Vijaya Bhaskar’s songs, steeped in classical ragas, shaped the golden era of Kannada cinema music; they resonate with listeners over two decades after his death
Cinema music connoisseurs often lament the absence of classical influences — which defined the enduring melodies of earlier eras — in today’s compositions. A common yardstick for this comparison is the rich use of classical ragas by music directors of the past. It’s a fact that much of the charm of golden-era film music lay in its deep connection to traditional classical genres.
In Kannada cinema, the timeless appeal of earlier music owes much to its classical underpinnings. Vijaya Bhaskar (1924-2002), one of the most respected and successful composers of his time, excelled in cinema music compositions because of his knowledge of both Carnatic and Hindustani traditions which he blended into his film scores. Bhaskar, whose birth centenary is being celebrated this year, was one of the most active composers during the 1970s and ’80s; his classical foundations helped him infuse his tunes with classical music.
A prolific, multilingual composer
The mere mention of Vijaya Bhaskar evokes memories of his deeply soulful compositions, which were steeped in native sensibilities and transported listeners to a time when music and meaningful lyrics reigned supreme in Kannada cinema. Bhaskar had in-depth knowledge of classical music and could play piano like a Western virtuoso, says writer and poet Dr Doddarange Gowda, who penned songs for Bhaskar’s compositions. “He pioneered a unique style by bringing classical ragas into popular music. These gave his songs a unique edge and set him apart from his contemporaries” he adds.
Vijaya Bhaskar with producer N Veeraswamy and lyricist Chi. Udaya Shankar
A Kannada cinema music enthusiast would easily point to at least five major composers who shaped the landscape of the 90-year-old industry with their distinctive and meaningful contributions over the years. “Undoubtedly, multi-lingual music composer Vijaya Bhaskar is one of them,” says writer N.S. Sridharamurthy, who is writing a book, Ellellu Sangeethave , on Bhaskar’s musical journey. “The other four are legends like G.K. Venkatesh, T.G. Lingappa, M. Ranga Rao, and the duo Rajan-Nagendra. Bhaskar was a prolific composer who left an indelible mark on Kannada cine-goers of the ’70s and ’80s,” he adds. In a career spanning from 1953 to 2001, Bhaskar composed music for over 720 films across multiple languages, including Kannada, Tamil, Telugu, Malayalam, Marathi, Tulu, and Konkani. His overwhelming contribution to Indian film music remains undisputed.
Introduced ‘theme music’ to Kannada cinema
Influenced by legendary music composers such as R C Boral and Mukul Mehta, Bhaskar introduced the concept of ‘theme music’ to Kannada cinema. His compositions resonated with audiences, inspiring producers to select popular works of Kannada poets for their films. Bhaskar collaborated with acclaimed filmmakers, including Puttanna Kanagal (Kannada) and Adoor Gopalakrishnan (Malayalam). Notably, he was part of all films directed by KSL Swamy (Ravee). His sound tracks for movies like Rani Honnamma, Santha Thukaram, Gejje Pooje, Mana Mechida Madadi, Belli Moda, Naandi, Sharapanjara, Nagarahavu, Shubhamangala, Neela and Malaya Maruta remain etched in the memories of cinephiles. Santha Thukaram, starring Raj Kumar, received the National Award. Bhaskar’s genius earned him accolades like the Dr. Raj Kumar Award and the prestigious Sur Singar Award from Mumbai Music Enthusiasts.
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Bhaskar was attracted to music since he was very young. He was enamoured by leg harmonium, which was used by musicians in the nearby Kannika Parameshwari temple in Malleshwaram extension of Bangalore, where his family lived. His father wanted Bhaskar to become an engineer, but he loved music and learnt both Carnatic and Hindustani music. He had learnt the basics of Hindustani music from Pandit Govind Bhave and had some grounding in Carnatic music. His teacher was Narayanaswamy. He learnt to play piano and would walk to M G Road to catch the bands playing Western music at bars as well as Mysore Palace.
