The Man, The Myth, The Legend- 100 years of Raj Kapoor

"Raj Kapoor is the only showman left in Indian cinema. He is the ultimate director who can make the audience laugh and cry at the same time."

-Satyajit Ray, Oscar winning Indian film director, author, composer, illustrator and screenwriter.

On a chilly evening in Tashkent, one can find themselves amidst a group of strangers humming the tune of Awaara Hoon. No common language, no common dialect, only the common milieu of music and melody that harnesses a camaraderie. An elderly man, with tears in his eyes and his broken English says, "Raj Kapoor.... he is ours too." In another word, Raj Kapoor wasn't just India's greatest showman— he was the world's. Faces lit up and voices joined in unison to celebrate this shared nostalgia. Raj Kapoor became a symbol of identity for millions around the world.

The 55th International Film Festival of India that had its run from 20-28th November, 2024 at Panaji, Goa celebrated the centenary of four icons of Indian cinema, among which was actor-director Raj Kapoor. A tribute to his unwavering legacy was given on 24th November, by the screening of a restored version of his signature film Awaara (1951) and the release of a commemorative postage stamp in his memory. This also included a panel discussion and exhibitions of rare memorabilia from his illustrious life. This is not the first time his noteworthy impact on film and arts is being celebrated. Among many other, Raj Kapoor had received the Crystal Globe award at Karlovy Vary International Film Festival in Czechoslovakia and his film Awaara was widely recognized at Cannes Film Festival for its surreal depiction of societal themes like poverty, justice and humanity.

From Bombay to Moscow, Middle-East to Czech, Raj Kapoor transcended the national and cultural boundaries with his iconic portrayal of a 'common man' that made his legacy an unforgettable testament to the universal language of cinema.

"From Prithviraj to Showman: Raj Kapoor's Roots"

The chilly December night of 1924, in the quaint town of Peshawar, the sprawling walls of the Kapoor Haveli in the Qissa Khwani Bazaar neighbourhood, witnessed the first cries of a newborn. A star was born. Into the illustrious family of the Kapoor clan. To Prithviraj Kapoor (an already towering figure in Indian theatre and early Hindi films) and Ramsarni Devi Kapoor. The child was Shrishti Nath Kapoor, the eldest of the six children in the family.

Also known as Ranbir Raj Kapoor, the child's destiny was already written in the golden annals of performance art by his father's theatrical endeavors. But the colorful bazaars of Peshawar were only a temporary abode for young Raj's creative fervor. By 1929, the family had moved to Bombay, a fitting place for Prithiviraj Kapoor's burgeoning career in theatre. The city of dreams was now the new refuge of childhood imaginings for Raj. The milestone career of a star began with a 10 year old Raj making his debut on the big screen in his father's film Inquilaab (1935, Dir. Debaki Kumar Bose). Later he worked as a clapper boy (a member of a film crew who operates the clapperboard, or slate, at the beginning of each take) for the Kidar Sharma directed film Vishkanya (1943).

Raj Kapoor married Krishna Malhotra on 12th May 1946. Through his marriage to Krishna, he had three sons (Randhir, Rishi and Rajiv) and two daughters (Ritu and Rima).

1947 was the year when Raj Kapoor's dreams of becoming a star turned into celluloid realities when he landed the lead role in Kidar Sharma's romantic drama (which although performed moderately at the box office) Neel Kamal, opposite Begum Para and the evergreen beauty Madhubala. But similarly his following ventures such as Jail Yatra, Dil Ki Rani, and Chittor Vijay also did not prove to be commercially hit. The failure of these films did not deter Raj Kapoor 's ambitious decision to set up his own production house, R.K. Films in 1948 under which he made his directorial debut with a musical drama, Aag starring Nargis, Premnath and Kamini Kasuhal. He held the record for being the youngest director of that time, at the age of 24. This innovative, experimental and bold step garnered critical acclaim but once again lack in commercial sale. For a man like Raj Kapoor, who is multifaceted-ly talented unafraid to seek challenges, this setback meant he was ready to fortify more.

It was Andaz (1949) that transformed him as the new face of Indian film, breaking records as the highest grossing film of all time which was previously held by Ashok Kumar's Kismet. This cinema accentuated his career as one of the leading stars of those days beside Dev Anand and Dilip Kumar, who were also deeply fond of him personally. And since then he never had to look back.

