A poem For Raj Kapoor - Mera Naam Joker

Solitude Invisible or MERA NAAM JOKER

Now,
Time, is a long movie, black and white
gets wet
in my hands...

Now,
Time, is a automn's bird, rainy
looks by my eyes
weary...

A solitude invisible
In the wardrobes
runs away from the crowd
by the shadow plays...

And
In the twilight of the sunset
A joker, old-fashioned, shouts slowly:

" The game is over
Close the curtains ! "




Hale Oyal

July 2007 - ISTANBUL / TURKEY

http://s6.zetaboards.com/RKForum/topic/751921/2/

Barsaat Preview

Preview of Barsaat

After Aag (Fire) Raj Kapoor Film the movie Barsaat (Rain).
Barsaat is a story about Love. What wily means love, what the true about love and how it can change people.
The story is about two good friends. Ones is Pran (Raj Kapoor) a song writer the second is Gopal (Prem Nath). Two good friends but so different from each other.
Pran Believe in true love and waiting to the one that will steal his heart. Gopal don’t believe at true love he even don’t know what love means. Gopal is a flirting person. He change woman like a sucks. But he doesn’t know that one of the woman that he spends night with her wily love him and won't to marry him.
Pran and Gopal move to the house on the sea, there pran meet his true love. Rasma (Nargis Dutt) the one that stale his heart and don’t late him sleep in night’s.
Pran fell in love with resma, even she fell in love with him. Gopal woes keep join the bars and meet moor others girls. When his true love waiting for him.
The love story of Pran and Resma get in test of Trust and commitment. After Resma father back home. Resma Father not late her meet pran because he think that pran is using resma love. Resma don’t give up about her love to pran and go meet him again and her father kills her by late her throw in the river.
After what happened to Resma her father asks from pran and gopal to leave the house that they pay for the rent. Pran and gopal leave the house but Pran never forget resma. He woes stile love her even he think she died.
Gopal can’t believe that love can keep Happens even after one of the person die.
Resma is stile a life she away from pran but she a life and she live with same village person that find her next to the river he take care of her and got her back to life. Her first words woes babuji (Sour) the name that he cell pran.
Gopal try to take Pran many place’s to show him that he right, love don’t stay forever.
In the same time the villager person won't to get marry to Resma with out ask her. Resma try to find any way to back to her lover pran, but with out success. Gopal not giving up about pran and take him to many woman. But with out Success.
Pran and Gopal drive next to a wedding party what that they don’t know that it is Resma wedding. When resma and Pran talk about mariachi resma tell pran that in they wedding they not going to play on Sitar(this how she cell is violin) they going to play on shaniya the weeding music tools. When they move next to the wedding party Pran start to remember Resma and ask Gopal to drive away from there.
Gopal not give up and keep take him to others woman. Pran get to understand that same of the woman to this for money for her kids with a father or same other personal problem. Pran decide to drive back to home. In the way to home, pran and gopal move again next to the wedding party. Gopal keep fight with pran and not given up on him. Pran her the Shaniya again and Ask Gopal to make them stop, but gopal woes so angry with Pran and don’t stop scream on him until the woes have a Car Accident and Pran woes hurt in the head. The people from the wedding go to see what happened and take pran in to Resma room until the doctor come to check him. Resma find that it woes her lover pran and hug him. The villager person get angry when he see resma with Pran and he take pran and try to cell him the peoples from the wedding party cell the police and Pran take to the hospital.
The doctor’s woes believe that Pran die but Resma woes believe that he stile a life.
Gopal Blame Resma that what happened to pran it only because her. He tells her if Pran is lives I start believe in love. Pran woes a life and Gopal have change He star believe in love and go to meet his lover. But after she sees him come with Resma hand is hand she kill her self. When gopal come to her it woes so lattes She already woes dead.


My Preview about the movie.

Barsaat is one of Raj Kapoor movie that I wily like.
Barsaat is a Romantic and touching movies about love with a romantic Shooting Place.
Raj Kapoor and Nargis look so young in this movie and so lovely we can fell the beginning of there love story.
This movie includes many Amazing Background music with amazing Soundtrack songs. Amazing Star cast and must best Jodi Raj Kapoor and Nargis Dutt in the beginning way with there company Rk.
Best action of Raj Kapoor and Nargis even Prem Nath woes give an amazing preferment’s.

In this movie also Raj woes use the Dark Effect what make the movie moor Romantic.

There one part in the movie that looks interesting to me is the part when Resma (Nargis) Clean the Dishes and Pran play the violin. Nargis move her hair from her eyes in the way that She woes move her hair with the hands when Raj Kapoor First meets her.

