मैं प्रेम पतंग बन जाऊँगी

A romantic number from the eight-song score of Meri Khwahish (1941), with music by Vasant and Shanti Kumar and lyrics by Baalam Pardesi and A. K. Sindhu. The kite (patang) image — the lover surrendering to be flown by another's hand — is a delicate metaphor for the abandon of love. The feminine grammatical ending ('jaungi') points to a female voice, so the song-type is recorded as Solo Female; the actual playback singer is not documented in available references.

The title "main prem patang ban jaungi" — "I will become love's kite" — distils an act of romantic self-surrender into a single, weightless image. The patang (kite) in Indian folk poetry and idiom is the quintessential object of willing submission: it soars only because another holds the string. To offer to become a kite is to place one's entire motion, direction, and existence at a lover's discretion. Lyricists Baalam Pardesi and A. K. Sindhu crafted this line in the early talkie tradition, when folk imagery was being systematically adapted for cinema's urban audiences. The feminine grammatical ending — "jaungi" rather than "jaunga" — establishes the speaker as a woman, consistent with the solo-female classification. "Pardesi" in Baalam Pardesi's name (meaning "stranger" or "one from outside") suggests a lyricist who brought regional folk textures into a Bombay studio environment. The patang metaphor would recur across decades of Hindi film poetry, but its 1941 deployment here, in a now-lost film, represents one of its earliest cinematic uses.

Meri Khwahish (1941) was an eight-song production with music composed by the team of Vasant and Shanti Kumar — a collaborative model common in early Bombay talkies, where composers often shared a score across multiple films simultaneously. The film starred Sharifa, and its title, "Meri Khwahish" (My Desire / My Wish), suggests a romantic narrative centred on female longing. Lyrics were written jointly by Baalam Pardesi and A. K. Sindhu, two figures whose biographical details remain largely untraced. The dual-lyricist credit was not unusual in the period: studios often commissioned different writers for different songs and credited both when the collaboration was consistent across an entire film. "Mai Prem Patang Ban Jaungi" was one of the livelier, romantic numbers in the score — its medium tempo and playful-romantic mood set it apart from the more melancholic songs typical of the era's social films. No print of Meri Khwahish is known to survive.