in the film. Later, he produced and directed the film ''Door Gagan Ki Chhaon Mein'' (1964). He also wrote the script and composed music for the film. The film is based on the relationship between a father (Kishore Kumar), and his deaf and mute son (played by his real-life son, Amit Kumar). He made another two films called ''Door Ka Rahi'' (1971) and ''Door Waadiyon Mein Kahin'' (1980).

In the 1960s, as an actor, Kishore Kumar built up a notoriety for coming late for the shootings, or bunking them altogether. His films flopped frequently, and he also landed in income tax trouble. As a singer, his work in this period includes ''Zaroorat Hai Zaroorat Hai'' from ''Manmauji'' (1961), ''Gaata Rahe Mera Dil'' from ''Guide'' (1965), and ''Yeh Dil Na Hota Bechara'' from ''Jewel Thief'' (1967).

In the late 1960s, Rahul Dev Burman worked together on the soundtrack of the film ''Padosan'' (1968), in which Kishore Kumar sang the songs ''Mere Saamne Wali Khidki Mein'' and ''Kehna Hai''. ''Padosan'' was a comedy film starring Kishore Kumar as a dramatist-musician, Mehmood as a Carnatic music and dance teacher, and Sunil Dutt as a simpleton named Bhola. Kishore Kumar's character in the film was inspired by the personality of Kishore's own uncle, Dhananjay Bannerjee (a classical singer). The highlight of the film was a musical, comical duel between Kishore Kumar-Sunil Dutt and Mehmood, ''Ek Chatur Nar Karke Singaar''.

1970's and 1980's

In 1969, Shakti Samanta produced and directed the film ''Aradhana'', for which the music was composed by S. D. Burman. S. D. Burman fell ill after recording some duet songs with Mohammed Rafi, Asha Bhosle, Lata Mangeshkar and Kishore Kumar. Afterwards, his son and assistant Rahul Dev Burman took over the recording. R. D. Burman got Kishore Kumar to solo sing the songs ''Mere Sapno Ki Rani'' and ''Roop Tera Mastana''. Kishore Kumar won his first Filmfare award for the song "Roop Tera Mastana".

In 1970s & 1980s Kishore Kumar sang for Rajesh Khanna, Amitabh Bachchan, Dharmendra, Jeetendra, Sanjeev Kumar, Dev Anand, Shashi Kapoor, Randhir Kapoor, Rishi Kapoor, Mithun Chakraborty, Sanjay Dutt, Sunny Deol, Anil Kapoor and Jackie Shroff.

S. D. Burman and Kishore Kumar continued to work together, including ''Phoolon Ke Rang Se'' and ''Shokhiyon Mein Ghola Jaaye'' from ''Prem Pujari'' (1969), ''Aaj Madhosh Hua Jaaye Re'', ''Khilte Hain Gul Yahan'' and ''O Meri Sharmilee'' from ''Sharmilee'' (1971), ''Meet na mila'' from ''Abhimaan'' (1973), ''Pyaar Ke Is Khel Mein'' from ''Jugnu''. In 1975, S. D. Burman composed his last song for Kishore Kumar. S. D. Burman went into a coma for the second time, soon after Kishore recorded the song ''Badi Sooni Sooni Hai Zindagi'' for the film ''Mili''.

R. D. Burman frequently used Kishore Kumar as the male singer, and recorded several songs with him in the 1970s. Some Kishore Kumar-R. D. Burman songs include ''O Maajhi Re'' from ''Khushboo'', ''Yeh Shaam Mastaani'' and ''Yeh Jo Mohabbat Hai'' from ''Kati Patang'' (1971), ''Kuchh To Log Kahenge'' from ''Amar Prem'' (1972), "Raat Kali Ek Khwab Mein Aayi" from ''Buddha Mil Gaya ''(1971), ''Musafir Hoon Yaaron'' from ''Parichay'' (1972), ''Diye Jalte Hain'' from ''Namak Haraam'' (1973), ''Meri Bheegi Bheegi Si'' from ''Anamika'' (1973), ''Zindagi Ke Safar Mein'' from ''Aap Ki Kasam'' (1974), ''Agar Tum Na Hote'', ''Humein Tum Se Pyaar Kitna'' from ''Kudrat'', "Mere Naina Saawan Bhadon" from ''Mehbooba'', and ''Chingari Koi Bhadke'' (''Amar Prem''), ''Jab Bhi Koi Kangana'' from ''Shaukeen'' (1986). R. D. Burman also recorded several duets pairing Kishore Kumar with Asha Bhosle and with Lata Mangeshkar. Some of these duets include ''Panna Ki Tamanna'' from ''Heera Panna'' (1973), ''Neend Chura Ke Raaton Mein'' from the film ''Shareef Budmaash'', ''Kya Yehi Pyaar Hai'' from Sanjay Dutt's debut film ''Rocky'' (1981), ''Sagar Kinare'' from ''Sagar'' in [1985], ''Aap Ki Aankhon Mein Kuchh'' from ''Ghar'', ''Jaane Ja Dhoondta'' and ''Nahi Nahi'' from ''Jawani Diwani'', "Kharoshoo" from ''Harjai'' (1982).

