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One of three Binota Bose solos in Hamrahi, and the lightest thing in the film. Hindigeetmala, Wikipedia and Atul's Song A Day all credit it identically: sung by Binota Bose, written by Munshi Zakir Hussain, composed by R.C. Boral. Binota Bose also plays Gopa, the film's heroine, which makes this an actor-singer number rather than playback by a third voice — the category under which Atul's Song A Day files it.

R.C. Boral sets this as a bright, forward-moving solo rather than a reflective one — the pulse is steady where his ghazal writing for the same singer in this film is slow and weighted. What listeners single out is the prelude: in a detailed reader comment on Songs of Yore's 1945 survey, Boral is called 'the king of preludes', and the instrumental opening of this song is described as 'such a modern stylized prelude that seems to have had a clear influence on OP Nayyar and to an extent C. Ramchandra'. That is a real claim about influence rather than a compliment: the writer is hearing, in a 1945 New Theatres recording, the rhythmic brightness that would define Bombay film music a decade later. Binota Bose sings the line itself in a clear, unornamented upper register, closer to the plain lyric manner of Bengali light song than to the heavily ornamented Bombay style of the same years.

Munshi Zakir Hussain writes a straightforward seasonal lyric with no argument and no addressee to persuade. The images are the standard furniture of a Hindi-Urdu spring song used without irony: branches in motion, flowers opening, the garden's season turned over, a breeze arriving as though carrying news. What holds it together is the idea of spring as a message rather than merely a weather change — something delivered to the singer from outside, which she reports rather than claims. In a film whose other lyrics are about scars, poverty and a stolen manuscript, the refusal to make a point is the point.

Hamrahi is Bimal Roy's first film as director, the Hindi remake of his own Bengali Udayer Pathey (1944), and an unusually political picture for a mainstream 1945 release: a poor writer, a rich family that steals his novel, and a factory strike. Binota Bose plays Gopa, the industrialist's sister who ends up leaving her class behind. Her songs are the film's breathing space, and this is the widest of them. Placing a spring song in that structure is not decoration — it is the film showing you what Gopa's life is like before she gives it up.

For a song from a film remembered almost entirely for its national anthem, this one has a better afterlife than expected among people who know the period. A reader comment on Songs of Yore's 1945 survey records that Anil Biswas chose it as one of the three best R.C. Boral songs on his Rasikeshu programme with Tushar Bhatia — a working composer's verdict on a senior composer's catalogue, which is a stronger endorsement than popularity — and the same writer rates it the second-best female solo of 1945, behind only Noor Jehan's 'Aa Intezar Hai Tera' from Badi Maa. It remains, all the same, a specialist's song rather than a circulating one: Atul's Song A Day, which posted it in November 2017, files it under 'Rare song'. Binota Bose proved a one-film wonder in Hindi cinema — after Wapas (1943) and Hamrahi she married the film's story writer Jyotirmoy Roy and worked almost entirely in Bengali thereafter.