Bin Raam Jaanakee soonee
Posted by: Atul on: January 23, 2026
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Today’ song is from an eminently resounding flop film from a highly successful film banner. The film was Ram baan-1948. It was made by Prakash Pictures, Bombay, who were famous for their outstandingly popular films on Ramayana stories. The failure of this Ram katha based film was a terrible shock not only to the banner, but its owner and director Vijay Bhatt, reportedly, went into a depression for some time !
Film Rambaan-1948 had almost the same winning team of the earlier two Blockbusters – Bharat Milap-1942 and Ram Rajya-1943. The lead pair of Shobhana Samarth, Prem Adib, and umakant and the Music Director Shankar Rao Vyas were the same The director was also the same- Vijay Bhatt. Even the writers, Lyricists and singers were the same. Then what went wrong ?
The earlier two successful films were very true in content to the Valmiki Ramayana and nothing was changed for these films. However, after 5 years, when they thought of completing the Trilogy of Ram katha films with Rambaan, they gave free hand to their story department, composed of Mohanlal Dave and Pt. Girish. Let us see what they did to the film story, leading to a disaster.
The lead pair of Prem Adib and Shobhana Samarth had become extremely popular all over the country as Ram and Seeta, after their two films Bharat Milap and Ram Rajya. These two actors came together for the first time in the film Industrial India-1938. After this they worked in 11 more films plus one more film Ramayan-54, which was concocted by joining parts of 3 films made by Prakash Pictures on Ram and Seeta. After this film-Rambaan- Prakash films focused on social and musical films and made memorable films like Baiju Bawra-52 and Gunj Uthi Shehnai-59.
The stories of Rama and offshoots of Ramayana have always inspired filmmakers. Mahabharat too did the same. In Hindi alone, films on Rama stories are around 25 ( not counting obvious other films like Ram aur Shyam, Ram Lakhan or Ram Balram etc.). Practically, in every Indian language and dialects, Nepalese and Sinhalese, Ram films are made. However, the kind of fame, popularity and the Box office returns that the Film Ram Rajya-43 earned is beyond imagination. Calendars from 1944 to 1950 featured Shobhana and Prem as Ram and Seeta. Wherever these stars went they were mobbed and people used to touch their feet, treating them as Ram and Seeta.
Enthused with this fabulous response, Prakash was planning a third film on Ram and Seeta as a last film in the Trilogy of Ramayan Stories. They waited for a good five years and made Rambaan-48.
Ramayan and Mahabharata are the two major Religious Epics for Indians. Ramayana has been popular and widespread all over the Eastern World. There are in all 301 versions of Ramayana. These include the original Valmiki Ramayan and few other major Indian language Versions like Kamban’s Ramavataram in Tamil and Rangnathan’s Ramayana in Telugu. Then there is Ramayan Manjiri in the NE and Bengal version. There is a Jain version too.Besides Ramayana in every Indian language and many dialects with scripts, there are Ramayana Versions in Burma, Indonesia, Cambodia, Laos, Philippines, Sri Lanka, Nepal, Thailand, Malaysia, Japan, Mongolia, Vietnam and China. All these versions total upto 300 in number. Then what is the 301st version ?
301st is the version of the fertile imagination of the authors of the ”Story Departments” of Indian film companies. Even Prakash Pictures had its own department. The first two films Bharat Milap and Ram Rajya were mostly based on the original Valmiki Ramayan. For film Rambaan-48, however, the Bhatt brothers gave free hand to the story and dialogue writers, in order to include something new, for which the same audience will come to the theatres. This is where things went wrong. The novel changes and additions that Mohanlal Dave and Pt. Girish brought into the Ramayana story were ridiculous, which were rejected outright and were resented by the Indian viewers. The Cinematic liberty taken for a film is one thing and twisting and distorting an accepted historical story by millions over centuries of generations is another thing. I am sure, if only Valmiki was to watch this film, he would have jumped from Everest or taken a Samadhi immediately ! Let us see what happened in the film, after all.
