Born on October 7, 1937, in Comilla (then part of undivided Bengal), Ashima was the youngest of five children to Badanya Kumar Ray and Susha...
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Born on October 7, 1937, in Comilla (then part of undivided Bengal), Ashima was the youngest of five children to Badanya Kumar Ray and Sushama Devi. Music was deeply embedded in her life from an early age. She began learning music under her mother and sisters when she was just two years old. By age three, she had already sung publicly and, at five, won a music competition where she was awarded a gold medal by the Maharaja of Malda, Shri Jagadish Chandra Ray.
With her father’s transfer to Suri as a deputy magistrate, Ashima completed her schooling in Suri and Bankura, then went on to graduate from Brabourne College. She later earned her master’s degree in Bengali from Calcutta University. She received musical training at Bengal Music College under the guidance of teachers like Nanigopal Bandopadhyay, Shaktimoy Paul, and Chinmoy Chattopadhyay. Excelling in both light and semi-classical music, she earned first-class honors and a gold medal, along with the title of Gitaprabha. Under stalwarts like Pandit Jnan Prakash Ghosh and Sailen Mukherjee, she refined her skills, and briefly trained with Kamal Dasgupta and Pankaj Kumar Mullick.
In 1960, after her marriage to businessman Dilip Kumar Bhattacharya, she joined All India Radio. Her first HMV record, featuring music by Sailen Mukherjee and lyrics by Pabitra Mitra, was released that same year. She and her husband founded Pompy Films, named after their only child, and Ashima made her playback debut in their production Dolna (1965), directed by Parthapratim Chowdhury. Her song Putul Raja Putul Rani for the film picturized on Madhuchanda Chakraborty, marked the beginning of her career as a playback singer. Although Dolna did not fare well at the box office, the haunting Amar Katha Shishir Dhnowa by Lata Mangeshkar, composed by Sailen Mukherjee, remains memorable for music lovers.
Ashima became Bengal’s first female composer in 1968 with Chowringhee, Pompy Films’ second production. Based on Shankar’s bestseller, and starring Uttam Kumar, Supriya Choudhury, and Anjana Bhowmik, the film portrayed the lives of employees and guests at Hotel Shahjahan. Originally hoping to collaborate with S.D. Burman, Ashima ultimately decided to compose the score herself, creating classics like Boro Eka Laage Ei Andhaare, sung by Manna Dey for Uttam Kumar, and Kachhe Robe, voiced by Hemanta Mukherjee for Biswajit. One of the film’s songs, Boro Eka Laage Ei Andhaare, nearly didn’t make it to the screen as director Pinaki Mukherjee initially dismissed it. However, encouraged by Uttam Kumar, the song was retained and went on to become an all-time classic.
In 1972, Ashima’s talents as a producer, composer, and playback singer came together in Mem Saheb, again directed by Pinaki Mukherjee. Originally considered for the lead role, Suchitra Sen eventually declined, paving the way for Uttam Kumar and Aparna Sen to take center stage. Based on Nimai Bhattacharya’s novel, *Mem Saheb* captured the romance and political tensions of the era. With numbers like *Bodhu Emono Badalo*, her voice expressed an aching nostalgia that became emblematic of the film. Other popular songs from *Mem Saheb* include *Emon Sondhay Aakashe* and her duet *Aaj Bujhi Pakhira* with Manna Dey. The film won the Filmfare Award (East), solidifying her influence on Bengali music and cinema.
Her 1975 production *Bagh-Bondi Khela* featured Uttam Kumar, Supriya Choudhury, Partha Mukherjee, and Samita Biswas in a story about ruthless politicians and human traffickers. Through films like *Chowringhee*, *Mem Saheb*, and *Bagh-Bondi Khela*, her collaborations with Uttam Kumar evolved, who considered her husband, Partha Mukherjee, a brother.
Ashima’s association with the *Mahishasura Mardini* broadcast on Mahalaya, a cherished Bengali tradition, stands out as one of her career highlights. She sang alongside Shyamal Mitra and Arati Mukherjee in *Shubhro Shankha Robe*. When the government replaced the original programme in 1976 with prominent celebrities like Uttam Kumar and Hemanta Mukherjee, the public backlash was so intense that All India Radio reverted to the original broadcast the following year. Although Uttam Kumar had a minimal role in the replacement program *Debi Durgatiharinim*, the failure of the new format was partly blamed on him. Ashima, who had convinced him to join the programme, was deeply affected by the criticism.
Her compositions were performed by legendary singers like Manna Dey, Hemanta Mukherjee, and Sandhya Mukherjee, enriching Bengali film and radio. In addition to her work in cinema, she composed for television series like *Saat Kahon* and *Parineeta*. A versatile artist, she collaborated with directors like Hemanta Mukherjee and Kalipada Sen. During a visit to Bombay, she impressed Laxmikant-Pyarelal with her voice but was advised to relocate for more opportunities in Bollywood. Her playback credits include songs for films like *Pratidan* (1969), *Aaranyak* (1973), *Ek Bindu Sukh* (1977), and *Tanaya* (1983).
Ashima was also an active producer and distributor, releasing films under her banner Debali Pictures. Among her notable projects are *Joradighir Chowdhury Paribar* (1966) and *Pratidan* (1969). In the 1990s, she collaborated with Partha Mukherjee on a Doordarshan serial, *Swapner Gaan, Swapner Gayak*, based on Manna Dey’s life, and began celebrating Hemanta Mukherjee’s birthday annually starting in 1975.
Her long tenure at All India Radio Kolkata culminated in a role as assistant station director. She was honored with awards like the Critic's Council award, Pride of Region from Ramakrishna Mission, and Sangeet Mahasamman from the West Bengal government.
Ashima Mukherjee’s legacy endures despite the limited availability of her works. Though she left no autobiography, her influence is still felt in Bengali culture, and on each Mahalaya, her music comes alive anew.
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