Apart from the Burmans, Kishore Kumar worked with other music directors as well. The composer duo Laxmikant-Pyarelal (L-P) also composed many songs sung by Kishore Kumar. Some of their songs include ''Mere Mehboob Qayamat Hogi'' from ''Mr. X In Bombay'', ''Mere Naseeb Mein Aye Dost'' from ''Do Raaste'', ''Yeh Jeevan Hai'' from ''Piya Ka Ghar'', ''Mere Dil Mein Aaj Kya Hai'' from ''Daag: A Poem of Love'', ''Nahi Mai Nahi Dekh Sakta'' from ''Majboor'', ''Mere diwanepan ki bhi'' from ''Mehboob Ki Mehndi'', ''Naach Meri Bulbul'' from ''Roti'', ''Chal Chal Mere Haathi'' from ''Haathi Mere Saathi'', ''Gaadi Bula Rahi Hai'' from ''Dost'', ''Ruk Jaana Nahi'' from ''Imtihaan'', ''Ek Ritu Aaye'' from ''Gautam Govinda'', ''My Name Is Anthony Gonsalves'' from ''Amar Akbar Anthony'' ''Bahut Khoobsurat Jawan Ek Ladki'' from ''Dostana'' and ''Om Shanti Om'' as well as ''Paisa Yeh Paisa'' from ''Karz''. Laxmikant-Pyarelal also composed several Kishore-Lata duets, including ''Achchha To Hum Chalte Hain'' from ''Aan Milo Sajna'', ''Gore Rang Pe Na Itna'' from ''Roti'', ''Main Solah Baras Ki'' from ''Karz'', and ''Din Mahine Saal'' from ''Avtaar'', ''Tu Kitne Baras Ki'' from ''Karz''. L-P also got Kishore Kumar and Mohammed Rafi to sing duets for the films ''Dostana'', ''Ram Balram'' and ''Deedaar-E-Yaar''. L-P composed a duet with Kishore Kumar and Alisha Chinoy, ''I love you (Kaate Nahin Katate Yeh Din Yeh Raat)'' from ''Mr. India'' in (1987). Salil Chowdhury recorded songs like ''Koi Hota Jisko Apna'' from ''Mere Apne'' and ''Gujar Gaye Din Din'' from ''Annadata''. Ravindra Jain recorded ''Ghungroo Ki Tarah'', and the duet ''Tota Maina Ki Kahani'' from ''Fakira''. Khaiyyaam recorded beautiful duets with Lata Mangeshkar such as ''Hazar Rahein'' from ''Thodisi Bewafai'', ''Aankhon Mein Humne Aapke Sapne Sajaye Hain'', ''Chandani Raat Mein Ek Bar''. Hridaynath Mangeshkar recorded ''Zindagi Aa Raha Hoon Main'' from ''Mashaal''. Kalyanji-Anandji recorded several songs with Kishore Kumar including ''Zindagi Ka Safar'' and ''Jeevan Se Bhari Teri Aankhein'', from ''Safar'', ''Pal Pal Dil Ke Paas'' from ''Black Mail'', ''Apne Jeevan Ki Uljhan'' from ''Uljhan'', ''Mera Jeevan Kora Kagaz'' from ''Kora Kagaz'', ''O Saathi Re'' from ''Muqaddar Ka Sikandar'', ''Khaike Paan Banaraswala'' from ''Don'', ''Neele Neele Ambar Par'' from ''Kalakar'' and ''Pal Bhar Ke Liye'' from ''Johny Mera Naam''.

Other composers including Rajesh Roshan, Sapan Chakravarty, Jaidev, Chitragupta (composer), Usha Khanna, Sohnik Omi, Prem Dhawan, Vanraj Bhatia and Bappi Lahiri also worked with Kishore Kumar. Rajesh Roshan's film ''Julie'' featured songs sung by Kishore Kumar, ''Bhool Gaya Saab Kuchh'' (duet with Lata Mangeshkar) and ''Dil Kya Kare Jab Kisise''. Their other songs include ''Chhookar mere man ko'' from ''Yaarana'', ''Tune Abhi Dekha Nahin'' from ''Do Aur Do Paanch'' and ''Kahan Tak Ye Man Ko Andhere Chhalenge'' from ''Baaton Baaton Mein''. Bappi Lahiri also recorded many songs with Kishore Kumar, including ''Pag Ghunghroo Bandh'' from ''Namak Halal'' (1982), ''Manzilen Apni Jagah Hai'' from ''Sharaabi'' (1984) and ''Chalte Chalte Mere Ye Geet'' from ''Chalte Chalte'' (1976), ''Saason Se Nahi Kadmose Nahi'' from ''Mohabbat'' in (1987) and duets with (Lata Mangeshkar)) like ''Taa thaiya'' from ''Himmatwala'' in (1984), ''Albela Mausam'' from ''Tohfa'' in (1985) and another duet ''Pyar Ka Tohfa'' from the same film.

During the Indian Emergency (1975–1977), Sanjay Gandhi asked Kishore Kumar to sing for an Indian National Congress rally in Mumbai, but Kishore Kumar refused. As a result, the government put an unofficial ban on playing Kishore Kumar songs on the All India Radio or television.

Later years

Kishore Kumar produced and directed some movies in the late 1970s and early 1980s, such as ''Badhti Ka Naam Daadhi'' (1978), ''Zindagi'' (1981) and ''Door Wadiyon Mein Kahin'' (1980). His last appearance as an actor was in ''Door Wadiyon Mein Kahin''.

With patronage from R. D. Burman and Rajesh Roshan, Kishore Kumar's son Amit Kumar also became a Bollywood singer in the 1980s. Kishore Kumar also continued singing for several actors. He also did some stage shows, apparently to earn money to pay his income tax arrears.

Kishore Kumar stopped singing for Amitabh Bachchan in the mid-1980s, after Bachchan did not do a guest appearance in a film produced by him but called a truce with him by singing for him in ''Toofan''. He also temporarily stopped singing for Mithun Chakraborty, after Yogeeta Bali divorced him and married Chakraborty. However, later Kumar sang for him in many films like ''Disco Dancer'', ''Muddat'', and ''Pyar Ka Mandir''.

