ଓଡିଆ ସିନେମାର ସଙ୍ଗୀତ ଗଳ୍ପ କହିଲେ, କେହି ଗାୟକଙ୍କୁ ସେମାନଙ୍କର ଗୀତଗୁଡିକର ସଂଖ୍ୟା ପାଇଁ ମାତ୍ର ନୁହେଁ, ବରଂ ସେମାନେ କଳାରେ ଯେଉଁ ଦୀର୍ଘ ପ୍ରଭାବ ଛାଡ଼ିଛନ୍ତି, ସେପରି ସ୍ମରଣ କରାଯାଏ। ସ ଜନକୀ ଏହିପରି ଗାୟକୀ। ତାଙ୍କର ଓଡିଆ ସିନେମାରେ ଯୋଗଦାନ 50 ସଙ୍ଗୀତ ମାତ୍ର, କିନ୍ତୁ ପ୍ରତିଟି ଗୀତରେ ତାଙ୍କର ଗାୟନର ଏକ ଅଲଗା ମାନ ଥାଏ, ଯାହା ଶବ୍ଦ ଏବଂ ସଙ୍ଗୀତକୁ ଜୀବନ୍ତ ଭାବନାରେ ପରିଣତ କରେ। ତାଙ୍କର ଗୀତଗୁଡିକ ଓଡିଶାର ସଙ୍ଗୀତ ମେମୋରୀରେ ଏକ ମୂଲ୍ୟବାନ ସ୍ଥାନ ଧରିଛି କାରଣ ସେ କେବଳ ଗାଇଲେ ନୁହେଁ, ସେ ଏହାକୁ ଅନୁଭବ କରିଥିଲେ।
ଜନକୀଙ୍କର ସର୍ବୋତ୍ତମ ଶକ୍ତି ସେଙ୍କର ଅସାଧାରଣ ଭାବନା ପ୍ରକାଶ କରିବାକୁ ମିଳିଥିଲା। କେFew playback singers have been able to communicate emotion with such effortless conviction. Her voice could convey joy without exuberance, sorrow without melodrama, romance without affectation, and devotion without excessive ornamentation. It was this rare ability that earned her the title ‘Queen of Expressions.’ Rather than relying on a fixed vocal style, she reshaped her voice according to the mood, character and situation of every song.
Listening to Janaki, one never hears the singer alone; one hears the emotions of the character unfolding through her voice.
By the time she entered Odia cinema, Janaki had already established herself as one of India’s finest playback singers across Tamil, Telugu, Kannada and Malayalam films. Her arrival coincided with an exciting phase in Odia film music, when composers were experimenting with classical melodies, folk traditions and modern orchestration. Janaki adapted effortlessly to this evolving musical landscape, enriching it with her remarkable versatility.
A Memorable Beginning Janaki’s journey in Odia cinema began with Mana Akasha (1974), where music director Upendra Kumar introduced her through the lively number ‘Chora Chora Preeti.’ Unlike the gentle romantic songs audiences often associated with female playback singers, this was an energetic dance composition that demanded agility, rhythmic precision and youthful exuberance. Janaki rose to the occasion with remarkable ease.
The song immediately revealed the qualities that would make her so distinctive in Odia cinema. There was a warm huskiness in her voice that added charm without overpowering the melody. Even more striking was the sense of playfulness she brought to every line. She seemed to smile through the song, not by exaggerating the lyrics but through subtle changes in tone and phrasing. The teasing inflections, rhythmic confidence and effortless vocal control made “Chora Chora Preeti” an instant favourite and introduced Odia listeners to a singer who could perform through her voice as convincingly as any actor on screen.
Romance Beyond Melody.
Janaki sang many romantic songs in Odia films, but none of them sounded repetitive. She treated every composition as a new emotional experience, bringing a distinct mood and expression to each performance. A fine example is the duet ‘Eka Aau Eka Misihue Dui’ from Paribara (1978), composed by Upendra Kumar and sung with Sikandar Alam. The song captures the innocence and excitement of young love, and Janaki’s singing mirrors those emotions beautifully. Her voice moves naturally between playful conversation and quiet tenderness, creating an intimacy that feels completely unforced.