The best part in the movie is the part when Nargis fold in Raj kapoor hands in the way like the Violin. I know it also woes the best part for Raj Kapoor After all He make this screen to be is Company Icon.

Moor best thing in the movie is the English song that Raj Kapoor Play on the Violin.

Today it rains her with lighting. I looking in the windows and see the rain and the light’s. I remember the movie and start to understand how the film woes connect to the Rain. When Rain is coming, People Name at the Romantic time. And same time when you sad like in the movie the Rain can be also you love tears.

My Rate for this movie 10/10 Mine blowing

Write by RajKapoorFan From Raj Kapoor Fanclub
http://s6.zetaboards.com/RajKapoorFanclub/topic/8526500/1/

A poem for Raj KAPOOR

( A poem for Raj KAPOOR)


THE SMELL OF THOUSANDS CARNATION

Snow is about falling
Night approaches
Through my window winter settle in

from my eyes to yours starry celestial passing by
my bossom being fondled by thousands of carnation
Therein from my eyes serenely I am collecting the stars
Autumn wind in the thick of my hair and hands
I am escape from my self
To face with solemn images of my face
That bleeding
Breaking in to thousands at mirrors

Snow is about falling
Night approaches
Through my window winter settle in

Time afterall is a locker marching backwards
blooming by the smell of thousands carnation
Thus can not be opened…

Hale Oyal

December 2006 / Istanbul / TURKEY ( Translated turkish into english by Erkut Tokman )

http://s6.zetaboards.com/RajKapoorFanclub/topic/751921/1/

Raj kapoor about Amitabh Bachchan

Now that Amitabh Bachchan has entered the battle, on the side of the film industry, the industry is confident that it will overpower the wicked government and win.

Raj Kapoor, the well-known film-maker, was telling me about this am casting Amitabh with Dharmendra, no more of this Sunil Dutt. I mean, he is alright taking out these morchas and making representations to the government, but our fight has gone beyond that stage. Assisting the two will be Hema Malini and Rekha, but the women are there mainly to keep the government interested in the strike.

How will Amitabh end the strike?� I asked.
I am still working on the script,�Raj Kapoor said. But he is a mard and naturally he will use his two hands, his six-shooter, his sword, the helicopter from which he will jump on Mantralaya etc. in between, there may be one or tow songs, or three or four, but that is once again only so that the government does not lose interest in the strike. Already it seems to have forgotten that the industry is on strike.

Will Amitabh fight the government as an actor or as an MP or as a minister-to-be or what? I asked.

You know he is a master of disguises, so he will be wearing various disguises and fighting the government, one minute MP, one minute Aaj Ka MLA, one minute orphan in search of his lost brother, who finally will turn out to be Mithun Chakravorty, the dancer,� Raj Kapoor said. By the time the finishes with the government, it will wish it had never introduced the new sales tax.

You strike leaders think of every thing, I said.

We have to, Raj Kapoor said. After all, we are fighting the government, not just Amjad Khan or Pran or Prem Chopra. The government, not just Amjad Khan government will have the police on their side, but the people will be on our side. Shashi Kapoor will play an honest police officer, grey hair on the temples etc., whose conscience will not allow him to carry out the government's orders.

It is going to be a battle royal, I said.

Yes, royalty also will be there, he said. One of the older actresses will play a maharani and Saeed Jaffrey will be her diwan-e-khans. Once you decide to defy the government, and work Amitabh into the script, you have to go all out.

Absolutely,� I said. When do you plan to let Amitabh lead the fight?

Once the strike has ended and we can start making films again, naturally, Raj Kapoor said.

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Raj Kapoor ChildHood

The environment I grew up in was entirely one of theatre and films. We came to Bombay in 1927. That was the era of silent films. My father joined the. I Grant Anderson Theatre, where Ardeshir Irani made the first Indian talkie, Alam Ara, and Father was in it. I myself was barely five when I first acted in a play, called The Cart, for which I got my first award. It was then that the whole thing just entered me, and I could not do anything except belong to the world of show business.

I was very fair, with blue eyes. My Father’s actresses used to cuddle me whenever I visited the stage, and I used to feel very excited. But even that early I had learnt the art of concealing emotions. I was extremely precocious. And I was a worshipper of nudity. I think it all started because of my intimacy with my mother who was young, beautiful, and had the sharp features of a Pathan woman.

I think it all started because of my intimacy with my mother who was young, beautiful, and had the sharp features of a Pathan woman. We often bathed together, and seeing her in the nude must have left a deep erotic impression on my mind. There is an excellent Urdu phrase, muqaddas uriyan (sacred nudity), which describes this perfectly. In my films, bathing scenes recur often. Women in general occupy most of my early memories, and they appear in my films like ghosts that refuse to be buried.

