ओ पीने वाले पी ले

The fourth and most recently recovered Din Raat song, posted online in 2019 and documented in June 2025. Hindi Film Geet Kosh credits it to Rajkumari, one of the two numbers in the film given to a professional playback singer rather than to its actor-leads. It belongs to the sharaabi or madhushala tradition of Hindi film lyric — the drinking song used as a vehicle for carpe-diem philosophy — and is unusual in being sung by a woman, a placement that in 1940s cinema almost always signals a courtesan or cabaret setting rather than a private one.

Chandekar keeps the song at a swaying medium tempo with a strong, repetitive rhythmic pull — the gait a drinking song needs if it is to sound like an invitation rather than a lecture. The refrain returns constantly and the melodic range is narrow, so the effect comes from insistence rather than from range. The surviving transfer is badly degraded; the blogger who documented it noted that the voice only vaguely resembles Rajkumari's and suggested the poor audio may be the reason, which is a fair reading of a source in this condition.

Santokh Nadim writes a straightforward carpe-diem lyric and lets the drinking do the arguing. The address is to the drinker: fill the cups and let them brim over, because the youth being toasted will not return once it has gone. The middle of the song turns to the oldest emblem in Urdu-Hindi poetry, the moth circling the flame, and uses it not as a warning but as an invitation to come closer and sing. The final movement folds the metaphor back on itself — intoxication is to be drunk from the eyes rather than from the cup, and the rain of the eyes is what will put out the fire in the heart. The progression from wine to glance to tears is entirely conventional, and Nadim executes it in plain, unliterary Hindustani that any listener could follow at a single hearing.

Din Raat was directed by Shori Daulatavi for Navyug Chitrapat Ltd. and starred Snehprabha Pradhan, Paresh Bannerjee, Sulochana Chatterjee, Vasant Thengdi, Feroza and Dar Kashmiri. Rajkumari — by 1945 one of the busiest professional playback voices in Bombay, with a career reaching back to Gorakh Aaya (1938) — was brought in for three songs, of which this is one. Because the leads sang their own romantic numbers, the Rajkumari tracks were most likely written for a performing character rather than for a lead, but no synopsis survives to confirm it, and the blogger who documented the recording asked readers directly for information about the picturisation.

The song's online life is a small parable of how obscure this film has become: the audio was uploaded in 2019 and in six years accumulated a negligible number of views and exactly one 'like' before a researcher noticed it in 2025 and wrote it up. It is now the most recently documented of the four surviving Din Raat recordings. Its interest beyond the film is as a woman's drinking song from 1945 — a small pocket of the repertoire that predates the better-known cabaret and mujra numbers of the 1950s and 1960s and shows the form already fully worked out.