In the mid-1980s, Kishore Kumar sang for Anil Kapoor in Kapoor's debut film as a leading man, ''Woh Saat Din'' and also recorded ''Mr. India''. He sang a duet with Alka Yagnik, ''Tumse Badhkar Duniya Mein Na Dekha'' for ''Kaamchor'' in (1986). He also recorded some songs for the film ''Saagar'' with R. D. Burman. By this time, he had decided to retire and was planning to go back to his birthplace, Khandwa.

On 13 October 1987, he died of a heart attack in Mumbai at 4:45 pm. His body was taken to Khandwa for cremation. He had recorded his last song a day before he died. The song was ''Guru Guru'', a duet with Asha Bhosle, for the film ''Waqt Ki Aawaz'' (1988) composed by Bappi Lahiri for Mithun Chakraborty and Sridevi.

Kishore Kumar's song ''Pal Bhar Ke Liye'' from the film ''Johny Mera Naam'' (1970) was used in an episode of ''The Simpsons'' titled "Kiss Kiss, Bang Bangalore". His songs have also been featured in several films, including ''Such a Long Journey'' (1998) and ''Side Streets'' (1998). Sony TV organised the television singing contest ''K for Kishore'' to search for a singer like Kishore Kumar.

Personal life

Kishore Kumar married four times. His first wife was Ruma Guha Thakurta aka Ruma Ghosh. Their marriage lasted from 1950 to 1958.

Kishore's second wife was actress Madhubala, who had worked with him on many films including his home production ''Chalti Ka Naam Gaadi'' (1958). When Kishore Kumar proposed to her, Madhubala was sick and was planning to go to London for treatment. At this time, she didn't know that she had a ventricular septal defect, and her father wanted her to wait and consult the London doctors first. Nevertheless, Madhubala married Kishore in 1960. Madhubala was a Muslim, and the two had a civil marriage. Kishore converted to Islam and took the name Karim Abdul. The doctors in London told Madhubala that she would not live for long. The marriage lasted for nine years, and ended with Madhubala's death on 23 February 1969.

Kishore Kumar's third marriage was to Yogeeta Bali, and lasted from 1976 to 4 August 1978. Kishore was married to Leena Chandavarkar from 1980 until his death. Kishore Kumar sired two sons, Amit Kumar (playback singer) with Ruma, and Sumit Kumar with Leena Chandavarkar.

Kumar is said to have been paranoid about not being paid. During recordings, he would sing only after his secretary confirmed that the producer had made the payment. Once, when he discovered that his dues hadn't been fully paid, he landed up for shooting with make-up on only one side of his face. When the director questioned him, he replied "Aadha paisa to aadha make-up." (Half make-up for half payment). On the sets of ''Bhai Bhai'', Kishore Kumar refused to act because the director M V Raman owed him five thousand rupees. Ashok Kumar persuaded him to do the scene. But, when the shooting started, he walked across the floor and, each time he walked a few places, he said, ''Paanch Hazzar Rupaiya'' (five thousand rupees) and did a somersault. After he reached the end of the floor, he went out of the studio, jumped into his car, and ordered his driver Abdul to drive away. On another occasion, when producer R. C. Talwar did not pay his dues in spite of repeated reminders, Kishore turned up at Talwar's residence one morning and started shouting "''Hey Talwar, de de mere aath hazaar''" ("Hey Talwar, give me my eight thousand"). He did this every morning until Talwar paid him.

The film ''Anand'' (1971) was originally supposed to star Kishore Kumar and Mehmood Ali in the lead. Hrishikesh Mukherjee, the director of the film, was asked to meet Kishore Kumar to discuss the project. However, when he went to Kishore Kumar's house, he was driven away by the gatekeeper due to a misunderstanding. Kishore Kumar (himself a Bengali) hadn't been paid for a stage show organized by another Bengali man, and had instructed his gatekeeper to drive away this "Bengali", if he ever visited the house. When Hrishikesh Mukherjee (also a Bengali) went to Kishore Kumar's house, the gatekeeper drove him away, mistaking him for the "Bengali" that Kishore Kumar had asked him to drive away. Consequently, Mehmood had to leave the film as well, and new actors (Rajesh Khanna and Amitabh Bachchan) were signed up for the film.

In spite of his "no money, no work" principle, sometimes Kishore Kumar recorded for free even when the producers were willing to pay. Such films include those produced by Rajesh Khanna and Danny Denzongpa. On one occasion, Kishore Kumar helped actor-turned-producer Bipin Gupta, by giving him Rs. 20,000 for the film ''Dal Mein Kala'' (1964). When actor Arun Kumar Mukherjee died, Kishore Kumar regularly sent money to his family in Bhagalpur. Mukherjee was one of the first persons to appreciate Kishore's singing talent.

Many journalists and writers have written about Kishore Kumar's seemingly eccentric behavior. Kishore Kumar had put a "''Beware of Kishore''" sign at the door of his Warden Road flat, where he stayed for some time while his bungalow was being done up. Once, producer-director H. S. Rawail, who owed him some money, visited his flat to pay the dues. Kishore Kumar took the money, and when Rawail offered to shake hands with him, he reportedly put Rawail's hand in his mouth, bit it, and asked "Didn’t you see the sign?". Rawail laughed off the incident and left quickly. Kishore Kumar was a loner, and in an interview with Pritish Nandy (1985), he said that he had no friends – he preferred talking to his trees instead. Once, when a reporter made a comment about how lonely he must be, Kishore Kumar took her to his garden. He then named some of the trees in his garden, and introduced them to the reporter as his closest friends.

