इतना भी ना वो समझा के गये

Khursheed was Moorti's leading lady opposite Motilal, and this is the side that has outlived the rest of the film. The grievance in the title is a small and precise one: he went away without ever quite making himself understood, a more modern and more bruised complaint than the seasonal laments that fill the rest of the album. Songs of Yore's survey of 1945 placed it eighth among the year's ten best female solos, its compiler writing that Khursheed 'is endowed with a very unique vintage era voice' and that he could not let the song go.

The setting is the plain, slow-tempo idiom Bulo C. Rani used at Ranjit throughout the mid-1940s: harmonium and light percussion, the melody hugging the shape of the line, no orchestral apparatus. Khursheed sings it in what Songs of Yore calls the full-throated, courtesan-style manner of the vintage era — a heavier, more open sound than the lighter voices coming up around her in 1945, and well matched to the fuller instruments Sharad Dutt says the composer generally preferred.

Pandit Indra's line turns on an absence of explanation rather than an absence of love. The beloved has gone, but the injury named in the title is that he did not even make the leaving intelligible — 'itna bhi na', not even this much. Refusing the larger claim and settling for the smallest possible one is a recognisably Urdu manoeuvre, and it produces a reproach that sounds more like exhaustion than anger.

Moorti was directed by Chaturbhuj Doshi for Ranjit Movietone, with Motilal and Khursheed in the leads. The song belongs to the studio's own leading lady rather than to a borrowed guest voice, which is why it carries the weight of the album. The situation it was written for cannot be recovered — no print survives, and the reference works preserve the credits without the story.

This is the one Moorti side that entered a considered list of 1945: Songs of Yore ranked it eighth among the year's ten best female solos, alongside Shamshad Begum and Rajkumari from Humayun and Suraiya from Main Kya Karun. It carries no raag attribution in the secondary literature, and no print of the film survives, so the record is the film's surviving trace.