मार गई रे हमें तेरी नज़रिया

A lighter, flirtatious number from Khandaan (1942) sung by Noor Jehan, built on the conceit of a beloved's wounding glance. Documented across multiple soundtrack listings (with some sources crediting an ensemble of female voices), it sits opposite the film's brooding solos as proof of the young singer's range.

Ghulam Haider keeps this number bright and rhythmically forward, drawing on the Punjabi folk pulse that defined his Pancholi work. The medium tempo and conversational refrain let Noor Jehan play the coy, accusing lover, her ornamentation lending playful colour to an otherwise simple melodic frame.

The 'killing glance' (nazariya maar gayi — the glance slew me) is one of the oldest conceits in Perso-Urdu love poetry: the beloved's eyes as weapons, the lover as victim of this pleasant assault. Khandaan (1942) had three lyricists — M.D. Taseer, Nazim Panipati, and D.N. Madhok — and whichever of them wrote this number was working in the Punjabi-inflected folk-Urdu register that Ghulam Haider favoured for his Pancholi productions. The diminutive 'nazariya' (little glance, using the Punjabi '-iya' suffix rather than the Urdu 'nazar') gives the lyric a teasing, colloquial quality: the wound is devastating but the tone is playful. This tonal paradox — grave damage, light delivery — is the signature of the flirtatious sub-genre of Urdu folk poetry that the Lahore Pancholi sound systematised.

Khandaan (1942) was produced by D.M. Pancholi at his Lahore studio and directed by Shaukat Hussain Rizvi in his directorial debut. It starred Pran — later one of Indian cinema's most celebrated villains — in one of his first major roles opposite Noor Jehan. Ghulam Haider's score drew heavily on Punjabi folk music, particularly the dhol-dholak rhythm and the quick, conversational vocal style of the Lahore-Amritsar performance circuit, giving the Khandaan songs an immediately regional and urban-popular character that was new in Hindi film music. 'Maar Gayi Re' was among the more purely folk-flirtatious of the film's numbers, functioning as comic-romantic counterpoint to the more emotionally serious songs in the same score.

Khandaan (1942) was the film that established Noor Jehan as one of the leading singing voices of the Subcontinent. Its songs made her, in the words of contemporary reviewers, one of the 'four leading singers' of Indian films. Though individual minor numbers like 'Maar Gayi Re' were overshadowed in later retrospectives by more celebrated Khandaan songs — particularly 'Tu Kaunsi Badli Mein' — the totality of the soundtrack demonstrated Ghulam Haider's systematic capacity to write for Noor Jehan's voice across registers. Khandaan (1942) also launched Pran's career, giving the film additional cultural significance beyond its music.