दीवानी श्याम मैं तो तेरी दीवानी

Composed by S. N. Tripathi, whose classical training under the Bhatkhande system at Morris College, Lucknow, made him a natural choice for devotional material — a reputation that hardened over the next decade into the industry's shorthand for him. The specific setting of this bhajan cannot be described: no recording is accessible.

'Diwani' — madwoman, one possessed — is the single most loaded word in the Meera tradition of Krishna bhakti, where the devotee's socially legible madness is the proof of her devotion rather than its embarrassment. Addressing Krishna as Shyam, the dark one, and claiming the condition rather than denying it, places Bekal's lyric squarely in that inherited voice. It is also a small puzzle: a Shyam bhajan in a film titled Ramayani, which the sources variously call a Ramayana mythological and a social. The discrepancy is recorded, not explained away.

Ramayani (1945) was directed by Sarvottam Badami for Purnima Productions, with S. N. Tripathi composing to Bekal's lyrics and the songs issued on Columbia Records. The cast was headed by Pahari Sanyal, Nargis, Chandra Mohan and Rose Musleah, with Moni Chatterjee, Kanhaiyalal, Prabha and Amirbai Karnataki. The Encyclopedia of Indian Cinema records the film, and Heidi Pauwels places it among the Ramayana adaptations that followed Vijay Bhatt's Ram Rajya (1943). No plot summary survives in any accessible source, so the scene this song belongs to is unknown and is not invented here.

Its presence in the catalogue is the clearest reason to treat Ramayani's genre as genuinely unsettled — a devotional Krishna number sitting beside social-drama titles like 'Woh Toh Mere Huye Magar Duniya Meri Hui Nahin' in the same nine-song score.