According to another reported incident, once Kishore Kumar was to record a song for producer-director G. P. Sippy. As Sippy approached his bungalow, he saw Kishore going out in his car. Sippy pleaded him to stop his car, but Kishore only increased the speed of his car. Sippy chased him to Madh Island, where Kishore Kumar finally stopped his car near the ruined Madh Fort. When Sippy questioned his strange behavior, Kishore Kumar refused to recognize or talk to him and threatened to call police. Sippy had to return. Next morning, Kishore Kumar reported for the recording. An angry Sippy questioned him about his behavior on the previous day. However, Kishore Kumar insisted that Sippy must have seen a dream, and claimed that he was in Khandwa on the previous day.

Once, a producer went to court to get a decree that Kishore Kumar must follow the director's orders. As a consequence, Kishore Kumar obeyed the director to the letter. He refused to alight from his car until the director ordered him to do so. Once, after a car scene in Mumbai, he drove on till Khandala because the director forgot to say "Cut". In the 1960s, a financier named Kalidas Batvabbal, patently disgusted with Kishore Kumar's alleged lack of cooperation during the shooting of ''Half Ticket'', gave him away to the income tax authorities. Kishore had to face a raid at his house. Later, Kishore invited Batvabbal home, tricked him by asking him to enter a cupboard for a "chat" and locked him inside. He unlocked Batvabbal after two hours and told him "Don’t ever come to my house again."

Awards

; Filmfare Awards

Winner:

! Year	! Song	! Film	! Music director	! Lyricist
1969	''Roop tera mastaana''		Sachin Dev Burman	Anand Bakshi
1975	''Dil aisa kisi ne Mera''	''Amanush''	Shyamal Mitra	Indeevar
1978	''Khaike Pan Banaras Wala''		Kalyanji-Anandji	Anjaan
1980	''Hazaar raahen mudke dekheen''	''Thodisi Bewafaii''	Khayyam	Gulzar
1982	''Pag ghungroo baandh ke meera nachi''	''Namak Halaal''	Bappi Lahiri	Anjaan
1983	''Hamen aur jeene ki''	''Agar Tum Na Hote''	Rahul Dev Burman	Gulshan Bawra
1984	''Manzilen apni jagah''	''Sharaabi''	Bappi Lahiri	Anjaan
1985	''Saagar Kinaare''	''Saagar''	Rahul Dev Burman	Javed Akhtar

Nominated:

! Year	! Song	! Film	! Music Director	! Lyricist
1971	''Zindagi Ek Safar''		Shankar-Jaikishan	Hasrat Jaipuri
1971	''Yeh Jo Mohabbat Hai''	Kati Patang	Rahul Dev Burman	Anand Bakshi
1972	''Chingari Koi Bhadke''	Amar Prem	Rahul Dev Burman	Anand Bakshi
1973	''Mere Dil Mein Aaj''	''Daag: A Poem of Love''	Laxmikant-Pyarelal	Sahir Ludhianvi
1974	''Gaadi Bula Rahi Hai''	''Dost''	Laxmikant-Pyarelal	Anand Bakshi
1974	''Mera Jeevan Kora Kagaz''	''Kora Kagaz''	Kalyanji Anandji	M.G.Hashmat
1975	''Main Pyaasa Tum''	''Faraar''	Kalyanji Anandji	Rajendra Krishan
1975	''O Manjhi Re''		Rahul Dev Burman
1977	''Aap Ke Anurodh''	''Anurodh''	Laxmikant-Pyarelal	Anand Bakshi
1978	''O Saathi Re''	Muqaddar Ka Sikander	Kalyanji-Anandji	Anjaan
1978	''Hum Bewafa Harghiz''		Rahul Dev Burman	Anand Bakshi
1979	''Ek Rasta Hai Zindagi''	''Kaala Patthar''	Rajesh Roshan	Sahir Ludhianvi
1980	''Om Shanthi Om''		Laxmikant-Pyarelal	Anand Bakshi
1981	''Hameh Tumse Pyar''	''Kudrat''	Rahul Dev Burman	Majrooh Sultanpuri
1981	''Chhookar Mere Mann Ko''		Rajesh Roshan	Anjaan
1983	''Shayad Meri Shaadi''	''Souten''	Usha Khanna	Sawan Kumar
1984	''De De Pyar De''	Sharaabi	Bappi Lahiri	Anjaan
1984	''Inteha Ho Gayi''	Sharaabi	Bappi Lahiri	Anjaan
1984	''Log Kehete Hai Main''	Sharaabi	Bappi Lahiri	Anjaan

; Bengal Film Journalists' Association Awards

Winner: 1971 - Best Male Playback Singer for ''Aradhana'' 1972 - Best Male Playback Singer for ''Andaz'' 1973 - Best Male Playback Singer for ''Hare Rama Hare Krishna'' 1975 - Best Male Playback Singer for ''Kora Kagaz''

See also

Kishore Kumar filmography

List of Indian playback singers

Hindi songs

References

Further reading

External links

Category:1929 births Category:1987 deaths Category:Bengali people Category:People from Khandwa Category:Indian male singers Category:Indian actors Category:Indian film actors Category:Indian film singers Category:Cardiovascular disease deaths in India Category:Indian comedians Category:Bollywood playback singers Category:Yodelers Category:Bengali musicians Category:Bengali actors Category:Assamese playback singers Category:Indian former Muslims Category:People from Mumbai Category:Hindi film actors Category:Hindi-language film directors Category:Indian film directors Category:Indian film producers

bn:কিশোর কুমার de:Kishore Kumar es:Kishore Kumar fr:Kishore Kumar hi:किशोर कुमार ml:കിഷോർ കുമാർ mr:किशोर कुमार ne:किशोर कुमार sd:ڪشور ڪمار Kishore Kumar sv:Kishore Kumar te:కిషోర్ కుమార్ ur:کشور کمار

prosenjit	Tollywood film actor.
birth date	September 30, 1962
birth place	Kolkata, India
spouse	Debashree RoyAparna Arpita Pal (present)
website	http://www.prosenjit.in/
bfjaawards	Best Actor2007 ''Dosar'' }}