We had once gone to Lyallpur in western Punjab, now in Pakistan, which is my father’s birthplace. My great grandfather was the tehsildar there, and the villagers held the family in great respect. An earthen oven was always kept lit in the center of the village, and women roasted chana on the fire. I remember having gone to buy chana wearing a shirt and nothing under it. The woman at the oven had an odd smile on her face as she said: ‘You don’t have to pay for the chana, just raise your shirt and make a bowl out of it.' I did, and stood like that, and she laughed her head off looking at me.

I was totally innocent. Years later when this memory came back to me and I understood the trick she must have been up to, it disturbed me a great deal. For some time in my life, chana itself become almost a *** object. It might have come back into my cinema at a subconscious level. There’s a scene in Bobby when the boy flashes a mirror into Bobby’s face while she’s sitting in the library. The girl comes out, first in rage, and then in playfulness. The boy says, ‘Let’s have tea.’ Bobby says, ‘No, let’s have chana.’

I was a precocious child. I was always aware of my surroundings. In Lyallpur, my great grandfather, the tehsildar, used to go plucking cotton and we kids would go with him because it was fun. One day, probably because of the heat, I must have wandered away to rest in the shade of a tree and gone off to sleep. At sunset, they missed me. My grandmother started howling and shouting. All of a sudden Ramu, the sweeper, an untouchable, brought me home and said, ‘Forgive me that I touched him. I’ve carried him here.’ He apologized with folded hands. I was not permitted to come into the house. My mother was asked to bathe me first, because an untouchable had touched me. I didn’t know the implications of all this then, but I knew that what was being done was wrong.

I was a precocious child. I was always aware of my surroundings. In Lyallpur, my great grandfather, the tehsildar, used to go plucking cotton and we kids would go with him because it was fun. One day, probably because of the heat, I must have wandered away to rest in the shade of a tree and gone off to sleep. At sunset, they missed me. My grandmother started howling and shouting. All of a sudden Ramu, the sweeper, an untouchable, brought me home and said, ‘Forgive me that I touched him. I’ve carried him here.’ He apologized with folded hands. I was not permitted to come into the house.

My mother was asked to bathe me first, because an untouchable had touched me. I didn’t know the implications of all this then, but I knew that what was being done was wrong.
We lived in Calcutta for eight years, returning to Bombay when I was fourteen. We lived on Hazra Raod near Kalighat. My father went to work every day on a bicycle. New Theaters was not very far away. I studied in St. Xavier’s School. In my neighborhood, everybody used to call me ‘Prithvi chhele.’ I was the pampered brat. Neighborhood weddings, Durga puja pandals, local musical soirees – I was a permanent fixture everywhere.

Everybody in our family is fond of food. That is the reason why the young and the old are all obese. As a child I too was very fat. My mother, giving me the example of my father, would always nag me to exercise.
While sending me to school, she would pack an omelette and chapatti for me. But my taste buds were always looking for new flavours… There were three or four eating-places, which I used to visit regularly.

My allowance was only two annas a day, which was not enough to meet. This expense. So I would stop my credit at one shop and open an account at another. Once the credit got beyond my means. I would sell a book or two….I would return home from school and give back the packed meal to my mother, saying that I didn’t eat it because I was on a diet. Her concern and love would make her feed me even more!

In school I was very fond of acting. My father was a great actor; so I through that it was my privilege and my prerogative to become a great actor as well. It so happened that our school staged a passion play. The most paramount thing in my mind was that every child who worked in that passion play given three coupons to eat sandwiches, samosas and coffee and ice cream- all sorts of beautiful things to eat. I got a costume…like a cassock that Fathers wore…a bit too long for my short size.

Anyway.we were supposed to go once or twice behind Christ, shouting hosanna.hosanna.hosanna. I did that once, I did it twice, and being an exuberant actor, I went in for the third entry, which was not supposed to be there. When I entered the stage, my foot got caught in the cassock I was wearing, and I fell down right in front in front of a very serious Christ, and people laughed and Christ also laughed. I was happy that I had made Christ laugh. When the curtain comes down, the drama master caught me by the neck. He hit me, and said, 'You are an actor? Your father is an actor? I think you are a donkey! You get out and don't come back again!' My coupons were taken away and I didn't get any sandwiches, I didn't get any ice cream.I didn't get any cake and I didn't get any samosas!

My childhood memories are pitted with indelible scars of experience. I was a fatty. Every sort of practical joke was ‘played on me)… apart from some vivid patches of happiness (my childhood years) were quite miserable. These patches of happiness were the occasions when I fell in love, but more of that later. To return to the miserable moments I soon packed up the most natural defence mechanism – the one used by all the great jokers of the world. I learnt that the more one resisted being a target, the more one suffered.

