Husn bhee aap hain ishq bhee aap hain
Posted by: Atul on: June 20, 2025
This article is written by Sadanand Kamath, 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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The ‘parallel cinema’ refers to films which have been made as the alternative to the mainstream commercial films. Shabana Azmi and Smita Patil are regarded as the ‘parallel cinema stars’ because they mostly worked in woman-centric parallel films and most of their such films like ‘Ankur’ (1974), ‘Nishant’ (1975), ‘Manthan’ (1976), ‘Bhumika’ (1977), ’Arth’ (1982) etc were box office success. Shabana Azmi, with the success of her very first parallel film, started acting in the mainstream commercial films with ‘Fakira’ (1976) in a lead role. Smita Patil on the other hand kept herself aloof from mainstream commercial films until 1981. What led her to sign mainstream commercial films from 1981 onwards?
It is said that sometime in 1979-80, one eminent successful director known for making ‘parallel’ films promised Smita Patil a role which she loved. Later on, she came to know through the press that she was replaced by an actress of parallel films who was also a successful star in mainstream commercial cinema. She felt humiliated. Within a few days from this incident, Smita Patil signed two mainstream films in a single day – probably, ’Tajurba’ (1981) and ‘Badle Ki Aag’ (1982) in haste without applying her mind. She wanted to prove that she was also a star material. (Source: ‘Smita Patil’ by Maithili Rao). She seems to have if we go by her later mainstream films that too under well-known directors such as Raj Khosla, B R Chopra, Ramesh Sippy, Prakash Mehra, Mohan Kumar, J Om Prakash, J P Dutta etc. Smita Patil continued to work in parallel cinemas as well.
‘Shapathh’ (1984) was one of Smita Patil’s early reckless selection of mainstream commercial films which was produced and directed by Cinematographer, Ravi Nagaich. The cast included Raj Babbar and Smita Patil in lead roles supported by Ranjeet, Shakti Kapoor, Kader Khan, Rajendranath, Mushtaq Merchant. Prema Narayan, Jaishree T, Paintal, Mac Mohan, Leena Das, Urmila Bhatt, Madhu Malini etc. This was an action film and one of about 20 films Smita Patil worked with Raj Babbar during 1981-86.
The film appears to be the Indian version of the Wild West genre of Hollywood films in which the protagonists are depicted as cowboys, bounty-hunters, gun-trotting protectors or dispute settlers. They generally use horses to ride with cowboy hats. All these elements are present in this film with an additional surprise of Smita Patil in the role of ‘cowgirl’, like a ‘Hunterwaali’ on the horse – a la Fearless Nadia of the 1940s. She is in search of a secret treasure and she makes her presence to rescue Raj Babbar from rogue elements whenever he is in trouble. It was a surprise as to how Smita Patil agreed to work in this film of a ‘B’ grade type.
The story of the film is as under:
Film opens with the Police Commissioner (Satyen Kappu) having a meeting with his senior police officers about the three police inspectors mysteriously getting killed in Sonapur upon their postings without any traces of their dead bodies. The Police Commissioner has selected Inspector Vijay (Raj Babbar) for posting in Sonapur, based on his past performance to tackle unlawful activities in the town. On his way to Sonapur, he takes a break to meet Dharmaraj (Kader Khan), a close friend of Vijay’s late father to take his blessing. Dharmaraj is a widower who lives with his college-going son, Shakti (Shakti Kapoor) and house caretaker, Sheetal (Prema Narayan).
Vijay reaches Sonapur incognito and he gets a weird feeling. The mode of travel from the railway station to his hotel is by horse riding and none of horse riders are ready to take him. At last, one horse rider gives his horse to Vijay to ride himself to reach his hotel. On the way, he is surrounded by muggers with whom he fights. At that moment, a girl riding on her horse with hunter in one hand reaches and fights with the muggers to successfully drive them away. However, before Vijay could talk to the girl, she quickly rides on her horse away from the scene. Around his hotel, Raj Babbar finds persons with doubtful characters with some carrying firearms. He learns from the hotel manager that the hotel is owned by Ranjit (Ranjit) who is a notorious goonda whose writ rules Sonapur. The horse riding girl is Shanti (Smita Patil) who lives alone in her estate where even Ranjit and his gang members are afraid of her.
After a couple of days, Vijay comes to understand that things are not good in Sonapur. There is rampant lawlessness in the town with anti-social elements trying extortions from the visitors without any fear of law enforcing agencies. He visits the local police station incognito and finds that the policemen posted are wasting their time and are happy that after the mysterious death of three police inspectors, the fourth one will not dare to come. Vijay decides to set things right in Sonapur starting with his policemen.