Prosenjit Chatterjee (also Prosenjit Chatterjee or Proshenjit Chattopadhyay ( ''Proshenjit Chôṭṭopaddhae''; born 30 September 1962), professionally known as Proshenjit, is a Bengali film actor. His fans affectionately called him Bumba Da. In rural Bengal he is addressed as Poshenjit. His rural fan base led him to do many films which had rustic storylines, Films from which intellectuals shied away.But his popularity was undeniable. Since 2003 with Rituparno Ghosh's ''Chokher Bali'' (Co-starring Aishwarya Rai and Raima Sen) he has acted in numerous films that had won critical acclaim . In 2007 he received the National Award Silver Lotus for his performance in ''Dosar''. He has acted in over 279 films as on October 2009. The only son of Biswajeet, the actor from Tollygunge who carved a niche in Hindi cinema in the 1960s, Prosenjit made his debut when he was just four years old in his father’s production ''Chhotto Jignasa'' (''The Tiny Question''). The film was a big hit and little Boomba’s fresh and natural performance warmed the cockles of every heart in house-full theatres way back in 1967. It was back to school after that. In between, his parents split, Biswajeet settled in Mumbai and at age of Sixteen, Prosenjit was left with the responsibility of his family consisting of his mother and little sister Pallavi Chatterjee, now an actress in her own right.

Family background

He is the son of film actor Biswajeet and debuted as a child artist in the film ''Chhotto Jignasa'' (''A Little Question''), directed by his father. However due to his perception of his father's role in his parents' separation when he was a teenager, he and his sister Pallavi have little or no contact, at least officially, with their father.

Prosenjit has been the leading star of Bengali (West Bengal) commercial cinema for the past two decades.

Personal life

He attended St. Xavier's Collegiate School Calcutta and St. Xavier's College, Calcutta and of the University of Calcutta.

Prosenjit lives in Kolkata with his wife, actress Arpita Pal and their son Trishanjit.

He has had two previous failed marriages. His previous partners were Debashree Roy, and Aparna Guhathakurta.

Film career

He made his debut as hero in ''Duti Pata'' (1983), a teenage romance along the lines of Bobby. The film filled a vacuum in Bengali cinema through its look and mounting, distanced from stereotypical Bangla films of the time. It turned out to be a super-duper hit, and overnight, Prosenjit found stardom thrust on him.

He considers the character of Koushik, the husband in Rituparno Ghosh's ''Dosar'' (2006) as his most challenging role. “The story begins with Koushik cheating on his wife, spending a weekend with another woman and then running into a near-fatal accident. He sustains severe injuries and most of the time, I was horizontal and had to emote only through my eyes. None of my body parts moved except my eyes. It was extremely exhausting in a physical sense. It was also challenging because the Indian audience does not generally accept such characters.”

''Amar Shangi'' (1987) opposite Vijayeta Pandit, ''Apon Amaar Apon'' (1990) directed by Tarun Majumdar and Buddhadeb Dasgupta’s ''Ami, Yaseen Aar Amaar Madhubala'' (2007) are the three outstanding films of his career. The song "Chirodini Tumi Je Amar" from ''Amar Shangi'' remains a hot favourite among lovers of Bengali music. In fact, ''Amar Shangi'' was his turning point film. Prosenjit did not have to look back after that.

Among the 50 odd leading ladies he has acted with, he rates Debashree Roy, the woman he was once married to, as the best. "She is outstanding and completely dedicated to her work. I have worked with her in more than 25 films. It is a pleasure to be cast opposite her in any film and I would welcome the opportunity any time she agrees to act with me. Many talented young women faded away into oblivion, constantly throwing up the challenge of creating new and talented leading ladies in the Bengali film industry." Says Prosenjit. Satabdi Roy takes top place as his heroine, having acted with him in more than 50 films. He has done 35 films with Rachana Banerjee, 50 with Rituparna Sengupta, around 16 with Indrani Haldar and four with his wife Arpita Pal.

Prosenjit did make an attempt to make it in Bollywood. He played the role of Mumtaz's son in her disastrous comeback film ''Aandhiyaan'' in 1989. The film was directed by David Dhawan. The story revolve aspirations where his ordinary wife would be a disturbing factor. The son grows up to take revenge and finally unite his parents. The film disappeared without a trace. But this did not stop Prosenjit from playing the hero in the Mehul Kumar-directed ''Meet Mere Man Ke'' (1991). This film too, was a disaster after which Prosenjit decided to came back to his roots, choosing to become numero uno in his home state rather than becoming a bit-star doing secondary roles in Bollywood films.