So, instead, I put on the mask of a joker by reacting as through I thoroughly enjoyed being made the butt of practical jokes. Indeed, I even took this a step further by inventing jokes on myself, which would make my colleagues laugh. You see, I was seeking that which every schoolboy seeks- the love, affection and esteem of others.

I wanted to be liked. I had un unlimited capacity to love and to be loved and it was not long before I fell in love…once, twice, thrice…and so forth. All these experiences began crystallizing into a rough and ready philosophy of life in my formative years…In (school) dramas and plays; I began to put into practice my theory of being liked and also being in the spotlight. I found that the audience at those school dramas tended to grow restive during long dreary passages. So, right in the middle of them, I would casually do something funny and totally unrelated to the proceedings and get involuntary giggles from the frontbenchers. I’d follow that up with another little funny thing, and the giggles would become laughter, and spread from the frontbenchers right through the house to the backbenches.

Thus I learned the rudimentary lessons in ‘scene-stealing’…I began adding to my storehouse of experiences, which I was to carry forward to the time when, many years later, I moved inevitably into films.

In Mera Naam Joker, the child's crush on his beautiful teacher, played by Simi Garewal, is no fantasy of the scriptwriter. I was a great favourite of women teachers in very school that I attended. My first school was the New Era Boys' School on Hughes Road Bombay, where the teachers would queue up to kiss me! I was in the prep class then, and I used to get irritated with them and ask them, 'Why do you kiss me? Are you my mother?' Undaunted, they would kiss me more! I was very fond of one of these teachers. Once we had gone out on a picnic with this teacher when we saw a large flock of birds winging into the evening sky.

It came back years later in a sequence in Mera Naam Joker with the song 'Titar ke do aage titar..' I got so attached to this teacher at age six, that when my father took up a ob with New

Theatres and we had to shift to Calcutta, I dug my heels in, telling my parents that I would rather stay at the school hostel than pack up and leave. In my last few days in Bombay, I used to bring her flowers. It was a tearful parting.

White is my favourite colour and it is deeply rooted in my mind in my heart. I remember to this day how the colour white came to be imprinted in my memory. We were living in Calcutta. One morning, as I was getting ready to go to school, I heard my mother tell the cook to buy chickens as some friends of my father were expected for lunch. Chicken! My mouth began to water. I decided to play truant that afternoon and return home for lunch. Father and his guests were already seated at the table when I entered the dining room. 'There is no school today?' Papa-ji asked me sternly. 'No' I mumbled, avoiding his eye, 'it is a half-day.'

Among the guests was a young woman. She was dressed in white. I looked at her, and I could not look away. She seemed to me to be the most beautiful woman in the world. The guests stayed all afternoon and I too hung around the house. I had fallen in love with her of course.

Then it was time for them to go. They were saying farewell. I went into the garden in front of the house. I plucked some creamy white tuberose. And I was still plucking them when the woman in white came down the steps. Stammering and blushing, I gave her the fragrant gift. She took the flowers from me, murmuring her pleasure. She walked through the garden and onto the road. Turn around, I pleaded in my heart. Just this once! Please look back! But she did not turn She was gone forever and I could not forget her.

Ever since it has been an endless search for the ideal which always recedes, leaving only the white flowers as visible evidence of the search.

I remember Principal Soares. He was also the Latin teacher and Latin was the second language in those days. In the examinations, when the Latin paper came up, I wrote, 'Latin is a dead language, why dig up the buried?' I got one mark out of a hundred and that too complimentary. Principal Soares said, 'Unfortunately, boy, I can't anything as far as your academic education is concerned. You are otherwise brilliant, and you have the world before you!'

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Jaane Kahaa Gaye Wo Din Lyric

Lyric

Jaane Kahaa Gaye Wo Din
Kahate The Teree Raah Me
Najaron Ko Bichhayenge
Chaahe Kahee Bhee Tum Raho,
Chaahenge Tum Ko Umarbhar
Tum Ko Naa Bhool Paayenge

Mere Kadam Jahaa Pade,
Sajade Kiye The Yaar Ne
Muz Ko Rulaa Rulaa Diyaa,
Jaatee Huyee Bahaar Ne
Apanee Najar Mein Aaj Kal
Din Bhee Andheree Raat Hai
Saayaa Hee Apane Saath Thaa,
Saayaa Hee Apane Saath Hai

---

Translate: English

“I wonder where those days have gone

When you Used to say: ‘on path of love…’

“My Eyes will see only you”

“I wonder where those days have gone

When you Used to say: ‘on path of love…’

“My Eyes will see only you”

