Anupam Roy’s Bhulte Parbe Na Creates a Romantic Musical World for Bohurupi: The Golden Daku

Some film songs exist primarily to move a story forward, while others create an emotional space of their own. Bhulte Parbe Na, the latest song from Bohurupi: The Golden Daku, falls into the second category, bringing music, romance and nostalgia together in an intimate jalsa-inspired setting.

Written and composed by Anupam Roy and performed by Armaan Rashid Khan, the song features Jisshu Sengupta and Sohini Sarkar and introduces a gentler emotional mood within the world of the film. Rather than relying on elaborate choreography, the sequence builds its romantic atmosphere through expressions, glances and understated interactions between the two characters.

The song is also notable for its musical departure from the sound audiences commonly associate with Anupam Roy.

Anupam Roy explores a semi-classical sound

Known for his contemporary songwriting and emotionally direct compositions, Roy takes a different musical route with Bhulte Parbe Na. The song incorporates Indian semi-classical influences, including the traditional flavour of qawwali, while retaining a simple lyrical structure.

According to Roy, the composition was developed specifically around the requirements of the film and the creative brief from directors Nandita Roy and Shiboprosad Mukherjee.

The idea was to make the song feel as though it were being performed during a small, intimate musical gathering. That concept influenced everything from the arrangement to the choice of instruments.

Harmonium and tabla play an important role in establishing the song’s traditional character. At the same time, Roy deliberately avoided making the composition excessively complex.

The intention was for the emotion to reach the listener immediately, allowing the musical arrangement to support rather than overshadow the lyrics.

Roy also believes the song may surprise listeners who are familiar with his previous work. Its semi-classical musical grammar is sufficiently different that audiences may not instantly identify it as an Anupam Roy composition if they hear it without knowing the composer.

For Roy, that sense of creative unfamiliarity was part of the attraction.

Armaan Rashid Khan brings a fresh vocal texture

The vocal performance adds another layer to the composition.

Roy chose Armaan Rashid Khan for the song, describing him as a natural fit because of his voice, musical ability and sensitivity towards the mood of the composition.

Rather than approaching the song with excessive vocal ornamentation, Khan’s rendition maintains a degree of restraint. That quality allows the semi-classical character of the composition to remain intact while giving it a contemporary freshness.

The combination of harmonium, tabla, semi-classical influences and Khan’s youthful vocal texture gives Bhulte Parbe Na an identity that is distinct from a conventional romantic film song.

Jisshu Sengupta and Sohini Sarkar’s understated romance

The visual treatment follows the same philosophy as the music.

Instead of turning the song into a conventional dance sequence, Nandita Roy and Shiboprosad Mukherjee place the romance within a lively jalsa-like environment. Musicians, lights, a decorated stage and an evening celebration create a warm backdrop, while the emotional focus repeatedly returns to Jisshu Sengupta and Sohini Sarkar.

The directors wanted the relationship between the characters to feel organic. Their chemistry is therefore communicated through small gestures rather than grand romantic set pieces.

A glance, a smile, a moment of eye contact or a quiet gesture becomes part of the song’s storytelling language.

That restraint gives the sequence an intimate quality. There is a celebration taking place around the characters, but the emotional world of the couple feels almost private.

A jalsa becomes part of the storytelling

The setting is particularly important to the song because it brings the music naturally into the narrative.

The illuminated outdoor space, traditional stage design and presence of musicians create the atmosphere of an evening musical gathering. Rather than functioning simply as decoration, the jalsa becomes a setting through which the characters’ relationship develops.

Shiboprosad Mukherjee has described the song as having a different energy from the other musical elements of the film. Its timeless quality required visuals that could complement the composition without overwhelming it.

That balance is visible in the picturisation. Wider shots establish the atmosphere of the gathering, while closer frames focus on the emotional exchange between the lead characters.

Jisshu Sengupta’s presence within the musical setting adds another dimension. His character is shown seated at the harmonium and singing into a microphone, strengthening the impression that the music is part of the world of the story rather than an interruption to it.

Jisshu and Sohini’s styling adds to the period-like warmth

The costume design further complements the song’s old-world aesthetic.

Jisshu Sengupta appears in a cream-and-gold traditional ensemble, with an embroidered kurta and waistcoat giving his character a polished yet rooted appearance.

Sohini Sarkar, meanwhile, is seen in a deep red sari featuring intricate silver detailing. Traditional jewellery, bangles and a bindi complete the look, while a red rose placed in her long, wavy hair adds another classic romantic element.

The styling remains elegant without becoming excessively elaborate. It works with the lighting and musical setting to create a visual world that feels festive while retaining intimacy.

The chemistry remains at the centre

One of the most striking aspects of Bhulte Parbe Na is how little the song needs to explicitly communicate the relationship between its characters.

Jisshu and Sohini’s performances rely on physical proximity and subtle expressions rather than overt romantic choreography. Their interaction unfolds within the larger gathering, allowing the audience to observe a more personal connection developing amid the celebration.

The camera alternates between intimate shots of the pair and wider images of the musicians and audience. This creates a contrast between the public atmosphere surrounding them and the private emotional exchange taking place between them.

The result is a romantic sequence that feels less like a standalone performance and more like a moment emerging naturally from the film’s narrative.

A softer side of Bohurupi: The Golden Daku

The song also provides a tonal change within Bohurupi: The Golden Daku.

Where the larger story carries its own dramatic intensity, Bhulte Parbe Na creates room for vulnerability, romance and reflection. It allows the characters to exist outside the immediate pressures of the film’s broader narrative.

That emotional contrast can make a song particularly effective within a feature film. Instead of competing with the central storyline, it provides another perspective on the characters and their relationships.

For Jisshu and Sohini, the sequence offers an opportunity to explore a quieter side of their on-screen equation.

Anupam Roy steps outside his familiar musical vocabulary

For Anupam Roy, the song represents an experiment as much as it does a film composition.

Its semi-classical foundation, qawwali-inspired flavour and traditional instrumentation take him away from the musical language with which audiences often associate him. Yet the lyrics retain the directness that has long been a characteristic of his songwriting.

That combination is what gives Bhulte Parbe Na its distinct identity.

The song does not attempt to recreate a traditional musical performance in isolation. Instead, it blends an Indian classical and semi-classical sensibility with cinematic storytelling, creating a romantic sequence rooted in the atmosphere of a jalsa.

With Armaan Rashid Khan’s vocals, Anupam Roy’s composition and the understated chemistry of Jisshu Sengupta and Sohini Sarkar, Bhulte Parbe Na adds a warm and nostalgic emotional layer to Bohurupi: The Golden Daku.