राधे रानी दे दारो ना बंसरी मोरी रे

“Raadhe Raani De Daaro Naa Bansari Mori Re” is one of the songs from Puran Bhagat (1933). The music is by R.C. Boral. The lyrics are by Pt. Sudarshan. It was performed by K.L. Saigal.

“Raadhe Raani De Daaro Naa Bansari Mori Re” was set to music by R.C. Boral for the 1933 film Puran Bhagat. It is rendered by K.L. Saigal.

The words of “Raadhe Raani De Daaro Naa Bansari Mori Re” were written by Pt. Sudarshan.

Within Puran Bhagat (1933), the Radha-Krishna bhajans serve a specific narrative function: when the protagonist Puran abandons worldly life, his devotion migrates from human attachment to the divine couple of Braj. 'Raadhe Raani De Daaro Naa Bansari Mori Re' — 'O Radha Rani, do not take away my flute' — is a Braj Bhasha padavali in the voice of Krishna, pleading with Radha to return his flute. Its inclusion in the Puran Bhagat soundtrack reflects Debaki Bose's understanding that the Braj devotional corpus — familiar across the northern plains through centuries of recitation at temples, kirtans and melas — gave the film's devotional sequences a ready-made emotional depth. R.C. Boral set the text in a lilting tempo that references the dhrupad-dhamar style associated with the Holi season, a traditionally Krishnaite festival, while remaining accessible to the general cinema audience. Saigal's voice in this register is lighter than in the grief bhajans — more playful, inflected with the teasing quality that the Braj devotional tradition places in Krishna's voice.

The Braj Bhasha bhajans from Puran Bhagat — this one among them — became part of the devotional repertoire of early Hindi radio broadcasting. All India Radio Lahore and Calcutta stations used New Theatres recordings, including Saigal's bhajans, as standard devotional programming in the 1930s and 1940s. The songs thereby crossed from cinema into the broader domestic soundscape of northern India. The specific text — Krishna's playful appeal to Radha — belongs to a centuries-old kirtan tradition; the New Theatres film version introduced it to audiences in cities and provinces where the older oral tradition had weakened, giving the ancient verse a new platform.