“Where ever you may be

I will desire you as long as I live

I will never be able to forget you”

“Where ever I tread My path was strewn With you love

Where ever I tread My path was strewn With you love

Tears Have welled in my eyes. I have made to cry…

By the spring as it passed me by”

“I wonder where those days have gone

When you Used to say: ‘on path of love…’

“My Eyes will see only you”

“Where ever you may be

I will desire you as long as I live

I will never be able to forget you”

“These days, Where ever I look

I see darkness in the bright sunlight

These days, Where ever I look

I see darkness in the bright sunlight

My Shadow was my only companion

My shadow remains my only companion”

“I wonder where those days have gone

When you Used to say: ‘on path of love…’

“My Eyes will see only you”

“Where ever you may be

I will desire you as long as I live

I will never be able to forget you”

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Barsaat Car

This is the Car that Raj Kapoor Use on the Film Barsaat


after success of barsaat raj bought an oldsmobile convertible


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Dulha Dulhan, Preview

My Preview Of Dulha Dulhan

This Movie Is so Sweet. The Story is About a Radio Singer (Raj Kapoor) and a mystery Woman, that don't know noting about here self (Sadhana Shivdasani).
The Radio Singer get massage from is friend, that he send same woman at name Rekha to Bombay and at the Train Station, he meet Rekha. What he don't know is that she wasn't woes Rekha, this woes the mystery woman.
The radio singer get in love with here, bat when he woes know that she not wily Rekha, he and is friend try to lose her alone in Bombay. Bat, the radio singer Raj woes can do at, his woes already in love with her and her with am. So they Get Marry.
3 days later on holy holiday, the mystery woman woes missing and Raj won't to find her. When he shows her photo, people tell am that she a rich woman of rich family, he doesn't believe them and go to see is self.
He see the other woman of is wife and when he tell her about them, she say that he liar and ask am to live.


Raj woes go away to place, that no one find am.
When the mystery woman get marry again, with the man that her dad give her. Bat at the half of the marry she find that she pregnant and go to find Raj, bat he woes not there.
At the next year on holy day, they meet again, with they baby.

What I think about the movie?

Sweet movie, with great songs and great story.
Raj Kapoor and Sadhana Shivdasani, doing great work on the movie.
I like the part, that Raj give Rekha to eat from Bansi food. And Bansi don't know, where goes is food and Raj tell am that he woes eat when he woes ready the paper.

The thing that I don't like in the movie, is the end the end can be moor great and this kind weird that it finish like this.
This why I give this movie little low Rate.


My Rate : 8/10 bat stile
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Aag Album

Aag 1948
Actors : Nargis, Nigar Sultana, Premnath, Raj Kapoor, Vyas B M
Director : Raj Kapoor
Music Director : Ram Ganguly
Producer : RK Films
Theme : Love
Year : 1948

Dekh Chand Ki Or
Dil Toot Gayaji
Kahe Koyal Sour Machaya Re
Na Ankhon Mein Ansoo
Raat Ko Ji
Solah Baras Ki
Zinda Hoon Si Tarah

This is the life of cinema Business - Fan Song

This song I write after Read the Latter of Raj Kapoor to his Wife Krishna Kapoor. It make me sad so I start write this song.

I sit here and writing
What happened to me
I won't you to know
What happened to me
I won't you to know
That I don’t won't that happened
This How I write
What Happened to me

I can’t keep thinking like this
How I can do all this like this
How I hurt you many times
How I can pay now about all my mistake

I won't you to know
That just you I love
I won't you to know
That just you I won't
I won't you to know that in all the world
There just one woman that I won't to live with her

Behind all the thing I pass
I don’t won't that it turn to be like this
Behind all the thing I do
I don’t won't that they be like this
But what can I do…
This is the life of cinema Business

http://z6.invisionfree.com/RKForum/index.php?showtopic=576

Who is it?

Do you know how is it in the Photo?
------------------------------------------------------------------------------------------------------



Yes this our Raj Kapoor the only one
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Letter With tear

This is a Letter that Raj Kapoor Write to his wife before leaving for the North Eastern Frontier at the time of India's was with China. This Letter make me always cry when I Read that again and again.

To you, my eternal love and life, to you, Mother of my children, my dear wife Krishna, I am addressing a few words to express an emotional consciousness that is the truth and reality. Admitting to all my faults and shortcomings in all spheres of my life, domestic as well as worldly. Whenever I have failed to reciprocate love and affection from my very own near and dear. It is not that I am not aware of all the feelings of belonging bestowed on me, but that in my maddening self-centeredness!.....
I am unable to express that as much as you all belong to me, my bond to you becomes stronger than ever.Maybe it is this.that gives me strength to act and react to all diversities of life pertaining to my very existence, namely, my work.You know very well I am an impulsive man. But one thing is clear to me, and that is we both have to create an atmosphere of communion with each other. Let me be the first to reach out and tell you no matter what I am, who I am and where I am, the imperishable truth is that I am, and I am yours.

