जो भी झोंका हवा का आता है

The one song in Amiree (1945) that the catalogues classify as a ghazal, credited to Neelima Banerjee, who is also the documented singer of two other songs in the film. The lyricist is unrecorded, as for every song in this score, and no audio is known to be in public circulation. Some short listings of the film transcribe the singer's name as 'Nirmala Banerjee', which appears to be an error for Neelima.

No recording has been traced, so nothing can be said about the melody or the arrangement from the source itself. The ghazal classification is the useful documented fact here: in 1945 that label on a film song implied a specific treatment — a slow, unhurried tempo, a couplet-shaped melodic line that returns to the same cadence at the end of each verse, and accompaniment reduced to little more than harmonium, sarangi and a light tabla theka, so that the words stay legible throughout.

The title sets up the classic conditional of the ghazal of separation: whatever gust of wind arrives, something follows from it. In this tradition the wind is never neutral — it is the carrier, bringing a scent, a message, a rumour of the absent beloved, or simply the reminder that the beloved is elsewhere and the air has travelled from there. Building a refrain on 'jo bhi', whatever, makes the point continuous rather than singular: not one wind on one night, but every wind, every time, which is how the ghazal converts an event into a condition. The verse itself is not reproduced here and its author is unknown.

Neelima Banerjee is the closest thing Amiree has to a principal voice: three of the film's nine songs are credited to her, including both of the two whose audio has survived. Almost nothing about her Hindi film career is documented beyond these credits — the researcher Sadanand Kamath identified her voice in one of the Amiree songs by comparing it with her Bengali recordings, which is the register she is otherwise known in.

The song has no known reissue, recording or online presence. Its only distinction in the surviving record is its genre tag: in a nine-song score otherwise made of seasonal songs, compliments, a comic number and a sermon, this is the one entry the catalogues mark as a ghazal, which is the single strongest hint that Amiree's soundtrack was not built exclusively in the Bengali light-song idiom its two audible tracks suggest.