The protégée of Naushad, and master of simple compositions
It was in Bombay, where Bhaskar was looking for opportunities to work in the cinema industry, that he met Naushad Ali, one of the greatest and foremost music directors of Hindi cinema, known for popularising the use of classical music in films, along with another composer Master Madhav Lal. After learning the nuances of the craft, Bhaskar returned to Karnataka. Subsequently, he worked for his debut film, Sri Rama Pooja (1955), directed by B R Krishnamurthy. He became an independent music director by composing 11 songs for the film. “At that time, it was inevitable for composers to tune their songs in sync with the popular Hindi film numbers. But I impressed upon Krishnamurthy to offer a native touch to songs, which he agreed to,” Bhaskar once told this writer. Bhaskar recorded the music for Sri Rama Pooja at Navajyothi Studios, with the support of native Jayamarurthi Orchestra,” says Dr Doddarange Gowda, who wrote a small booklet on Bhaskar.
Vijaya Bhaskar with S P Balasubrahmanyam.
Bhaskar did not look back ever since. Shravana Sambrama (1993), directed by Geethapriya, was the last film for which he composed music. Bhaskar also worked with Puttanna Kanagal on Belli Moda (1967), which became an instant success; he continued to work with Kanagal till the end. His association with Kanagal, who was deeply interested in Kannada literature, gave his songs a noticeable quality. Santha Thukaram, starring Rajkumar, was one of Bhaskar’s earliest hits. The song Jayatu Jaya Vittala remained a listeners’ favourite on radio for decades. Along with Shivappa Kaayo Thande from Bedara Kannappa it was a hit among singers even at bus stands and railway stations.
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Vijaya Bhaskar did not limit his musical prowess to commercial films alone. He worked with the stalwarts of Kannada and Malayalam cinema, including N Lakshminarayana, P Lankesh, T.S. Nagabharana and G V Iyer. He inspired producers to select popular works of Kannada poets, including Da Ra Bendre and others by composing Moodala Maneya… and Uttara Dhruvadim of Belli Moda and Sharapanjara. Bhaskar believed that folk music is the forerunner of all existing forms of music in the world and he stressed the need of using a minimum number of instruments. Adoor Gopalakrishnan always preferred Bhaskar for his films and made him compose music for Mathilukal, Kathapurushan and Vidheyan. “He used to lock himself in the room and work for hours, He would tell us not to disturb him till he finished his compositions,” recalled Bhaskar’s eldest daughter, Shankari Ananth, at a function organised during the Bengaluru International Film Festival to mark his centenary year.
Conventional melodies, rooted in ragas
“In Nandi, a social drama starring Rajkumar and Harini, Vijaya Bhaskar’s songs were grounded in classical ragas, tailored to evoke deep emotions. The mellifluous Chandramukhi Pranasakhi is based on raga Malkauns, while the sombre Haadonda Haaduve draws from raga Megh. Bhaskar had a gift for creating simple yet unforgettable tunes with minimal orchestration. In Belli Moda, where he had S. Janaki sing Moodala Maneya..., he slowed the tempo and avoided the typical tabla-dholak rhythm, creating a soft, sensuous feel. The right tempo made all the difference. Even when Bhaskar borrowed from Western music, it was always an inspiration, not an imitation. Consider his adaptation of the theme from Come September into Thutiya Mele Thunta Kirunage — he didn’t just change the time signature but also the orchestral arrangement, creating a completely new melody from an older tune,” notes S.R. Ramakrishna, a music composer for theatre and film, as well as a journalist.
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Had Vijaya Bhaskar lived, he would have turned 100 on September 19. Though he passed away in March 2002, his compositions continue to resonate with music lovers, earning him the titles of Sangeet Samrat, Sangeetha Brahma, and Sangeetha Kalanidhi even two decades after his death. To mark his birth centenary, the Indian Post released a special commemorative cover on September 19. “We initially planned to celebrate Vijaya Bhaskar’s centenary on the 19th, but logistical issues delayed it. Now, we’re looking to hold the event on October 20, where Ellellu Sangeethave, the book chronicling Bhaskar’s musical journey, will be released,” said Sridharamurthy, one of the event organisers.