While entertaining the soldiers he said: 'I would like you to know that you are not alone here to defend our motherland. We, the artists.the whole nation, are behind you. The stronger and braver you are, the safer will be your brothers, sisters, children and parents.our whole country.'

When I sit back at the end of the day, I feel very sorry for all the pain that I have given you (his wife Krishna). How can I bring those days back for you? But show business is such that a woman has to be understanding because there are constant emotional involvements, because the work is such. For Krishna, though, the mere fact that her husband appreciated her patience and love was all the compensation she wanted.
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Sunehre din - ScreenShoot

SUNEHRE DIN (1949)
RAJ KAPOOR. REHANA, NIGAR SULTANA, HARUN, HIRA SAWANT, ROOP KAMAL, KAMLA KANT
Produced By: JAGAT PICTURES
Directed By: SATISH NIGAM
Music By: GYAN DUTT





To View moor Screen Shoot from the movie Click here
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Madhubala

Date of Birth
14 February 1933, Delhi, India
Date of Death
23 February 1969, Bombay, India (hole in the heart)
Birth Name
Begum Mumtaz Jehan Dehlavi

Nickname
Venus Queen

Mini Biography
Arguably the most beautiful artiste to ever grace the Indian screen, Madhubala rose from humble beginnings to become the most captivating star India has ever produced. Madhubala was born Mumtaz Jehan Begum on Valentine's Day 1933, in a poor, conservative family of Pathan Muslims in Delhi, a part of a prolific brood of sisters, and entered the world of films at the tender age of eight. After about five years of playing child roles, Madhubala got her first break in a lead role in Neel Kamal (1947), produced anddirected by her mentor, veteran filmmaker Kidar Sharma. At the age of 14, she played a romantic lead against another fledgling star, Raj Kapoor, and Madhubala had finally arrived on the Indian screen. Over the next two years she had blossomed into a truly rapturous beauty (which earned her the sobriquet of the Venus Of the Indian Screen) and with the movie Mahal (1949), literally overnight, she was a superstar.

It has been often said that her beauty overshadowed her acting talents, which to an extent is true; however this was more due to poor judgement than lack of talent. Being encumbered by a large family to support, and forever living under the domination of an imperious father who, she made several poor choices in movies which seriously undermined her credibility as a serious performer, to the extent of being labelled "box-office poison". However, her more or less dismal repertoire in the 50s was marked by spots of true brilliance - movies like Tarana (1951), Mr. & Mrs. '55 (1955) and of course her swansong Mughal-E-Azam (1960) showcased her remarkable talents as a serious artiste across several genres and revealed what this ethereal beauty was truly capable of.

Sadly, she was plagued by a persistent heart disease that confined her to a bed for almost nine torturous years, and eventually claimed her life on February 23 1969, nine days after her 36th birthday. In this short life, she had made over 70 movies, and to this day remains one of the most enduring legends of Indian cinema.

Madhubala And Raj Kapoor Bring the Screen of two Star show how to make love with they Eyes In the Both First Movie Neel Kamal (1947).
Raj Kapoor and Madhubala Play Three time together in
Neel Kamal (1947)
Dil-Ki-Rani (Sweet-Heart)
Do Ustad



Madhubala had many successful films following Mahal. With pressure to secure herself and her family financially, she acted in as many as 24 films in the first four years of her adult career. Her co-stars at the time were the most poular of the period: Ashok Kumar, Raj Kapoor, Rehman, Pradeep Kumar, Shammi Kapoor, Dilip Kumar, Sunil Dutt and Dev Anand. Madhubala ... appeared along side many notable leading ladies of the time including Kamini Kaushal, Suraiya, Geeta Bali, Shyama and Nimmi. The directors she worked with were amongst the most prolific and respected: Mehboob Khan, Guru Dutt, Kamal Amrohi and K. Asif . She also ventured into production and made the film Naata (1955) which she also acted in. Source:
Born in abject poverty, the 5th of 11 children, Madhubala began life in the film world as a child star, Baby Mumtaz, in films like Bombay Talkies Basant (1942). It was Kidar Sharma who gave her a break as heroine opposite Raj Kapoor in Neel Kamal (1947).
Source:
upperstall.com In 1966, with a slight improvment in her health, Madhubala tried working again opposite Raj Kapoor in the film Chalack. Film media heralded her "comeback" with much fanfare and publicity. Stills from this time showed a still beautiful but pale and wan-looking Madhubala. However, she collapsed on the first day of shooting and the film was shelved.
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Awaara In Turkish

Kkm Find same Weird Video clip in Youtube... A Re making of Awaara In Turkish.
Our Turkish member Hale say that
This is a part remake of Awaara (in Turkish Avare-1964)with the
Turkish famous and also very successful actor Sadri ALISIK(in the role of Raj Kapoor)
and a Turkish singer Ajda PEKKAN(in the role of Nargis)
and Turkish actor Kenan PARS (in the role of Judge Raghunath-Prithviraj Kapoor) on the last scene of Turkish Awaara...

