लड़ाई के बाद

A 1943 Hindi comedy-drama produced by Navyug Chitrapat of Bombay, directed by R. S. Junnarkar, headed by the Marathi-Hindi crossover star Shahu Modak opposite Snehprabha Pradhan, with Raja Paranjpe, David, Kusum Deshpande and Sharda in support. The picture sits in the wartime cycle of light social entertainers and is held together by a Dadasaheb Chandekar song score set to Wali Sahab's lyrics.

Dadasaheb Chandekar — a composer with deep Marathi-stage and bhakti-music roots — scored the film, with all lyrics credited to Wali Sahab. The voices are largely the leads themselves: Snehprabha Pradhan carries most of the numbers as solos and in duet, Shahu Modak sings the male and shared songs, and Govind Kurwalikar contributes male solos and a duet. The score blends light film-song idiom with folk-tinged, devotional melodic contours typical of Chandekar's work.

Navyug Chitrapat was a Bombay banner active through the early 1940s. Ladaai Ke Baad drew on the popular Marathi-cinema talent pool of the period — Shahu Modak, Snehprabha Pradhan and Raja Paranjpe were all major Marathi names crossing into Hindi pictures — paired with composer Dadasaheb Chandekar, himself a fixture of Marathi musical theatre and mythological cinema.

Among the better-documented Navyug Chitrapat productions of the year, Ladaai Ke Baad is remembered chiefly for its music. Its number 'Sajni Chand Nikal Aaya', composed by Dadasaheb Chandekar and sung by Snehprabha Pradhan, became notable when its tune was lifted by composer R. Sudarsanam for the Tamil song 'Mayile Thoodhu Sellayo' in Sri Valli (1945) — a documented early instance of cross-industry melodic borrowing.

Today Ladaai Ke Baad survives mainly through its surviving song recordings and gramophone catalogue entries. Its place in film-music history rests on the Chandekar–Snehprabha Pradhan numbers, especially 'Sajni Chand Nikal Aaya', whose melody travelled south into Tamil cinema two years later.