इंद्रपुरी देवों को प्यारी

Yashodanandan Joshi's lyric praises Indrapuri — Amaravati, Indra's celestial capital — as the city beloved of the gods. The choice of subject is not decorative in a Krishna-Arjun film: in the Mahabharata Arjun is Indra's son and spends years in his father's court in that very city, so a song in praise of it is a song about the hero's other, divine parentage. Jagannath Prakash set it. No singer is documented and no recording circulates.

Jagannath Prakash is the only music credit the film carries, and there is no accessible recording against which to describe what he did with this one. A celestial-court subject would conventionally have invited an ensemble treatment on the 1940s mythological soundstage, but the disc has not surfaced, so the treatment is genuinely unknown and is not reconstructed here.

Joshi writes in the descriptive-devotional mode the mythological reserved for its heaven scenes: the place is praised by listing whose affection it holds rather than by describing what it looks like, which is how Sanskritic praise-poetry has always handled the celestial. Naming Indrapuri rather than Vaikuntha or Kailasa also quietly keeps the song on Arjun's side of a film that is otherwise structured around Krishna.

Shri Krishnarjun Yudh was produced and directed by Mohan Sinha for his own banner, Murari Pictures, and dramatises the Puranic quarrel in which Krishna's vow to behead Chitrasen collides with Subhadra's promise to protect him, forcing Arjun to take the field against his closest friend. Prithviraj Kapoor, Shobhana Samarth, Shahu Modak, Trilok Kapoor, Kanhaiyalal Chaturvedi, Menaka Devi and Rattan Bai are in the cast. Jagannath Prakash composed all ten documented songs; Yashodanandan Joshi and Safdar Aah wrote the lyrics that carry a credit.

No recording of this song is known to circulate today — it is absent from the streaming catalogues, from YouTube, and from the archival compilations of 1940s film music. What survives is the catalogue line: a title, a composer, and in most cases a lyricist. That is a common fate for the output of a small independent banner in the mid-1940s, when only songs that sold well as 78-rpm discs were repressed often enough to survive the decades that followed.