है कोई नहीं साजन दुनिया में हमारा

'Hai Koi Nahi Sajan Duniya Mein Hamara' is one of eight songs from the 1941 Hindi film Shahzadi, directed by J. P. Advani with music by Ram Gopal Pandey. The title — 'There is no one for us in this world, beloved' — reads as a song of loneliness and longing. Per-song singer and lyricist credits are not documented in surviving sources, and the film print does not survive; this page preserves the song as a catalogued title.

The title 'Hai Koi Nahi Sajan Duniya Mein Hamara' — 'There is no one for us in this world, beloved' — is a declaration of absolute isolation that functions simultaneously as lament and as direct address to the sajan (beloved). In Hindi-Urdu song poetry, the beloved is often the one person who stands against the indifferent world; here, the song's speaker acknowledges that without the sajan, the world offers nothing. 'Hamara' (ours / for us) in the plural form carries an interesting ambiguity — it can be the royal singular of intimate self-reference, or it can include the beloved in a joint desolation, a we-against-the-world declaration. The mood is one of sustained melancholy, not self-pity but the dignified articulation of loneliness that characterises the best of the virah tradition. Music director Ram Gopal Pandey shaped the melodic content for Shahzadi (1941); the film's lyricist is not documented in surviving sources, but the title's idiom belongs to the plain-spoken Urdu-inflected Hindi of mid-period popular song, where the world's indifference was the standard backdrop against which love was defined by contrast. The full text is not available for quotation.

Shahzadi (Princess) was a 1941 Hindi film directed by Jagatrai Pesumal Advani (J.P. Advani) with music by Ram Gopal Pandey. The cast included Pramila, Trilok Kapoor, Alka, and Navin Chandra. Released on 1 January 1941, Shahzadi was among the first Hindi films of that year, and its eight documented songs provided a varied score. Ram Gopal Pandey was a working composer active in several 1941 productions including Bulbule Baghdad and Shahzadi — his presence in two fantasy-tinged films of the same year suggests he was among the preferred composers for adventure and historical productions in the mid-tier studio system. J.P. Advani directed a number of social dramas and costume pictures during this period. The lyricist for Shahzadi's songs is not documented in surviving sources. 'Hai Koi Nahi Sajan Duniya Mein Hamara', as a song of melancholy isolation, would have been positioned at a moment of grief or abandonment in the narrative — a standard placement for the virah-inflected lament in 1940s social cinema, where such songs both advanced the story and gave the audience a window into the protagonist's interior life.