के रामा बड़े ग़ज़ब की नार

'Ke Rama Bade Gazab Ki Naar' is the second of Firoz Dastur's two songs in Sharbati Ankhen (1945) and the only one on the list credited to the lyricist Baalam Pardesi, with music by Feroz Nizami. No recording is in circulation, and the transliteration of the title is not entirely secure — a repeated reading of the same catalogue page rendered the final word differently on one occasion — so the entry is deliberately cautious about everything except the credits themselves.

No audio survives, so nothing is claimed here about the setting. The lyric register points towards the lighter, more rhythmic end of the film's music rather than towards its ghazal-flavoured numbers, and the fact that Feroz Nizami used the same singer for this and for the meditative 'Bikhre Kitne Roop Jagat Mein' suggests he had a classically trained voice available and was willing to put it to two very different uses — but both of those are inferences from words and personnel, not descriptions of a record anyone has heard.

'Rama' at the head of the line is not the deity but the exclamation — the hai rama of Hindi and Braj folk song, an all-purpose cry of astonishment that film lyrics kept in circulation long after it had left careful speech. What follows is the compliment: 'bade gazab ki naar'. Gazab means calamity, outrage, something that oversteps what is permitted, so to call a woman bade gazab ki is to say she is devastating in the strict sense of the word, and the line is built to land as helpless admiration rather than as flattery. The whole title sits in a village-song register, at the far end of the film's list from Tanveer Naqvi's Urdu, and it is the only lyric of the ten attributed to Baalam Pardesi.

The credit itself needs a caveat. 'Baalam Pardesi' appears as a lyricist in the Hindi Film Geet Kosh-derived catalogues for films of the early 1940s, but this archive has not been able to confirm him as a distinct, separately documented figure — no biography, no profile, no primary listing beyond the song catalogues themselves. Arunkumar Deshmukh's account of Sharbati Ankhen names the film's three lyricists as Tanvir Naqvi, Pandit Indra and 'Pt. Balam', which may be the same person under a shorter name or may be a different writer altogether. The name is recorded here as the catalogues print it, with that uncertainty attached.

This is the least documented song of a barely documented film, and the honest summary is that it survives as four fields in a catalogue. Its interest lies in what those four fields put next to each other: a Kirana-gharana classical singer, a composer trained in the same gharana, a folk-register Hindi lyric, and a lyricist whose very existence as a separate person cannot be verified. That combination is a fair picture of how much and how little the record of 1945 Hindi film music actually holds.