He would have been a hundred years old on December 14, and would have been perhaps receiving ovations – the actor, producer, director, showman, Raj Kapoor, of course!
Beginning his love affair with films in 1935, Kapoor spanned decades, making impressive films, winning much accolade and many important awards.
Producing and directing his own films became a regular thing for actor Kapoor soon and he came to be admired as the ultimate showman.
Kapoor developed a serious approach to filmmaking early. Not given to lavish sets and paraphernalia of the so-called showmen of the industry, Kapoor concentrated on the story, the emotions, the portrayal, the acting and the hidden messages. His singular touch could be seen on the minutest detail of a scene.
A remarkable thing about Kapoor’s films was their positivity. Although presenting a grim picture of existing social conditions, they always had a light at the end of the tunnel.
‘Boot Polish’ was Kapoor’s production where he did not play any role and parts of which he perhaps ghost directed, was a striking film with two children left to survive on the streets, and being taught the value of honest work.
Kapoor’s own productions began presenting the promise of the future after that. Soon followed ‘Shree 420’ directed by him, portraying the allure of the city and its evils
Mera Joota Hai Japani’ song from the film became a household song in Russia and Iran and many other countries. Audiences everywhere were taken up by the careless abandon of his character, and his strength of sticking it out in the face of adversity.
A few years earlier, in his film ‘Awaara’, Kapoor had introduced the famous Kapoor persona of a penniless bum with golden heart, wearing cropped pants. Eating ‘chana’ handed out by a vendor which he introduced in yet another of his films, ‘Anari’. ‘Anari’ perhaps gave Hindi Cinema its first mother-son love-hate kind of relation, with both Kapoor and Lalita Pawar excelling at it.
Kapoor’s films and his songs became cults. Kapoor was musically inclined and reportedly discussed personally the music and the lyrics of the songs in his films. He could play various instruments himself and made sure that the songs of his films were singable, meaningful and inspiring.
Kapoor’s ambitious project ‘Mera Naam Joker’ captured the idea of being a showman, with seeming dedication to Shakespeare’s ‘all the world is a stage’. Divided into three parts, and directed with his special touches, the first part of the protagonist’s adolescence is an excellent separate film in itself.
Kapoor’s films not only took a critical look at problems in the society, offering a commentary and a suggesting solution through the path of truth and honesty. His characters presented values dear to the middle class. Loyalty and friendship were as important in relationships, his films said.
His film ‘Bobby’ presented that love and friendship are above any social standing, and that change is necessary for a healthy future. The film carried away an entire generation under its spell. Young college students flooded movie theaters leading to ‘housefuls’. The rebellious teenagers became friends of young adults, and the music excelled in its appeal to the young.
The theme of social change became predominant in Kapoor’s later films like ‘Prem Rog’ and ‘Ram Teri Ganga Maili’. These two films focused on women’s social condition of widowhood and unmarried motherhood. ‘Prem Rog’ presented the onset of new ideas in the form of higher education. The film had some great acting flashes by his son, actor Rishi Kapoor, and his brother, Shammi Kapoor. ‘Ram Teri Ganga…’ also became a film promoting the woman.
Although considered master of the craft of filmmaking, Kapoor’s performances in films of other directors make it to top of the list of his work, putting him down for eternity as an actor.
Kapoor’s performance in ‘Jagte Raho’ became a benchmark for silent but telling performance. Directed by Sombhu Mitra and Amit Maitra, it was a commentary on the class systems, by writer and journalist K.A. Abbas. Kapoor gave one of his best performances in that film with another great performance by actor Motilal.
City featured in yet another excellent performance of Kapoor’s in ‘Phir Subah Hogi’. Based on Dostoevsky’s famous novel, Crime and Punishment, it was an intense and quite a dark film, with Kapoor portraying the sadness, anger and frustration of his character just right.
Dressing in dhoti again, Kapoor played Hiraman, the bullock cart driver in ‘Teesari Kasam’, directed by noted director Basu Bhattacharya.
Kapoor made Hiraman a simpleton, a straight forward and honest man who gave his heart to a courtesan going to a nautanki to perform. The human situation of pure love developing in the hearts of two dissimilar persons, and of love’s ultimate sacrifice, held a universal appeal. Kapoor’s third vow cut through the heart of not just his character, but also the audience’s.
Kapoor’s talent hit home in an unparalleled portrayal of an old man in ‘Dil Hi To Hai’. He handled the transition between old and young man with fluidity. Just like his brother Shammi Kapoor did it in ‘Professor’.
Entertainment is the purpose of the art of the celluloid. What is noteworthy is that Kapoor tried to bring in message of change through entertainment.
Cinema is what he loved. He remained a true ‘show man’ till the end, smiling and joking about his own pain and discomfort in the face of cancer, so much so that director Hrishikesh Mukherjee based the main character of his film ‘Anand’ on him.
Kapoor seems to have believed that he was an actor on the stage of life, and he was going to play his part till the end. He did just that and also left behind a priceless legacy.
Like the song from his ‘Mera Naam Joker’.
Jeena yehan, marna yehan, iske siwa janaa kahaan!
