मैं अलबेली नार यार

The last of the film's ten catalogued titles. The Hindi Film Geet Kosh credits it to Rewashankar Marwadi and Rajkumari and marks it a female-male number; the online catalogues leave the singer column blank, so the Geet Kosh is the only source that names the voices. The line is a self-introduction — 'main albeli naar' — a woman declaring herself carefree, spirited, striking. Catalogues also record the spelling 'Main Albeli Naar Yaar'.

The Geet Kosh marks the number female-male, which fits the form of the title: a first-person self-declaration in this period almost always signals a performance-within-the-film — a dance or a stage number presented to an on-screen audience — and an answering male voice is the standard way such a scene was built. That much follows from the credit and the title; no documented account of the staging survives, and no recording is in public access to check it against.

'Albeli' has no clean English equivalent: it carries carefree, unconventional, showy and charming all at once, and applied to oneself it is a boast made lightly enough to be forgiven. 'Naar' is the Braj word for woman, older and more song-like than 'aurat'. Putting the two together in the first person gives a lyric voice that is neither pleading nor grieving — the opposite pole of this soundtrack from 'Har Dil Mein Museebat Hai' — and every 1940s score needed at least one song at that end of the range.

Samrat Chandragupta (1945) was produced and directed by Jayant Desai for Jayant Desai Productions, the Bombay banner he founded in 1943 after fourteen years at Ranjit Studios. It is a large-scale historical about Chandragupta Maurya, founder of the Mauryan empire, built around the legend of his break with Alexander's Macedonians and his marriage to the daughter of the Greek general Seleucus Nicator. Ishwarlal, Renuka Devi, Suraiya, Nayampalli, Sulochana Chatterjee and Mubarak headed the cast; the screenplay was by Mohanlal G. Dave, Shaheed Latif and Sagar Hussain, and Dronacharya photographed it. C. Ramchandra — signing himself Chitalkar Ramchandra at this stage of his career — composed all ten documented songs to lyrics by Buddhi Chandra Agrawal 'Madhur', two years before Shehnai (1947) made him a household name.

The credit for this song survives only in the Hindi Film Geet Kosh, and it is the one place Rewashankar Marwadi appears on this soundtrack as a voice rather than as a member of the cast. That overlap — a listed actor also singing a number — was ordinary in 1945, before playback and performance had fully separated, and it is the kind of detail the online catalogues drop when they carry only the better-known names.