Awards

National Film Award - Special Jury Award / Special Mention (Feature Film) (2007) for ''Dosar''

Filmography

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!Year	!Movie	!Director	!Co-stars	!Remarks
1968	|	Biswajit	Biswajit	His debutant film as Child artist with his father Biswajit.
1974	|	Biswajit	Biswajit	First debut this film not as hero
1980	|	Piyush Basu	Uttam Kumar	Performing young as Uttam Kumar
1981	|	Sukhen Das
1982	|	Bidesh Sarkar	Madhu
1983	|	Bimal Roy		His first appearance as a flop villain and remake as his first film.
1983	|	Palash Bandhopadhaya
1983	|	Sukhen Das
1984	|	Sujit Guha
1984	|	Partha Pratim Choudhury
1984	|	Anjan Choudhury
1985	|	Rathis De Sarkar
1985	|	Dilip Roy
1985	|	Santimoy Bandhopadhaya
1986	|	Sujit Guha
1986	|	Palash Bandhopadhaya
1986	|	Ardhendu Chattopadhaya
1986	|	Tapan Sinha
1986	|	Tarun Majumdar
1986	|	Sujit Guha
1986	|	Jahar Biswas
1986	|	Umanath Bhattacharya
1986	|	Rathus De Sarkar
1987	|	Nibhas Chakraborty
1987	|	Pinaki Choudhury
1987	|	Parimal Roy
1987	|	Sushil Mukherjee
1987	|	Sarit Bandhopadhaya
1987	|	Sujit Guha	Vijeyata Pandit	His first Block bluster film, it is also remarkable movies of the bengali film.
1987	|	Sujit Guha
1988	|	Rathis De Sarkar	Rameshwari
1988	|	Anjan Mukherjee
1988	|	Chandan Mukherjee
1988	|	Samit Bhanjo
1988	|	Anjan Choudhury
1988	|	Srikanto Guhathakurata
1988	|	Dev Sinha
1988	|	Sabdo kumar	Anuradha Patel
1988	|	Prabir Mitra
1989	|	Parimal Bhattacharya
1989	|	Sujit Guha	Dispshikha Chiklia
1989	|	Ashit Ganguly
1989	|	Nripen Saha
1989	|	Bimal Roy	Farah Naaz
1989	|	Gautam Choudhury
1989	|	Piyush Debnath
1989	|	Sachin Adhikary
1989	|	Robin Basu
1989	|	Partha Pratim Choudhury
1989	|	Agradoot
1989	|	Sujit Guha
1989	|	Sujit Guha
1989	|	Sujit Guha
1989	|	PrabhatRoy
1989	|	Sujit Guha	Juhi Chawla
1989	|	Santanu Bhoumik
1989	|	Prabhat Roy	Reshmi Singh
1990	|	Tapan Sinha
1990	|	Tarun Majumdar
1990	|	Sujit Guha	Sonam
1990	|	Sibu Mitra	Neelam
1990	|	Moloy Mitra
1990	|	Oru Bagchi
1990	|	Rana Mukherjee
1991	|	Srikanto Guhathakurata
1991	|	Saran Dey
1991	|	Rupat Das	Ayesha Jhulka
1991	|	Nandan Dasgupta
1991	|	Saran Dey
1991	|	Nitish Roy
1992	|	Ram Mukherjee
1992	|	Tapan Saha	Juhi Chawla
1992	|	Prabir Mitra
1992	|	Sibu Mitra	Pallavi Joshi
1992	|	Sachin Adhikary
1992	|	Dev Sinha
1992	|	Prasanto Nandi
1992	|	Prosenjit
1992	|	Sujit Guha
1993	|	Inder Sen
1993	|	Dhruba Dutta
1993	|	Srikanto Guha
1993	|	Shibu Mitra	Sunny Deol
1993	|	Biresh Chatterjee
1993	|	Lalit Mukherjee
1993	|	Prasanto Nandi
1994	|	Santanu Bhoumik
1994	|	Nibhas Chakraborty	Nita Puri
1994	|	Ram Mukherjee
1994	|	D. Bijoybhatt
1994	|	Samit Bhanjo
1994	|	Inder Sen
1994	|	Sapan Saha
1994	|	Bimal Roy	Debjani
1994	|	Pratin Jaiswal
1995	|	Haronath Chakraborty
1995	|	Sushikumar Shah
1995	|	Sachin Adhikary
1995	|
1996	|	Sapan Saha
1996	|	Sapan Saha
1996	|	Rituparno Ghosh
1996	|	Sapan Saha
1996	|	Ram Mukherjee	Rani Mukherjee
1996	|	Sapan Saha
1996	|	Prabhat Roy
1996	|	Sujit Guha
1997	|	Sapan Saha
1997	|	Sujit Guha
1997	|	Anjan Bandhopadhya
1997	|	Haronath Chakraborty
1997	|	Narayan Ghose
1997	|	Sapan Saha
1997	|	Samit Bhanjo
1997	|	Sapan Saha
1997	|	Pallav Ghose
1997	|	Sapan Saha
1997	|	Anup Sengupta
1997	|	Sapan Saha
1998	|	Sapan Saha
1998	|	Bablu Samaddar
1998	|	Prosenjit
1998	|	Sapan Saha
1998	|	Sapan Saha
1998	|	Sapan Saha
1998	|	Anup Sengupta
1998	|	Sapan Saha
1998	|	Partha Sarathi Joyardar
1998	|	Haronath Chakraborty
1998	|	Narayan Ghose
1998	|	Dilip Biswas
1998	|	Sapan Saha
1999	|	Prabhat Roy
1999	|	Sujit Guha
1999	|
1999	|	Sapan Saha
1999	|	Sapan Saha
1999	|||Varsha Usgaonkar||
1999	|	Prabhat Roy
1999	|	Narayan Ghose
1999	|	Sapan Saha
1999	|	Haronath Chakraborty
1999	|	Partha Ghose
1999	|	Sapan Saha
1999	|	Prabhat Roy
2000	|	Sujit Guha
2000	|	Anup Sengupta
2000	|	Kalidas Mahalnobis
2000	|	Haronath Chakraborty
2000	|	Subhas Sen
2000	|	Subhas Sen
2000	|	Sapan Saha
2000	|	Anup Sengupta
2000	|	Tushar Majumdar
2000	|	Sapan Saha
2000	|	Haronath Chakraborty
2000	|	Ratan Adhikary
2000	|	Probhat Roy
2000	|	Dulal Bhoumik
2001	|	Rituparno Ghosh>Rituporno Ghose
2001	|	Raj Mukherjee
2001	|	Sapan Saha
2001	|	Haronath Chakraborty
2001	|	Anup sengupta
2001	|	Narayan Ghose
2001	|	Sujit Guha
2001	|	Sapan Saha
2001	|	Ramashis Bakshi
2001	|	Ratan Adhikary
2001	|
2002	|	Anup Sengupta
2002	|	Ravi Kinagi
2002	|	Dulal Bhoumik
2002	|	Shakti Samanta
2002	|	Sapan Saha
2002	|	Sapan Saha
2002	|	Mohanji Prasad
2002	|	Anup Sengupta
2002	|	Jillur Rahman
2002	|	Bablu Samaddar
2002	|	Sujit Guha
2002	|	Sapan Saha
2002	|	Pallav Ghose
2003	|	Sapan Saha
2003	|	Joydeb Chakraborty
2003	|	Ratan Adhikary
2003	|	Sapan Saha
2003	|	Narayan Chatterjee
2003	|	Biswajit
2003	|	Anup Sengupta
2003	Chokher Bali||	Rituparno Ghosh>Rituporno Ghose	Aishwarya Rai, Raima Sen, Lily Chakravarty
2003	|	Sapan Saha
2004	|	Sapan Saha
2004	|	Sapan Saha
2004	|	Anup Sengupta
2004	|	Haronath Chakraborty
2004	|	Haronath Chakraborty
2004	|	Babu Roy
2004	|	Abhijit Guha/Sudeshna Roy
2004	|	Buddhadev Dasgupta	Rimi Sen, Rajesh Sharma, Raima Sen
2004	|	Sapan Saha
2004	|	Khudiram Chakraborty
2004	|	Sapan Saha	Rimi Sen
2004	|	Anup Sengupta
2005	|	Haronath Chakrtaborty
2005	|	Shyama
2005	|	Anup Sengupta
2005	|	Biresh Chatterjee
2005	|	Sapan Saha	Abhishek Chatterjee, Rachana Banerjee, Anu Chowdhury, Biplab Chatterjee
2006	|	Rituparno Ghosh
2008	|	swapan saha	Jisshu Sengupta, Tota Roychowdhury
2008	|	Rituparno Ghosh	Manisha Koirala, Raima Sen
2008	|	Raj Mukherjee	Rachna Banerjee
2009	|	Buddhadeb Dasgupta	Sameera Reddy, Amitabha Bhattacharjee
2009	|	Rituparno Ghosh	Bipasha Basu, Jisshu Sengupta, Paoli Dam
2009	|	Bappaditya Bandyopadhyay	Rachna Shah, Sreelekha Mitra, Rimjhim Gupta
2009	|	Anup Sengupta	Ranjit Mullick, Ananya Chatterjee
2010	Autograph||	Srijit Mukherji	Nandana Sen, Indraneil Sengupta
2010	clerk||
2010	soldier||
2010	Hangover||	Prabhat Roy	Sayantika, Sankalita, Arya Babbar, Paromita Kundu
2010	Tara||	Bratya Basu	Paoli Dam
2010	Moner Manush||	Gautam Ghose	Paoli Dam, Raisul Islam Asad, Chanchal Chowdhury
2010	Jor Jar Mulluk Tar||	Haronath Chakraborty
2011	Bangla Bachao||	Anup Sengupta
2011	Papi||
2011	Chalo Paltai||	Haronath Chakraborty	Rajatabha dutta
2011	Nouka Dubi||	Rituporno Ghosh	Jisu Sengupta
2011	Shanghai||	Dibakar Banerjee	Abhay Deol	Flimming