The same film offered a contrasting mood in ‘Purila Aasha Mora,’ her duet with Pranab Patnaik. Here the playful brightness gives way to emotional maturity. Janaki sings with restraint, allowing gentle tonal shifts rather than dramatic flourishes to express longing and fulfilment. It is another reminder of how instinctively she adjusted her singing to suit the emotional demands of a composition.
Years later, in Kie Jite Kie Hare (1991), under the music direction of Akshaya Mohanty, Janaki once again demonstrated that time had done nothing to diminish her expressive power. Songs such as ‘Mana Nuhen Khela Ghara’ and ‘Mana Hajijae Akashara Neela’ reveal a voice that had gained maturity without losing its freshness. Experience had deepened her expression, making these later recordings every bit as captivating as her earlier work.
The Voice of Longing
Few singers could express the pain of separation as naturally as Janaki. She never relied on overt emotion or vocal excess. Instead, she allowed silence, carefully measured pauses and delicate tonal shading to speak for the character.
One of the finest examples is ‘Manara Manisa Jadi Sapana Tikie Dei’ from Rakta Golapa (1977), composed by Dhananjay Satpathy. The song is a masterclass in expressing viraha: the quiet ache of separation. Rather than projecting grief dramatically, Janaki internalises the emotion, making every phrase feel deeply personal. The result is a performance that continues to move listeners decades after its release.
An equally unforgettable example is ‘Nei Jare Megha Mote’ from Balidan (1979), composed by Prafulla Kar. Beautifully composed and sensitively sung, the song remains one of the finest expressions of longing in Odia cinema. Janaki’s measured phrasing, sustained notes and understated emotion transform the melody into an intensely moving musical experience.
Classical Elegance
Janaki’s command over classical music gave her a unique advantage as a playback singer. Even in technically demanding compositions, she never allowed craftsmanship to overshadow emotion.
This is perhaps best illustrated in ‘Rajani Go Mo Priya Nayane’ from Gouri (1979), composed by Prafulla Kar. Rooted in classical music, the composition required precision, controlled ornamentation and impeccable voice culture. Janaki negotiated every melodic phrase with effortless grace while preserving the lyrical tenderness of the song. Her performance stands as a reminder that technical perfection and emotional depth need not exist separately. In Janaki’s singing, they became one.
Graceful Mujra Singing
Few genres demand as much finesse from a playback singer as the mujra. It calls for a delicate balance of elegance, playfulness, rhythmic precision and dramatic expression. The singer must suggest charm and allure without sacrificing musical discipline — a balance that S. Janaki achieved with remarkable ease.
One of the finest examples is ‘Ja Ja Jare Nagara’ from Bandhu Mohanty (1977), composed by Prafulla Kar. Janaki captures the flavour of the mujra through subtle vocal inflections rather than exaggerated theatrics. There is grace in her delivery, a gentle flirtation in her phrasing and an effortless command over rhythm that perfectly complements the composition.
She explored the same idiom once again in ‘Gora Gora Gale Mora Kala Jai’ from Gouri (1979), another memorable composition by Prafulla Kar. Here, Janaki demonstrates how sensuality in music need not be overstated. Her voice remains refined throughout, allowing expression to emerge naturally from the melody rather than through dramatic embellishment. It is this restraint that gives the song its enduring appeal.
A similar quality can be heard in ‘Kali Ratire Kahigala Nagara’ from Nijhum Ratira Sathi (1979), composed by Akshaya Mohanty. Although the musical treatment differs, Janaki adapts herself effortlessly to the composition, once again proving her remarkable ability to move across diverse musical forms while retaining her own artistic identity.
Folk Simplicity
One of the greatest challenges in playback singing is knowing when not to display technical brilliance. Folk-based compositions demand simplicity, spontaneity and an unforced naturalness. Janaki understood this instinctively. Her rendition of ‘Kau Dhana Khaila Boli’ with Tansen Singh from Sautuni (1979), composed by Basudev Rath, is a fine example. Instead of approaching the song with the polish of a classically trained singer, she softened her voice, adopted the cadence of folk singing and allowed the melody to breathe naturally. Nothing sounds rehearsed or artificial. The song carries the warmth and innocence of rural Odisha, making it feel as though it has emerged directly
