प्रीत करी फिर क्यों ठुकराया

"Preet Kari Phir Kyu Thukraya" — "You loved, then why did you reject?" — is one of nine songs from Vanmala (1941), the Circo Productions social drama directed, written and lyric-penned by Mohan Sinha, with music by Pandit Badri Prasad. The title signals a lament of betrayed or rejected love, a recurring theme in studio-era social melodramas. Per-song singer credits are not documented in the consulted archives.

'Preet Kari Phir Kyu Thukraya' — 'You made love, then why did you spurn it?' — is a rhetorical question-song: the speaker is not asking for information but staging a public accusation in verse. The Hindi 'thukraana' (to spurn, to reject, to kick away) is a particularly harsh verb, implying not a gentle refusal but an active, contemptuous dismissal. Placed after 'preet kari' (you made/performed love), it sets up a before-and-after structure: there was a moment of loving, and now there is a moment of rejection — and the speaker demands an account of the gap between them. Mohan Sinha's lyrics, written for a film he also directed and whose story he authored, would have been calibrated to fit this social-drama context of betrayed love and violated domestic trust. The slow tempo and Solo Female song-type suggest a solo lament, the nayika addressing her faithless beloved directly.

Vanmala (1941) was directed by Mohan Sinha, who also authored the story, wrote the dialogue, and penned the song lyrics — an unusually comprehensive auteurist involvement for the Bombay studio system of the period. The film was produced by Circo Productions and starred Maya Banerji, Pravin Kumar, and Neela. The music was composed by Pt. Badri Prasad, who also appeared on screen in the film as a character named Uncle. The plot, as documented in film records, centres on a young educated man who moves to the city and falls for an actress known for her beauty and accomplishments. 'Preet Kari Phir Kyu Thukraya' would fit into a moment of romantic disillusionment — possibly after the actress has rejected the protagonist, or vice versa — serving as one of the film's emotional climaxes.