|- ! colspan="3" style="background: #DAA520;" | BFJA Awards |- |-

References

External links

Profile at Calcuttaweb.com

Category:1962 births Category:Living people Category:Bengali film actors Category:Bengali actors Category:Indian actors Category:Indian film actors Category:Bengali people Category:University of Calcutta alumni

bn:প্রসেনজিৎ চট্টোপাধ্যায়

name	Nandana Sen
birth name	Nandana Dev Sen
birth date	August 19, 1967
birth place	Kolkata, West Bengal, India
film industry	Bollywood }}

Nandana Sen (, born Nandana Dev Sen), is an Indian actress.

Early life

Sen was born in Kolkata, West Bengal to a Bengali Hindu family. She is the daughter of Nobel Laureate and Bharat Ratna economist Amartya Sen and Padma Shri winner Nabanita Dev Sen, one of the most prominent authors in the contemporary Bengali literature.

She spent her growing years in various cities across Europe, India and America. She studied drama at the Lee Strasberg Theatre and Film Institute, the Royal Academy of Dramatic Art, and studied literature at Harvard University.

Career

Sen made her film debut with the movie "The Doll". She made her first debut in Bollywood as Rani Mukerji's 17 year old sister in the movie ''Black''. In 2008 she appeared in the British television series ''Sharpe'', in the episode ''Sharpe's Peril''.

