Question: Who wrote a novel that was adapted into a film which featured the voice of a man who sang in Hindi and other languages?

<P0-S0> Saptapadi (English: Seven steps) is a 1961 Indian Bengali romantic drama film by Ajoy Kar, starring Suchitra Sen, Uttam Kumar, Chhabi Biswas and Chhaya Debi. <P0-S1>  Regarded as the romantic blockbuster of the evergreen romantic pair of Bengali cinema, Uttam Kumar and Suchitra Sen, accompanied with mesmerizing music direction and playback singing in Uttam's voice by Hemanta Mukherjee and in Suchitra's voice by Sandhya Mukherjee. <P0-S2>  The story is based on a novel of 1958 written by Tarasankar Bandyopadhyay. <SEP> <P1-S0> Madhu Rye (Gujarati: મધુ રાય ) is a Gujarati playwright, novelist and story writer. <P1-S1>  Born in Gujarat and educated at Calcutta, he started writing in the 1960s and became known for his stories and plays. <P1-S2>  His experience at the University of Hawaii introduced him to experimental writing and improvisations as writing aid, which later lead to a movement against absurd theatre. <P1-S3>  He moved to the US in 1974 and has been since living there. <P1-S4>  He chiefly wrote novels, short stories and plays. <P1-S5>  His plays were successful and have been adapted into several languages and media. <P1-S6>  He has adapted his novels into plays and some plays into novels. <P1-S7>  The most notable is "Kimble Ravenswood" which later was loosely adapted into a Hindi TV series and a Hindi film, "What's Your Rashee? <P1-S8> ". <SEP> <P2-S0> Hindustani vocabulary, also known as Hindi-Urdu vocabulary, like all Indo-Aryan languages, has a core base of Sanskrit, which it gained through Prakrit. <P2-S1>  As such the standardized registers of the Hindustani language (Hindi-Urdu) share a common vocabulary, especially on the colloquial level. <P2-S2>  However, in formal speech, Hindi tends to draw on Sanskrit, while Urdu turns to Persian and sometimes Arabic. <P2-S3>  This difference lies in the history of Hindustani, in which the Khariboli dialect started to gain more Persian words in urban areas (such as Lucknow and Hyderabad), under the Delhi Sultanate; this dialect came to be termed Urdu. <P2-S4>  The original Hindi dialects continued to develop alongside Urdu and according to Professor Afroz Taj, "the distinction between Hindi and Urdu was chiefly a question of style. <P2-S5>  A poet could draw upon Urdu's lexical richness to create an aura of elegant sophistication, or could use the simple rustic vocabulary of dialect Hindi to evoke the folk life of the village. <P2-S6>  Somewhere in the middle lay the day to day language spoken by the great majority of people. <P2-S7>  This day to day language was often referred to by the all-encompassing term "Hindustani"." <P2-S8>  In Colonial India, Hindi-Urdu acquired vocabulary introduced by Christian missionaries from the Germanic and Romanic languages, e.g. "pādrī" (Devanagari: पादरी, Nastaleeq: پادری) from "padre", meaning pastor. <P2-S9>  When describing the state of Hindi-Urdu under the British Raj, Professor Śekhara Bandyopādhyāẏa stated that "Truly speaking, Hindi and Urdu, spoken by a great majority of people in north India, were the same language written in two scripts; Hindi was written in Devanagari script and therefore had a greater sprinkling of Sanskrit words, while Urdu was written in Persian script and thus had more Persian and Arabic words in it. <P2-S10>  At the more colloquial level, however, the two languages were mutually intelligible." <P2-S11>  After the partition of India, political forces within India tried to further Sanskritize Hindi, while political forces in Pakistan campaigned to remove Prakit/Sanksrit derived words from Urdu and supplant them with Persian and Arabic words. <P2-S12>  Despite these government efforts, the film industry, Bollywood continues to release its films in the original Hindustani (Hindi-Urdu) language, easily understood and enjoyed by speakers of both registers; in addition many of the same television channels are viewed across the border. <SEP> <P3-S0> Hemanta Mukherjee ((16 June 1920 – 26 September 1989); often credited as Hemant Kumar outside Bengal) was an Indian playback singer, music director and film producer, who sang in Bengali, Hindi and other Indian languages. <P3-S1>  He is also the greatest artist of Rabindra Sangeet. <P3-S2>  He won two National awards for the category best male playback singer. <P3-S3>  He is often credited as one of the greatest Indian singers of all time for his unparalleled manly voice.