Baburao Patel of Film India was not one to miss such an opportunity to pull up the director and producer. In the February 1949 issue, he had devoted three pages to the film, mostly tearing it apart, accusing the producers of tarnishing the Hindu religion. He only appreciated actor Umakant, who traditionally did the role of Laxman ( He did this role in 7 films in all) as a good and suitable actor. He even suggested that he be promoted as Ram, in their next film.
First and foremost, Shobhana Samarth was 8 month’s pregnant during the shooting of this film ( with her third daughter Chatura ) and it showed everytime she came on the screen. Could they not wait for another 6 months ? As such she was nearing her middle age-at 33 years- and it was obvious to everyone. Secondly, Prem Adib-two years younger than Shobhana, as it is- had put on a lot of fat and seeing his open body with loose muscles, almost double chin and a face without freshness was a punishment for the senses.
The blue eyed handsome Chandramohan did the role of Ravan in this film. His characterisation of the role was made very ridiculous. Every now and then and in every scene, his “Taqia kalam” was rolling eyes like a drunken person shouting ” Main Kaun “. Then giving the reply himself ” Main Ravan “. Actually, according to Valmiki and everyone else, Ravan was a very learned Brahmin, a peerless scientist, Veena player, a scholar on Vedas and a staunch devotee of lord Shiv. To make him look like a clown was very sad and disappointing indeed.
Shoorpnakha was actually married early, but her husband was killed by Ravan, in a battle. Ravan had made her a queen of Dandakaranya. In the film, her Swayamwar is shown. She rejects everyone and remains unmarried. This was indigestible to moviegoers who were familiar with the story of Ramayan.
Shabari katha is similarly distorted. In Valmiki Ramayana, after meeting Ram,Seeta and Laxmana and giving them half eaten fruit, Shabri self immolates and goes to Heaven. In the film she first meets the three and after Seeta is abducted meets Ram again to inform him that she saw Ravan carrying Seeta in his plane. She also introduces Ram to all the Vanar leaders-Sugreev, Hanuman, Jambuwant etc.
There were many such New Discoveries, thanks to the writers, in this film. I remember in 1950, when this film came to Hyderabad, I had accompanied some old relatives and my Grandfather to this film. After coming back all were very angry. I don’t remember what exactly they had said, but I wrote in my diary ” the film was boring”.
Today’s song is sung by Saraswati Rane, my favourite classical singer, and one of India’s prime classical singers. Here is her exciting and eventful life story.
According to archives in history, Tarabai Mane was the daughter of Sardar Maruti Rao Mane, one of the brothers of the Rajmata of Baroda. During her childhood years in the early 19th century, Tarabai Mane used to learn music from Ustad Abdul Karim Khan, who was a mere court musician in Baroda. The two gradually fell in love, a feeling that was not supported by any of the family members precisely because of the gap between their status and ranks in the society. The couple had no other option but to flee Baroda to settle in Bombay city. Tarabai Mane and Abdul Karim Khan married in Bombay and gave birth to five children, two sons and three daughters. The third child was named Champakali, who was later renamed to Hirabai Barodekar in her adult years. Ustad Abdul Karim Khan and Tarabai Mane, had fled from the city of Baroda to settle in Bombay after their affair was not accepted by the extended family. However, their fleeing away from their roots did not mean the end of the road to the music career that Hirabai Barodekar would eventually become a part of.
After about 1920, Khansaheb became very busy with his many tasks and concert tours throughout India. As a result, he could not attend to the needs and music education of his children. Compounded with some household family problems, Tarabai decided to separate from him and left him in 1918. In the beginning, she stayed in Bombay for some time and then moved to Pune with her five children.
She decided to change their Muslim names. She was the daughter of sardar Mane of Baroda state. She used Mane and Barodekar as the surnames. Barodekar was derived from her native place whereas Mane was her surname before marrying Khansaheb. Thus Abdul Rahman became Suresh (God of music notes) Babu Mane. Out of her 5 children,Champakali became Heerabai Badodekar,Sakina or Chhotu tai became Saraswati Mane and after marriage Sarawati Rane. Tarabai opened up a new music school ‘Nutan
Sangeet Vidyalaya’ with Sureshbabu as a teacher along with other teachers and students.