Filmography

Rosemary Braganza / Urvashi ''Branchie'' Nadia ''Seducing Maarya'' ''Bokshu, The Myth'' ''The Miracle: A Silent Love Story'' ''The War Within (film) Reena Wadhwa Shyamoli Sara McNally ''The Silence / Chuppee'' ''The World Unseen'' Preeti Jaanvi ''Sharpe's Peril'' Sugandha ''The Forest (2009 film) Neha ''Autograph (2010 film) Serena

Year !! Film !! Role !! Language !! Notes
rowspan=1	1997	Gudia (film)>The Doll / Gudia''	|	Hindi	credited as Nandana Dev Sen
rowspan=2	1999	|		Italian language>Italian
''Forever''	|	English language>English	Short feature
rowspan=1	2000	|	Maarya	English
rowspan=1	2002	|		English
rowspan=1	2004	|
rowspan=4	2005	The War Within''||	Duri Choudhury	English
''My Wife's Murder''	|	Hindi
''Tango Charlie''	|	Hindi
''Black (2005 film)	Black''	|	Hindi
rowspan=1	2006	|			Short feature
rowspan=3	2007	|	Rehmat	English
''Strangers (2007 film)	Strangers''	|	English / Hindi
''Marigold (2007 film)	Marigold''	|	English / Hindi
rowspan=2	2008	|	Maharani Padmini	English	TV Movie
''Rang Rasiya''	|	Hindi	also known as ''Colours of Passion''
rowspan=3	2009	The Forest''||	Radha	English / Hindi
''Kaler Rakhal''	|	Bengali language>Bengali
''Perfect Mismatch''	|	English
rowspan=2	2010	Autograph''||	Srinandita	Bengali
''Prince (2010 film)	Prince''	|	Hindi

References

External links

Category:Bengali people Category:Bengali actors Category:Indian film actors Category:Living people Category:1967 births Category:Lee Strasberg Theatre Institute alumni Category:Alumni of the Royal Academy of Dramatic Art

hi:नंदना सेन pl:Nandana Sen ta:நந்தனா சென்

name	Indraneil Sengupta
birth date	September 8th, 1974
spouse	Barkha Bisht Sengupta (2008 - present)
birth name	Indraneil Sengupta
birth place	Assam, India
occupation	Model, Actor
yearsactive	1999-Present }}

Indraneil Sengupta is an Indian model and actor, born in Assam and schooled and brought up in Ahmedabad. He was a finalist in the Gladrags Manhunt Contest 1999. In 2000 he moved to Mumbai to pursue modelling. He modelled for designers like Rohit Bal and also worked for choreographers like Marc Robinson and Achala Sachdev. He did commercials for the Tata Indigo Marina car, VIP Frenchie and Aquafina.

Then came the transition to music videos: one each for Falguni Pathak-pal pal tere yaad sataye and Jagjit Singh; one for the south Indian singer Yesudas's Hindi album; and a remix of the old film song ''Koi diya jale kahin (rum pum bum)'' sung by Asha Bhosle from the movie ''Bees Saal Baad''. He also appeared in a television show on STAR Plus, which was called ''Pyaar ke do Naam.. Ek Radha Ek Shyaam''.

He has done a movie called ''Shukriya'' which was to have starred Aftab Shivdasani, Shriya Saran and Anupam Kher. He was to act in the movie ''Dus'' but the project got shelved.

He played a Negative role in 1920 an Indian horror film written and directed by Vikram Bhatt as Mohan Kant, the British Indian armyman who betrayed his revolting pro-independence military regiment.

He also starred as Tushaar in the hit Zee TV serial ''Banoo Main Teri Dulhan''.

On 2 March 2008, he tied the knot with Barkha Bisht Sengupta who was his co-star in Doli Saja Ke and Pyaar ke do naam...Ek Radha Ek Shyaam. The couple also appeared in Nach Baliye 3 as a late entrant.

He starred in a Bollywood movie Mumbai Salsa. Of late, he has also done four Bengali films. In 2008, he did 'Janala' opposite Swastika Mukherjee and directed by Buddhadev Dasgupta. He started 2009 with 'Anshumaner Chhobi' opposite Indrani Haldar and directed by first time filmmaker Atanu Ghosh. The film. which released in 2009, was critically acclaimed and was the only Bengali entry in the competitive section of the Indian Panorama in Goa in 2009. In 2009, he also starred as a bisexual lover in Kaushik Ganguly's 'Arekti Premer Golpo'. His love interest in this yet to be released film is the acclaimed director Rituparno Ghosh. 'Arekti Premer Golpo' incidentally was Rituparno's first movie as an actor. In 2010, he did his first commercial Bengali film 'Jodi Ekdin', directed by Riingo. 'Jodi Ekdin' is to release in March 2010. Indraneil also received the Anandalok Fresh Face of the Year (male) award in 2009 for 'Anshumaner Chobi'.

Indraneil starred as a young aspiring director in bengali movie Autograph with Prasenjit Chatterjee and Nandana Sen. The movie is a humble tribute to both Satyajit Ray and to Uttam Kumar as it is on the lines of film Nayak.

Filmography

Autograph (2010 film) Jodi EkdinAngshumaner Chhobi

!Year	!Movie	!Director	!Co-stars
2010	Autograph||	Srijit Mukherji	Prasenjit Chatterjee, Nandana Sen
2010	|	Riingo
2009	|	Atanu Ghosh	Indrani Haldar

Television

''Banoo Main Teri Dulhann'' ''Babul Ki Bitiya Chali Doli Saja Ke''

Year!! Serial !! Role!! Other Notes
2005	''Pyaar Ke Do Naam Ek Raadha Ek Shyaam''	Shyaam
2006	|	Tushar
2008	|	Daksh	Opposite Barkha Bisht Sengupta
2008	''Maayka''

Shukriya

Shyaam- Shyaama saga goes on The Hindu - April 1, 2006

READY, STEADY, GO! Times of India - 24 Mar 2006

Category:Indian television actors Category:People from Assam Category:Indian male models Category:Living people Category:1974 births