Finally in 1951 the showman of India became the world's with his own directorial crime drama (co-starring Prithviraj Kapoor and Nargis), Awaara which went on to be lauded both critically and commercially and its music album became the highest selling Hindi film music album of the 50s. When the west grooved to the savvy beats of JailHouse Rock by Elvis Presley, Asia (Soviet Union, China, Turkey and Afghanistan) was deeply affected by the melodies of Awaara Hoon (sung by Mukesh) which translates to 'I am a vagabond'. Apparently the figure of a vagabond or tramp symbolized the soul of a free and resilient common man with no sorrows in a world full of hardships. The song had its own versions released in Greece, Turkey, the Middle East, Soviet Russia the Balkans and China. Infact, the song and the film were said to be Chairman Mao's favorites. Iconic!

Following this world sensationalism, Kapoor broke his own records again in 1955 with Shree 420. Who doesn't know the words to the film's legendary song Mera joota hai japani, yeh patloon Inglistaani, sir pe laal topi Russi, Phir bhi dil hai Hindustani (My shoes are Japanese, trousers English; My head bears the red Soviet cap but my heart is Indian). Its effects were felt as late as 2016 when the song was played in the opening sequence of the movie Deadpool, starring Ryan Reynolds. Who would have thought?

The list of his film industry projects is long and versatile, some chart toppers, few mediocre and almost a dozen international hits. Through his ability to combine comedy, pathos and social commentary, Raj Kapoor earned the moniker 'Charlie Chaplin of India'. The tramp persona mirroring Chaplin who navigates the harsh realities of life with optimism gained him a huge popularity. This Chaplinesque appearance- a cheap hand-me-down suit, scrawny hair, modest moustache and innocence on the face, served as an icon of the downtrodden 'everyman' that saw a rise in fame in post-colonial and post-cold war times. For instance, one of his later projects, Mera Naam Joker resonated deeply with Indians and beyond. The humor, heart and social relevance in the film through the visage of a clow whose laughter masks his pain is a poignant reflection of Kapoor's own philosophy. This Magnum Opus is an ode to an artist's eternal sacrifice- to bring joy in other's life at the cost of their own happiness. Think about it for a second. Isn’t it relevant even to this date? The world applauds and criticizes an artist but does truly ever understand what an artist endure through internally? Does it ever see beyond the facade of a performer? As another human being?

Mera Naam Joker was a commercial avalanche. Kapoor invested six years of his life in this unconventional narrative but faced both emotional and financial loss after its disastrous results. Over the years, the audience had finally learnt to appreciate it as a timeless classic but the subsequent aftermath stood as a testament to his life and career.

"The Final Days"

Raj Kapoor's final direction was Henna, an Indo-Pakistani love story that only saw the light of the day after his demise in 1988. His sons Rishi and Randhir Kapoor became the torchbearer of his pioneering life's work with its completion and release in 1991. On June 2nd, at the age of 63, when the legendary but ailing Raj Kapoor was about to receive the Dadasaheb Phalke award he collapsed at the event and was later hospitalized to All India Institute of Medical Sciences, New Delhi for a month before he left a void in the industry with his death. Some even call it the end of a 'Golden Era of Bollywood'. But do artists ever die? He lives on through his lifetime of projects and achievements. His unparalleled contributions as a filmmaker and actor to the Indian cinema celebrates not just the eternal celebration of being an artist but an artist that is relatable. An artist who is for the people's. An artist who is for the world.

"A Golden Legacy after death"

14th December, 2024 marks the 100th birth Anniversary of Raj Kapoor. From postage stamps to brass statues, from TIFF to Cannes, from Time Magazine to Padma Bhushan, there is no stone that Raj Kapoor's unwavering legacy has not touched yet. As part of the Centenary Celebrations this year, the Prime Minister of India, Shri Narendra Modi met the members of the Kapoor Family and had conversations about the relevance of Kapoor's dynamics in the history of Indian cinema, the power of cinema in the society and the future of filmmaking in India and the world. A handful of Raj Kapoor's films have been remastered by NFDC (National Film Development Corporation) and NFAI (National Film Archive of India) and has been exhibited in 160 theatres across India from 13-15th December.

In the words of India's first Prime Minister Late Pandit Jawaharlal Nehru, "The contribution of Raj Kapoor to Indian cinema is like a contribution of a soldier to the freedom of his country."

Perhaps, somewhere in the middle of an old Bollywood melody or a heartfelt line delivered by the Showman himself, you’ll find a fragment of your own story. Isn’t that the magic of Raj Kapoor—his ability to turn the grand spectacle of cinema into something deeply, profoundly personal? As we revisit his films, we aren’t just watching history unfold; we’re seeing our own lives reflected on the silver screen, framed with the warmth of a timeless smile. And as you hum the tunes to 'Jeena yaha Marna yaha' you can’t help but wonder—what would Raj Kapoor have made of today’s world? Maybe he would have simply smiled, tipped his Chaplin-esque hat, and walked into the sunset, leaving us all a little more enchanted."