The posting of a new Police Inspector, Vijay is not taken kindly by Ranjit. He wants his gang members led by Mac (Mac Mohan) to kill Vijay. Ranjit has befriended Shakti whom he keeps him in good humour by way of entertainment of girls with an eye on his father’s wealth. Ranjit has managed to take Dharmadas’s log hut through Shakti for nefarious activities. Shakti also wants Vijay out of his ways because he has threatened him that he would report his undesirable activities to his father. One day, while on his usual round, Vijay is surrounded by Ranjit’s gang members with an intention to kill him. However, at the right time, Shanti reaches riding on her horse and together they overpower Ranjit’s gang. Some of his gang members are arrested. This time, Vijay is able to meet Shanti who reveals that her father who had interest in historical monuments had found a map of a secret treasure. Ranjit’s men killed him and took a map of secret treasure with him. Vijay offers Shanti his help in locating the secret treasure.
While Ranjit with the map of secret treasure has not been able to locate the treasure, Vijay and Shanti have decided to search for the secret treasure based on inscription on a locket which her father had given her. Vijay is able to crack the map of the treasure from the inscription on the locket and proceeds to find out with Shanti. Ranjit directs his men to follow them so that he can get some clues to reach the place. Ranjit and Shanti, with the help of the locket, find out the secret path which is an underground cave. After crossing many obstacles in the cave, Vijay and Shanti locate the treasure.
Vijay informs the Police Commissioner that he has been able to retrieve the secret treasure which was the main cause of the criminal activities in Sonapur. He requests him to arrange for the police escort to take the treasure by train for handing over to the Government. However, the plan gets leaked out and Ranjit and his men follow the train in ‘Sholey’ style. Vijay successfully repulses their efforts with the help of Shanti and police. In the process, Ranjit, Shakti and many of their men get killed. The joint efforts of Vijay and Shanti in retrieving the treasure bring them together which has the blessing of Vijay’s mother (Urmila Bhatt).
The film had five songs written by Kaiser which were set to music by Bappi Lahiri. I presume that lyricist ‘Kaiser’ is the same as Farooq Qaiser who has actively worked with the music director, Bappi Lahiri for about 25 films. I present the first song from the film, ‘husn bhee aap hai’ to appear on the Blog which is rendered by Anup Ghoshal.
The context of this song is that after Vijay and Shanti have decided to make joint efforts to locate the secret treasure, Vijay enquires with her whether her father has left any written material or documents which could give some lead for the search of the secret treasure, Shanti gives Vijay all the materials and documents in which he finds a poetic letter written by her father to her mother. Vijay reads the first line of the poem and Shanti goes in the dream sequence with Vijay with this song.
Anoop Ghoshal mostly did playback singing for Bengali films. His first Hindi film song as a playback singer was the male version of tujhse naaraaz nahin zindagi hairaan hoon from ‘Maasoom’ (1983). The song under discussion was his second Hindi film song. After singing three more songs, for Bappi Lahiri during 1985-88, he ended his sojourn with Hindi films. Anoop Ghoshal also composed music for Tapan Sinha’s Bengali film, ‘Sagina Mahato’ (1971).
Video Clip:
Audio Clip:
Song-Husn bhee aap hain ishq bhee aap hain (Shapathh)(1984) Singer-Anoop Ghoshal, Lyrics-Farooque Kaiser, MD-Bappi Lahiri
Lyrics (based on Audio Clip):
husn bhee aap hain
ishq bhee aap hain
jis taraf dekhiye
aap hee aap hain
husn bhee aap hain
ishq bhee aap hain
jis taraf dekhiye
aap hee aap hain
aap hee aap hain
aap hee aap hain
husn bhee aap hain
ishq bhee aap hain
jis taraf dekhiye
aap hee aap hain
pairon kee dhool hai
jalwe bahaar ke
darpan to dekhiye
chunree utaar ke
pairon kee dhool hai
jalwe bahaar ke
darpan to dekhiye
chunree utaar ke
phool bhee aap hain
bagiyaa bhee aap hain
jis taraf dekhiye
aap hee aap hain
aap hee aap hain
aap hee aap hain
husn bhee aap hain
ishq bhee aap hain
jis taraf dekhiye
aap hee aap hain
baahon mein kaaminee
mandir mein moorti
dekhee naa aaj tak
ye khubsoortee
baahon mein kaaminee
mandir mein moorti
dekhee naa aaj tak
ye khubsoortee
Ganga bhee aap hain
Jamuna bhee aap hain
jis taraf dekhiye
aap hee aap hain
aap hee aap hain
aap hee aap hain
husn bhee aap hain
ishq bhee aap hain
jis taraf dekhiye
aap hi aap hain
gore se paanv mein
paayal ko baandh ke
jee bhar ke naachiye
aangnaa mein chaand ke
gore se paanv mein
paayal ko baandh ke
jee bhar ke naachiye
aangnaa mein chaand ke
badlee bhee aap hain
bijlee bhee aap hain
jis taraf dekhiye
aap hee aap hain
aap hee aap hain
aap hee aap hain
husn bhee aap hain
ishq bhee aap hain
jis taraf dekhiye
aap hee aap hain
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