The period between early 1950s to mid 1970s was the golden era of Bengali Modern Songs and even Bengali Film Songs. Sudhin Dasgupta is one of the key composers of this era. Sudhin Dasgupta's westernised compositions changed the course of the Bengali modern and film songs to a considerable extent. Like Salil Chowdhury, Hridaynath Mangeshkar or Dr. Nachiketa Ghosh,  his compositions had an identity of their own.

Some of the immortal compositions of Sudhin Dasgupta include “Moyurkonthi Rater Nile” for Manabendra Mukherjee, “Ei Jhirjhirjhir Batashe” for Dhanonjoy Bhattacharya, “Akash Eto Meghla” for Satinath Mukherjee, “Keno Tumi Phire Ele” for Shyamal Mitra etc. Sudhin babu changed the course of Bengali film song by inviting Manna Dey to sing for Uttam Kumar whose major songs were previously playbacked by Hemanta Mukherjee. Sudhin babu went to Bombay for the recordings of Sankhyabela. A that point of time Manna Dey and Lata Mangeshkar were busy recording the songs of Pakizaa with Gulam Mohammad and Naushad. When Sudhin Dasgupta recorded “Ke Prothom Kaache Eshechi”, a Manna Dey and Lata Mangeshkar duet, Naushad heard the composition and commented that “awaaz ki ahmiat samajh me nahi aya, lekin sur bahut hi umdah hai”.

The film Shonkhobela (1966) was a superhit and Sudhin Dasgupta’s compositions rendered by Manna Dey “Ami agantuk” and  “Aj mon cheche ami hariye jabo” rendered by Lata Mangeshkar  was very well appreciated by music lovers. After Shonkobela, Manna Dey formed an immortal combination in playback singing with Uttamkumar, providing outstanding performances in films like Antony Firingi (1967), Nishipadma (1970), Stri (1971), Sanyasi Raja (1975) and many others.

Notable Bengali films where Sudhin Dasgupta composed music include Dak Harkara (1958), Shonkhabela (1966), Choddhobeshi (1971), Har Mana Har (1972), Teen Bhubaner Pare etc. Sudhin had superlative skills in the usage of westernised chorus and harmonisation. He has also used baul, a type of folk song in rural Bengal, (e.g., "ogo tomar shesh bicharer asay” for Manna Dey), Karnatic blend (e.g., “bachao ke acho” in Chaddabeshi), folk touch (e.g., “rangila ranga dehe bhab jegeche” for Manabendra Mukherjee) etc.  He was also a lyricist. Some of his lyrics were as colourful las his compositions.