Anil Krishna Biswas (7 July 1914 – 31 May 2003) was an Indian film music arranger from 1935 to 1965, who separated from being one of pioneers of playback singing, is likewise credited for the main Indian ensemble of twelve pieces and presenting instrumental music and full-blooded choral impacts, into Indian silver screen. An expert in western symphonic music was known for the Indian established or people components, particularly Baul and Bhatiyali in his music. Out of his more than 90 movies, most important were, Roti (1942), Kismet (1943), Anokha Pyaar (1948), Taraana (1951), Waaris (1954), Pardesi (1957) and Char Dil Char Rahen (1959).
He was additionally the pioneer in utilizing the counter tune as a part of film scores, utilizing strategy of western music, 'cantala', where one line covers the other in contra-tune, recitative exposition melodies as in Roti (1942), other than he was the first to begin widely utilizing the Ragmala. Another vital component that he presented was western arrangement, utilizing indigenous instruments both as a part of the tunes and in addition in their melodic breaks, a pattern that soon got on and cleared route for the musicals of Indian silver screen today.
He was honored the Sangeet Natak Akademi Award in 1986, given by the Sangeet Natak Akademi, India's National Academy of Music, Dance and Drama.
Anil Krishna Biswas was conceived on 7 July 1914, in Barisal in East Bengal (now in Bangladesh) in the family unit of J C Biswas, where at a youthful age he acted in a nearby beginner theater as a tyke star. He was attached to listening to music since his adolescence. As he grew up, he showed extensive musical ability, by 14 he was at that point achieved in playing table, while singing and making music at neighborhood music shows; however soon he joined the Indian Independence Movement, while as yet doing his registration, and was more than once imprisoned for his progressive exercises, prompting rehashed interruption of his studies. In the long run in 1930, after his dad's passing he cleared out for Calcutta in mask to escape further capture.
Anil Biswas first made name in Kolkata in the mid 1930s, making music for plays, later he joined 'Rangmahal Theater', Kolkata, as a performing artist, artist, and associate music executive, 1932–34, amid this period he sang and acted in a few business stage preparations. At this point he had experts singing styles like, khayal, thumri and dadra, and had turned into a proficient artist of reverential music, in Shyama Sangeet and Kirtan styles.
He additionally filled in as a vocalist, lyricist and author, with the 'Hindustan Recording Company', where Kundan Lal Saigal and Sachin Dev Burman, before relocating to Bombay themselves. He got assignments from prestigious Bengali writer, Kazi Nazrul Islam, this got him into the notification of music executive, Hiren Bose, and at whose command he advanced toward Bombay (Mumbai) in 1934.
This was the period, when playback singing, was making its presentation in Indian silver screen, when Anil initially joined Ram Daryani's, 'Eastern Art Syndicate', and was related in forming music for 'Baal Hatya' and 'Bharat ki Beti', before making his introduction as a film writer, with Dharam ki Devi (1935) for which he made the ambient melodies, furthermore acted and sang the tune, Kuch Bhi Nahin Bharosa.. In 1936 he joined 'Sagar Movietones' as an author, first beginning with helping writers, Ashok Ghosh in movies Manmohan and Deccan Queen furthermore Pransukh Nayak, and proceeded with Sagar Movietones, even after it converged with the Yusuf Fazalbhoy of RCA's recently settled National Studios in 1939.
In the coming two years he did eleven movies, for the most part trick movies, until Mehboob Khan's Jagirdar (1937), an industrially hit, set up him as a musical power in the film business. Before long numerous more autonomous assignments came his direction, most prominently, 300 Days and After, Gramophone Singer, Hum Tum Aur Woh, Ek Hi Raasta, and Mehboob Khan's Watan (1938), Alibaba (1940), the work of art, Aurat (1940), Bahen (1941), preceding working with him once more, in Roti (1942), for which he likewise credited with the story and idea, and which included numerous tunes by film's on-screen character, Akhtaribai Faizabadi (Begum Akhtar), however they were erased because of a contractual clash (the music was recorded with HMV, while she was in contract with Megaphone Gramophone Company). In taking after years he gave scores for Bombay Talkies movies like Jwar Bhata (1944), Dilip Kumar's introduction film, and Milan (1946) likewise featuring Dilip Kumar and coordinated by Nitin Bose, who made it in Bengali, as Naukadubi.
