ग़मज़दों का या ख़ुदा तेरे सिवा कोई नहीं

'Gamazdo Ka Ya Khuda Tere Siva Koi Nahi' is a documented song from the 1941 Mohan Pictures film Muslim Ka Lal, directed by A. M. Khan with music by Madhav Lal. The Urdu-ghazal title — addressing God as the sole refuge of the grief-stricken — reflects the devotional, ghazal-inflected register that the film's lyricists Hasrat Lakhanvi and Mustafa N. Usmani worked in. Singer attribution is not preserved in the consulted databases and is left blank pending verification.

'Ya Khuda' is the canonical Arabic-Urdu divine invocation — literally 'O God' — whose use in Urdu verse stretches from the earliest qaasidas and marsiyyas of medieval Islamic literature to the popular film song. The poem's core subject — the 'gamazde' (those afflicted by grief, from 'gham', sorrow) who have no refuge but God — positions this as a verse in the Sufi and classical Islamic tradition of tawakkul (complete reliance on God) rather than self-reliant action. 'Gham' is not merely personal sadness in this tradition; it is the constitutive emotion of Urdu lyric as a whole, the grief that simultaneously brings the lover closer to the divine. Hasrat Lakhanvi, rooted in the Lucknow tradition of Urdu poetry emphasizing emotional refinement (nazakat) and formal elegance, would have approached this prayer with measured restraint rather than declamation. Madhav Lal's Slow musical setting at a devotional pace would have reinforced the mood of resigned supplication — not anguished cry but quiet, dignified appeal.

Muslim Ka Lal (1941) was produced by Mohan Pictures and directed by A.M. Khan. Music was by Madhav Lal, with lyrics contributed by two lyricists — Hasrat Lakhanvi and Mustafa N. Usmani — whose backgrounds in the Lucknow-school Urdu tradition of emotional refinement gave the film its literary texture. The cast included Anil Kumar, Baburao Pahelwan, and Ameena Begum; the film ran for over two hours and fourteen minutes, substantial for its period. The title's invocation of Muslim identity suggests a narrative centered on questions of faith, communal honor, or family loyalty — genres that found consistent popular audiences in Bombay and Lahore before Partition. 'Gamazdo Ka Ya Khuda Tere Siva Koi Nahi' appears to be the film's devotional core: a prayer-song for a character in extremity, invoking God as the sole refuge of those afflicted by grief. Such devotional numbers were structurally important in social dramas of the period, providing a moment of spiritual resolution or appeal amid the narrative's social conflicts.