Smt. Saraswati Mane/Rane alias Sakina [Chhotubhai] was born in Miraj (4th October 1916). Sakina was the youngest daughter of the legendary maestro of the Kirana gharana, Ustad Abdul Karim Khan Sahib and Smt. Tarabai Mane. After separating from Karim Khan, Tarabai renamed all her children and Sakina became Kumari Saraswati Mane. The surname “Mane” was derived from her mother’s surname.Thus, Abdul Rehman became Sureshbabu mane, Krishna became Krishnarao Mane, Champakali became Hirabai Badodekar,Gulab became Kamalabai Badodekar. Krishnarao and Kamalabai were not singers. They only acted in films.
Saraswati was initiated into music by her illustrious brother Sureshbabu Mane. After about 1930, she also learnt from her sister Smt. Hirabai Barodekar, Ustad Nathan Khan(1889-1946) of the Jaipur gharana and Prof. B. R. Deodhar of the Gwalior gharana.Working on stage in her mother’s ‘Nutan Sangeet Natak Mandali’, with luminaries like Bal Gandharva, Master Krishnarao, Vinayakbuwa Patwardhan, Sawai Gandharva and also stage drama singing like ‘Soubhadra’, ‘Sanchaya Kollol’ and ‘Ekacha Pyala’ brought her fame. Between 1929 and 1933 she cut several discs with the ‘Odeon’ label under the name of Kumari Saraswati Mane, rendering Hindi Bhajans and Marathi Bhavgeet.
In the meantime, she married Mr. Sunderrao Rane. In the early 1940’s, she made recordings as a playback singer for movies such as ‘Paisa Bolto Aahe’ (Marathi, 1943). She also acted in a Marathi film ‘Savitri’, and later took to playback singing for Marathi and Hindi films. She provided playback to over 50 films. She sang in almost all the films produced by Acharya P. K. Atre. Her song ‘Beena madhur madhur vacha bol’ in raga Bhimpalasi from the Hindi/Marathi film ‘Ram Rajya’ (Prakash Films) was most popular. Her songs were heard all over North India. Younger listeners will probably remember her rendering Raga Shudh Kalyan with her granddaughter Shrimati Meena Faterpekar in the film ‘Bhumika’, directed by the renowned director Shyam Benegal.
The beginning of Saraswati Rane’s journey in the world of music started from her early childhood years. She ventured into Hindustani classical music from the age of 7. Saraswati Rane soon became a popular face in stage musical dramas such as Sangeet Sanshaykallol, Sangeet Saubhadra and Sangeet Ekach Pyala. In the year 1929, when she was a little girl of 16, Saraswati Abdul Rane was offered some of the best roles in the musical dramas which also featured popular artists like Balgandharva. Saraswati Rane soon started receiving offers to appear in a number of musical shows being performed all over India.
In the year 1933, Saraswati Rane gave her first radio performance on Akashvani. Since then she remained loyal to the government radio station, singing along with other classical vocalists, in almost every Radio Sangeet Sabha organized by Akashvani from Kanyakumari to Peshawar (now in Pakistan). Saraswati Rane was associated with Akashvani till the end of her career in 1990, when the eminent classical singer announced her retirement from the public stage.
Saraswati Rane was one of the first ladies from the field of Hindustani classical music who ventured into the commercial world of music, singing for films. Saraswati Rane’s voice soon became a hit with Marathi and Hindi film audiences. Her Marathi film debut as a singer was with ‘Payach Dasi’. After the release of her song from her first Hindi feature film ‘Ramrajya’, which earned Saraswati Rane an HMV award for the highest sales of gramophone records, several directors and composers from the Hindi film industry wanted to rope in Saraswati Rane for their films. She, subsequently, had the honor to work with notable filmmakers like Shyam Benegal in his 1977 release ‘Bhumika’ and popular music directors like Shankarrao Vyas, Vasant Desai, Sudhir Phadke, C Ramachandra and K C Day. While she lent her voice to Marathi film songs, Saraswati rane’s first love always remained Hindustani classical music. She increasingly became interested in light Marathi classical songs popularly referred to as ‘Bhav-geet’. Saraswati Rane’s Bhav-geet records also sold at record numbers from music stores across the country.