He offered reprieve to well known playback artist, Mukesh in Pehli Nazar (1945), singing 'Dil Jalta Hai to Jalne De', and to Talat Mahmood in Arzoo (1949), singing 'Affirmative Dil Mujhe Aisi Jagah Ley Chal' his first tune in Bombay; he was likewise behind the accomplishment of numerous artists, for example, Surendranath, Parul Ghosh, Amirbai Karnataki, Lata Mangeshkar and Roshan Ara Begum. It was amid his period that he wedded Asha Lata, a performer with Sagar Movietones under her last name by birth Mehrunnisa who kept on acting under the name Ashalata Biswas, and had three children and a little girl, the couple later separated. Later it was the demise of his child Pradeep in a plane mishap, in 1961, which shot his way out from the film business. Lata Mangeshkar has conceded that Anil Biswas gave her tips and prepared her for breathing control amid recording melodies.
In 1942, he joined Bombay Talkies at an offer from Devika Rani, where he got his greatest hit, Gyan Mukherjee's Kismet (1943), featuring Ashok Kumar and Mumtaz Shanti, most associated with the tune, 'Papihaare', sung by his sister Parul Ghosh (wife of the prestigious flute player, Pannalal Ghosh), the energetic hit, 'Entryway hato ai duniyaa waalo', and 'dheere aare badal, mera bulbul so raha hai, shorgul na macha' sung by the on-screen character, Ashok Kumar. In 1946, he exited Bombay Talkies and set out as a specialist, and later under the standard, 'Assortment Pictures' possessed by his wife, AshaLata Biswas, worked for four movies, Laadli (1949), Laajawaab (1950), Badi Bahu (1951) and Humdard (1953), with KA Abbas Rahi (1952), songless Munna (1954), where he gave the foundation score, and Indo-Russian joint generation, Nargis starrer, Pardesi (1957) and Char Dil Char Rahen (1959). At this point, the sort of music immaculate by Anilda, as he was currently brought in the business as, was quick changing, thus he bit by bit became frustrated by the changing progress of the film business. In mid 1960s, he resigned from the silver screen, while still at the crest of his diversion, he moved base to New Delhi, however he did maybe a couple movies in the middle of as kaul Mahesh, Sautela Bhai (1962), his last film as an arranger seemed to be, on-screen character Motilal's directorial wander, Chhoti Baatein (1965), featuring Nadira and with Mukesh's 'Zindagi Khwab Hai Tha Hamein Bhi'. Motilal passed on before its discharge, and the film tumbled in the cinematic world, however it did get a National Film Award.
In Delhi he got to be executive of the National Orchestra at the All India Radio (AIR) in March 1963, and stayed Chief Producer - Sugam Sangeet (light Hindustani traditional music) at AIR, Delhi till 1975. In spite of the fact that later, he made music for Doordarshan's spearheading TV arrangement Hum Log (1984) and various documentaries for the Films Division as late as 1991, and remained the bad habit chancellor of Jawaharlal Nehru University for a long time. He won the Sangeet Natak Akademi Award in 1986.
He was initially hitched to Ashalata (birth name: Mehrunnisa), an on-screen character in 1930s and 1940s, who additionally possessed Variety Pictures, and with whom he had three children and a little girl. His girl's name is Shikha Vohra and her little girl is currently a surely understood narrative producer, Paromita Vohra. The couple separated in 1954; Ashalata Biswas kicked the bucket in 1992. In 1959, Anil Biwas wedded the playback vocalist, Meena Kapoor, little girl of performer Bikram Kapoor. Meena Kapoor did not have any youngsters. Meena was most noted for singing hit 1950s melodies like, "Rasiya re man basiya re" in Nargis starrer Pardesi (1957) and "Kachhi hai umariya" picturised on Meena Kumari in Char Dil Char Raahein.
Film artist Parul Ghosh (approx 1915–1977) was Anil Biswas' more youthful sister. She was hitched to the prominent flute player Pannalal Ghosh (1911–1960).
Anil Biswas kicked the bucket in New Delhi on 31 May 2003. He was made due by his wife Meena Kapoor, children Amit Biswas and Utpal Biswas, and little girl Shikha Vohra. Utpal Biswas is likewise a portion of Amar-Uptal twosome group Hindi Film Music arrangers of hit movies, for example, Shahenshah (1988), Main Azaad Hoon and Aaja Meri Jaan (1993), and his little girl, Shikha Vohra. Upon his passing, the then Prime Minister of India, Atal Bihari Vajpayee called him, "a doyen of film music who struck the uncommon harmony between traditional virtue of music and well known heartbeat", and credited him for leaving, "a continuing legacy as he presented numerous capable vocalists and developments to the Indian film music."