Young woman lawyer defends her client( her love at the same time)and the judge at the end accept the situation and tells to the law court that young man is his son...

The Re making



The Original Movie with the same Scene

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Nargis Dutt

She woes one of the Amazing Woman of Bollywood movie. I love her from the first time I see the Black and White Movie, Such amazing Woman, The actress of today will never look like her.

Date of Birth
1 June 1929, Calcutta, West Bengal, India

Date of Death
3 May 1981, Bombay, India. (pancreatic cancer)

Birth Name
Fatima A. Rashid


Mini Biography
Nargis Dutt is the sister of Bollywood actor, Anwar Hussain and Akhtar Hussain. After playing the mother of Sunil Dutt in the movie 'Mother India', she subsequently married him. She has three children from the Dutt marriage, namely Bollywood actor, Sanjay Dutt, and two daughters, Priya, and Anju. Her first daughter-in-law, Richa, Sanjay's first wife, passed away due to cancer. Her second daughter-in-law is Rhea Pillai, Sanjay's second wife. Her son suffers from insomnia, and has problems with drugs. He was jailed for terrorist activities during the now infamous Bombay Bomb Blast case of 1993, and he is now facing numerous criminal charges in India. Nargis and Bollywood megastar Raj Kapoor formed a reel romantic couple, but it is well known that they had an off-screen romance and intimate relationship as well.

Spouse
Sunil Dutt (1959 - 3 May 1981) (her death) 3 children

Trivia
Daughter of actress, singer and filmmaker Jaddanbai. When she was 5 years old, her mother introduced her as a child star, Baby Rani.
Granddaughter of Motilal Nehru and Daleepabai.
Mother of Sanjay Dutt.
The Indian actress Nargis made her only appearance in a Greek film in Tosa oneira stous dromous (1968). Her movies were popular in Greece.
Formed one of the most popular Hindi on-screen couples with Raj Kapoor. Off-screen, she was deeply in love with the already married Raj Kapoor.
In Mother India (1957), she played Sunil Dutt's mother. While shooting for the film, Sunil rescued her when she was trapped amidst lit haystacks. The two fell in love, and later married.
Nargis was the first actor to be honored with the Padmashree Award; she was also nominated to the Rajya Sabha (Indian Parliament) for her charitable work for spastics.
Won the National Award for her role in Raat Aur Din (1967).
Sister of Anwar Hussain and Akhtar Hussain.
In movies, she often played the role of women caught in a dilemma of the heart leading to a tragic ending.

Nargis Topic on the Forum
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Radhu Karmakar

"When Nargis left R. K. Films in 1956, after her cameo in Jagte Raho, Raj Kapoor was devastated. He could not get over the fact that Nargis had indeed left him for good. He was tormented and had the appearance of a man who had lost his soul, as indeed he had. It was Nargis who was his inspiration from Aag onwards and he was artistically, a lonely man without moorings..."

These are some excerpts from the autobiographical book of Radhu Karmakar, the great camera artiste of Raj Kapoor. This book "Radhu Karmakar - The Painter of Lights" is the story, in his own words, of a very talented and self-effacing person who was a genius behind the camera. Radhu Karmakar desired neither fame nor fortune, and his ultimate ambition in life was to make a perfect film like Orson Welles' "Citizen Kane", says his wife Bani Karmakar.

Long dark path

Radhu started his film career with "Kismat ki Dhani" (1945) which was followed by "Milan" (1946, director Nitin Bose), and other super hits like "Jis Desh Mein Ganga Bahti Hai" (1958, Radhu Karmakar), "Mera Naam Joker" (1965, RK). "Param Vir Chakra", completed in 1995, was has last film.

Radhu has painstakingly studied the art of different cinematographers. From this book, we come to know that Radhu travelled a long dark path to attain the light of success. His years of struggle continued from 1931 to 1938. "I struggled a lot under stress," he writes.This interesting book opens the doors of nostalgia and re-explores the pretty as well as bitter side of the film industry. We come across the familiar stories of Bombay Talkies, Devika Rani and Ashok Kumar but in a different perspective. Since Radhu was a creative light and camera artiste, he had a close view of great personalities. This book moves in phases. Part one comprises Flash Back (1896-1960) and then it proceeds from the golden age to the Nargis era and finally fades out with Raj Kapoor.

