In the film Lekin (1991), the collaboration of Gulzar's poignant lyrics and Hridaynath Mangeshkar's evocative music captures the intricate themes of love, loss, and nostalgia. The film, featuring Dimple Kapadia and Vinod Khanna, showcases a landscape that oscillates between the starkness of the desert and the opulence of Rajasthan's palaces.

The narrative intertwines past and present lives, depicting a soul ensnared in a temporal loop, wandering through ruins and sand dunes in search of freedom. The soundtrack, enriched with Rajasthani folk melodies, is complemented by Gulzar's verses and the emotional nuances of Maand, Todi, and the seldom-performed Vihangini, all contributing to the film's haunting atmosphere.

Yaara Seeli Seeli stands out as the film's most celebrated track, earning National Awards for both Lata Mangeshkar's playback singing and the lyrics. Interestingly, a film titled Yaara Silly Silly (2015) emerged, seemingly unrelated to the original song, which sparked outrage among devoted fans of Gulzar. Despite this, the song's essence continues to resonate, capturing the poignant solitude of a night through its evocative lyrics, culminating in the heart-wrenching lines, ‘Ye bhi koi jeena hai?’ and ‘Ye bhi koi marna…’

While haunting melodies are often linked to enclosed spaces, Lekin uniquely conveys the sound of solitude against the backdrop of an expansive desert. The song Main Ek Sadi Se features a sweeping orchestration reminiscent of Khayyam, with frantic violins accompanying the protagonist's desperate flight across the dunes, haunted by her past.

The interplay of a sarangi's regal tones and the steady beat of a ghatam underscores her return to the ruins that confine her, reflecting a profound sense of despair.

Discussions among YouTube viewers draw parallels between the song and Bhali Chandra Ase Dharila, a Marathi natyasangeet piece by Dinanath Mangeshkar, suggesting Hridaynath's possible inspiration from his father's work, despite the differing genres.

Suniyo Ji, based on a Hindustani classical bandish by Pandit Mani Prasad, showcases an upbeat tone while addressing the loneliness of a young bride, trapped in a castle dungeon and yearning for home.

Ja Ja Re features a touching guru-shishya moment, performed by the Mangeshkar siblings, set to the somber raag Gurjari Todi. The minimal orchestration, consisting of only a tanpura and tabla, evokes the essence of practice sessions in the Mangeshkar household.

Gulzar's flair for thumri is evident in Joothe Naina, performed with precision by Asha Bhosle. The lyricist emphasizes the correct pronunciation of 'joothe', distinguishing it from the misinterpretation of 'jhoote'.

In a nod to Rajasthan's rich musical tradition, the film features Kesariya Balma in two distinct renditions—one lively with santoor embellishments, and another contemplative, reflecting the experience of a lost soul.

Surmai Shaam encapsulates the quest for that elusive spirit, evoking memories and unexplainable sorrows that often surface at dusk, where shadows and fragrances intertwine.

This ethereal quality resonates throughout the film, capturing the essence of love and longing, making Lekin a timeless exploration of human emotions.