some of the films in which she sang are, Ramrajya, Rambaan,Valmiki, Shobha,Mahasati Tulsi Vrinda, Sargam,Jai Bhim, Dev kanya, Bhoomika etc etc
Saraswati Rane soon became a popular face at the annual Sawai Gandharva Music Festival organized in Pune. She was so popular with the masses and the connoisseurs of music in India that Saraswati Rane was always invited to every esteemed music conference held in important cities like Delhi, Bombay, Calcutta and Madras and the musically rich cities of Gwalior, Baroda and Bhopal. In the year 1965 Saraswati Rane created history when she and her elder sister Hirabai Barodekar appeared on the stage for a jugalbandi vocal recital. They were the first ladies in the history of Indian classical music to participate in a jugalbandi performance. Their performance was much appreciated and Saraswati Rane and Hirabai Barodekar continued their music performances together till the year 1980.
It is apparent that Saraswati Rane remained busy with her public performances and studio recordings for the maximum part of her time all through the year. But she was also interested in disseminating her knowledge in Hindustani classical music to younger members of her family and the society. Therefore, Saraswati Rane became a teacher of classical music to students who came to her to learn. Saraswati Rane received a number of awards through the span of a successful career in Hindustani classical music:
Saraswati Rane cut over 200 songs on 78 rpm discs consisting of classical, light classical and film songs. She was probably one of the pioneering female playback singers of the Hindi film industry.
However, in order to concentrate on the performance of Hindustani classical music, at one point in time she virtually stopped accepting offers for playback singing. By then, she was a regular performer for All India Radio, and had also made several gramophone records with ‘Odeon’, ‘His Master’s Voice’, ‘Columbia’, and ‘Young India’ records, apart from her countrywide concert tours. Her renderings of Ragas Chandrakauns, Basant Bahar, Yaman and the immortal Marathi numbers ‘Ghanashyam Nayani Aalaa’, ‘Jaa Ghevuni Sandesh Pakhara’, the duets with her sister Hirabai Barodekar remain ever-popular. She also had the honour of singing the Maharashtra Geet on the very first Maharashtra Day, the 1st of May, along with her sister. She has also recorded a LP record of duet with her sister Heerabai Barodekar in 1960. She received several awards including the prestigious ITC Award 2006, presented at the ITC Sangeet Sammelan in Delhi.
She was very active in music circles and used to attend music programs and functions. She attended the Hirabai Barodekar birth centenary program at Sharda Sangeet Vidyalaya, Bandra in May 2006. She participated in this function and sang raga Todi. Smt. Saraswatibai Rane, the last living member of Ustad Abdul Karim Khan’s family passed away at Pune on Tuesday October 10, 2006.
There was a funny coincidence in the starcast of this film. There was an actor named Seeta Ram and another actor named Lakshman. One very strange named actor was ” Thaudi” – a name I have never heard in my entire life !
Here is the song. Enjoy….
Song- Bin Raam Jaanakee soonee(Raambaan)(1948) Singer- Saraswati Rane, Lyricist- Pt. Indra, MD- Shankar Rao Vyas
Lyrics
…Jaanakee soonee
Bin Raam Jaanakee soonee
Bin Raam Jaanakee soonee
chandrgrahan lag gaya chandr ko
chandrgrahan lag gaya chandr ko
jagee virah kee dhoonee
jagee virah kee dhoonee
Bin Raam Jaanakee soonee
wo chandr kiran kal amrit barsaayegee
kumhlaayee huyee kamalini khil jaayegee
koi pawan pankh par devdoot aayegaa
jeewan ghan ka sandesh madhur laayegaa
har legaa shok ashok shanti ho doonee
Bin Raam Jaanakee soonee
kya bina Jaanakee dasha Raam kee hogee
rota hoga man hee man shaant viyogee
ye taru se bichhdee koi lata see jogan
baatee se jal ke rahte Raam viyogan
ye katha virah kee ?? jagaaye dhoonee
Bin Raam Jaanakee soonee
Bin Raam
Jaanakee soonee
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
January 23, 2026 at 10:46 pm
Good Evening,
These songs of the past remain as jewels of film music for ever. Please continue with your golden service.
Thank you for sharing these jewels.
Blessings,
Uma🙏
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