As a ‘90s kid growing up in a household of film buffs, conversations about movies were incomplete without the mention of Raj Kapoor. Back in the day when Google and Wikipedia weren’t around, his name carried an air of mystery for me. My mother often spoke of how revered Raj Kapoor was in the USSR – a country her father frequently visited in the 1960s and where her brother studied in the 1980s. She had heard stories from them, that for people in the USSR, India meant Raj Kapoor.
At 9 years old, when my mother insisted I watch Mera Naam Joker, I sat through it half-heartedly, understanding very little. For a kid who had just been introduced to Dil Chahta Hai, which defined ‘cool’ at the time, watching Raj Kapoor in Mera Naam Joker felt more like a punishment – old-fashioned and out of place. I did wonder though, whether they spoke Hindi in Russia!
Of course I watched other films of his here and there –Bobby, Kal Aaj Aur Kal, Shree 420, and Prem Rog – mostly because they played on Zee Cinema and Set Max. But I paid little attention to Raj Kapoor as a filmmaker, my interest drawn more toward Rishi Kapoor, Karisma and Kareena – their movies, their stardom, their lives.
It was much later when I saw Sangam, that I began to appreciate Raj Kapoor’s artistry. That appreciation deepened with Awara, Boot Polish, and rewatching Shree 420 and Mera Naam Joker. That last one, in my opinion, remains his finest work.
Moving to Mumbai as a working professional, RK Studios in Chembur became one of the first iconic Mumbai Darshan stops for me as I settled into the Maximum City.
Centenary celebrations for a global icon
On the occasion of his 100th birth anniversary this week, India has been celebrating Raj Kapoor’s body of work.
Watching endless reels of the Kapoor Khandaan meeting with Prime Minister Modi, who spoke of Kapoor’s immense popularity in Central Asia, Europe and beyond, brought back a flood of childhood memories – of my mother sharing similar stories.
It won’t be wrong to say RK (the original), was the flag bearer of cultural diplomacy for India, way before Amitabh Bachchan, Shah Rukh Khan and now his own grandson Ranbir Kapoor (RK New Gen) took the baton from him.
Widely regarded as the “Showman of Indian Cinema,” Raj Kapoor was an innovator whose work cut across generations, cultures, and mediums. He was a visionary who viewed the world through a wide lens. Long before Yash Chopra films made Switzerland a household name in India, or Farhan and Zoya Akhtar’s films turned Australia and Spain into a sought after tourist destination, Raj Kapoor took Indian commercial cinema overseas.
Sangam was filmed in Paris, Venice, and Switzerland, offering the average Indian a glimpse of the world beyond their homeland and inspiring them to dream bigger. Mera Naam Joker too was partly filmed in Moscow. It was probably the first collaborative film project between the Indian and Russian governments, with Indian and Russian artists involved. In both films, the locations played an important role in the narrative – it wasn’t just about song and dance.
Ahead of his time
Raj Kapoor marked his entry into films with Inquilab (1935), at the young age of 10.
But it wasn’t until 1947 that he was first noticed for his acting chops, making his debut in Neel Kamal opposite the ethereal Madhubala.
Did you know he started RK Films, his production house, a year later, when he was just 24 years old? With this choice, he launched into a successful acting, directing and producing career that would define the Hindi film industry’s golden age.
Statements were made through Kapoor’s films; they were more than just entertainment. Through romanticism and melodrama, he investigated issues of social justice, class conflict, and the strength of the human spirit. He dealt with moral uncertainty and urban corruption in Shree 420 (1955).
He made Awaara (1951) to explore the tension between right and wrong. Drawing inspiration from Charlie Chaplin, Kapoor played the stereotypical “tramp” in a portrayal that put him on the world map. It went on to become a game-changer, solidifying his status as a legendary figure in Indian cinema. Decades after his passing, it is top of the list of Raj Kapoor’s films that are studied and admired.
Raj Kapoor’s cinema relied heavily on music. One of India’s most beloved anthems is his Mera Joota Hai Japani, a song that celebrates modest pride and world solidarity. It has almost become like a nursery rhyme – seniors, adults, and kids alike know the song, even if they don’t know the person behind it. Kapoor composed enduring tunes in collaboration with great musicians and composers like Shankar-Jaikishan, Shailendra, Hasrat Jaipuri, and of course Mukesh. Frequently hailed as the “soul” of the actor, Mukesh’s voice as a playback singer for Raj Kapoor made timeless classics out of songs such as “Awaara Hoon,” “Jeena Yahaan,” and “Pyaar Hua Iqraar Hua”.
Mera Naam Joker
Mera Naam Joker (1970) turned out to be one of Kapoor’s loftiest endeavours. He showed immense courage and dedication to explore something different in this film – a tragic peek behind the mask of a circus clown. Following the artist at three different stages of his life, the film fused mature philosophical themes with melodrama to show an unparalleled sophistication in theme.
It also made the news for technique, such as Kapoor’s acquisition of an expensive American lighting system with a high electric arc to capture the aerial trapeze shots.
Just as dramatically however, the film bombed at the box office upon its initial release, falling short due to its four-hour duration. It put a serious dent in Kapoor’s bank account, and no doubt his heart, from which he took a while to recover.
Yet the film was technically brilliant, and became a cult classic later.
(Come to think of it, Raj Kapoor would have aced the web series format today – he was always ahead of his time!)
Still, his effort paved the way for future filmmakers.
Learning from his experience, today’s directors are experimenting with long narratives by releasing them in parts – Bahubali being one of the finest examples.
Many current filmmakers including Sanjay Leela Bhansali and Imtiaz Ali credit Kapoor as an inspiration, admiring his guts to mount his films on larger-than-life canvases. In fact, in Imtiaz Ali’s Tamasha (2015), Ranbir Kapoor (grandson) plays a joker, the film loosely following the template of Mera Naam Joker, with its narrative divided into three distinct chapters.
The show must go on
Raj Kapoor’s legacy lives on today – in a dynasty that has ruled supreme in India’s film industry through his children Randhir, Rishi and Rajiv, and grandchildren Karisma, Kareena and Ranbir. Although many have drawn comparisons between the great showman and his grandson Ranbir, praising the latter’s charisma and adaptability, only time will tell if RK junior can create an impact like his grandfather, way before the advent of social media. Last year Raj Kapoor’s great grandson, Agastya Nanda also marked his celluloid debut (with Netflix film The Archies).
As we celebrate the timeless legacy of Raj Kapoor – the entertainer, the showman – let us take a moment to salute his true genius. His unwavering dedication to storytelling, his deep love for music, and his remarkable ability to compassionately portray human emotions, all while reflecting the pressing social issues of his time, were the cornerstones of his success. These qualities ensure that his legacy will endure – and continue to inspire – for generations to come.
Read more: Vinod Khanna: ‘Angry Young Man’ to ‘Angry Old Man’
