मेरे जोबना की आग बुझाए गयो रे

A sensual, youth-themed song from Jawani Ka Rang (1941), the Saqi-directed Radio Sound Pictures film whose very title means 'The Colour of Youth'. The folk-tinged diction ('jobana', 'gayo re') suggests a heroine's number on desire and lost ardour. The singer, lyricist and music director are not documented in accessible sources.

The diction of this title is unmistakably folk in register: "jobana" — the Brajbhasha/Bundeli word for youthful vitality and the beauty of youth — is rarely encountered in the Urdu-inflected lyric style that dominated commercial Bombay film songs of the period. Its appearance marks this as a composition drawing from eastern U.P. or central Indian folk tradition rather than the Lucknow–Delhi Urdu school. "Gayo re" (has gone away / gone from me) is the lamenting-folk suffix common to Rajasthani, Bhojpuri, and Braj songs — a simple, pained sound of loss attached to the verb. The full title describes not merely grief over a departed lover but a more radical sorrow: the extinguishing of youthful fire itself. In classical Indian shringar poetry, the "aag" (fire) of youth is desire, potency, and vitality simultaneously; to say it has been "bujhaye" (quenched, put out) is to mourn a life-force rather than merely a romance. The song registers as a woman's lament for her own diminished vitality — an unusual emotional territory for Bombay cinema of the era.

Jawani Ka Rang (1941) — "The Colour of Youth" — was produced by Radio Sound Pictures and directed by Saqi. The film starred Shakuntala Paranjpye. Radio Sound Pictures was one of the many small independent studios operating in early-1940s Bombay, producing medium-budget social films often set in contemporary urban or semi-urban environments. Saqi — a name evoking the Urdu/Persian poetic figure of the cupbearer celebrated in ghazal poetry — directed a nine-song film whose title and songs swung between youthful desire and philosophical resignation. The folk-register diction of this particular number stands out within the Bombay studio milieu of the period, when most commercial film songs deployed an Urdu-inflected, Lucknow-influenced language. All credits — singer, lyricist, music director — remain undocumented for this track; the song survives as a catalogued title only.