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Manna dey

Manna Dey at his best
Dr Mandar V Bichu
Published: April 30, 2006, 00:00


On Friday, the select audience of music lovers and media people at the Cinemasangeet dot com-MMI-organised luncheon were in for a real treat as the legendary singer Manna Dey regaled them with an amazing array of anecdotes, shedding light not only on his own career but also offering a rare personalised glimpse into the historic golden era of Hindi film music.

The octogenarian (who performed in a Signature Events concert later that evening) was in top form as he remembered every minute detail, mimicked personalities at will and even broke into songs in mid-sentence!

Hates interviews

To get Manna Day to talk in this intimate fashion takes some doing for the man simply abhors interviews and interviewers.

"I simply detest people who ask questions without knowing anything about the subject" - is his frank explanation.

I still remember how he had tried to wriggle out of an interview 12 years ago giving me 10 different excuses before agreeing for a short chat.

But then that chat had extended into a three hour-session at the end of which I had even managed to make him sing one-on-one!

While making him agree to do this live public interview session, I reminded him of that encounter, which brought a mischievous smile to his face.

The moment I saw it, I was sure the great man was ready for the challenge!

The history behind Manna

He started off with a tale about his unusual name Manna and said, "Prabodhchandra was the real name given to me by my father Purnachandra Dey but I never liked it.

My uncle and Guru - K.C. Dey, (the great blind singer of Bengal) always used to call me by the nickname - Manna. Somehow I liked that name and changed it officially when I reached college!"

Recounting his early memories of film-industry, Manna Da said, "Composer Shankar Rao Vyas gave me my first film-song in the 1943-film Ramrajya. Actually the producer wanted my uncle to sing that song but he refused and instead suggested my name. In the film, the song was picturised on an old sage Valmiki. In fact, as a twenty-something young guy I mostly ended up singing for white haired old men!"

First real break

"In the 1940s, the playback singers were not given credits on records and that's why many of my earlier songs never received any attention. In those days, I worked as an assistant to music directors like S.D.Burman and Khemchand Prakash and even composed music for many mythological films at the ripe old age of 25. So embarrassed was I to be associated with that music that I used to flatly deny any role in composing such serious, pious songs! Finally in 1950-film Mashal, I got my real break as playback singer when my song Upar Gagan Vishal became a hit. "

A tough fight

Manna Da candidly accepted the fact that he had to always fight for second place as the top spot in those days was reserved for the great Mohammed Rafi.

Without rancour, he remembered how the producers openly pressurised composers to choose other singers over him.

Thus in Basant Bahar, (where he sang superb songs like Sur Na Saje and Bhay Bhanjana), the hero Bharat Bhushan's brother Shashi Bhushan wanted Rafi and in Chori Chori (where he rendered classics like Yeh Raat Bheegi Bheegi and Aaja Sanam) producer A.V. Mayyappan wanted Mukesh as their main singers.

Dey said he remains indebted to composers Shankar- Jaikishan for recognising his talent.

No regrets

He said he didn't rue the missed opportunity of becoming superstar Raj Kapoor's regular playback singer.

According to him, Mukesh shared a great personal friendship with Kapoor and the undercurrent of pathos in that singer's voice suited RK's screen image better.

Remembering Raj Kapoor's great sense of music, Manna Da recounted how the thespian first made the singer sing the Malhar raga and then made composers Shankar- Jaikishan compose a brilliant comedy - classical number Lapak Jhapak for Boot Polish.

Such was Kapoor's musical passion that he even joined Manna Da in the song, lending some comic vocal gimmickry.

The bond with Mehmood

Manna Da fondly remembered his musical bond with comedian Mehmood. He recalled how Pancham (R.D.Burman) had first used his (Manna Da's) voice for Mehmood in the Pati Patni comic number Allah Jaane Main Hoon Kaun, which later became a popular trend.

He also recounted how the comedian used to coax and cajole him to add more masala (spice) to his songs.

Concluding the session, when he lightheartedly described how he absolutely hated finally getting the Filmfare award for an 'ordinary' song like Aye Bhai Zara Dekhke Chalo instead of earlier, better deserving numbers like Nirbal Se Ladai Balwan Ki, Kaun Aaya Mere Man Ke Dware, Poochho Na Kaise and Kasme Vaade Pyar Wafa, the smilingly made observation was subtly tinged with a lingering regret of a great singer who never really got his due!

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