It's impossible to remake 'Awara': Randhir Kapoor
Indo Asian News Service
ians.in
Mumbai, Dec 13 (IANS) Randhir Kapoor says he is not interested in remaking his father Raj Kapoor's 1951 classic 'Awara' as it would be impossible to find actors of the same calibre that the film's original cast had.
'Many people came to me and my brothers (Rishi and Rajiv) and asked why don't we remake 'Awara'. I told them that it is absolutely impossible to imitate the classic 'Awara' which is loved so much till today,' Randhir told reporters at the launch of the book 'The Dialogue of Awara; Raj Kapoor's Immortal Classic'.
Written by author-documentary filmmaker Nasreen Munni Kabir, the book was released Saturday, two days before the 85th birth anniversary of legendary Raj Kapoor.
'Where will I get Prithviraj Kapoor, Raj Kapoor, Nargisji and where will I get that innocent looking Shashi Kapoor? I would be making a fool of myself by trying to imitate the film because I won't have actors of that calibre again, even if I copy it frame by frame,' he added.
Raj Kapoor was only 27 when he made 'Awara'. Released in 1951, it became one of the most successful films in his career.
'The Dialogue of Awara...' has the original story, dialogues and screenplay along with the screen shots of the movie.
'When Nasreen Munni Kabir approached me with the idea to transform this great film into a book, I got very excited as it's one of my favourite films ever. I discussed it with my brothers and they were also very keen to bring this film in book form for today's generation to see, read and understand what 'Awara' was all about,' said Randhir.
Thanking the Kapoor family, Kabir said: 'I'm extremely thankful to the Kapoor family. Without their support this wouldn't have been possible. It's by continuously finding new ways to talk about iconic films, we can keep them alive. A book is a way of keeping record of a film in a different way.'
Rishi Kapoor was also present at the event.
Showing posts with label Kapoor. Show all posts
Showing posts with label Kapoor. Show all posts
One Special Movie.
Thursday, April 9, 2009
Barsaat is one of the must different movie that Raj Kapoor Directed, even different then his other movie that he directed. The Music is so classic and all the songs get to be big hits. The movie also gets Award as the Greatest Bollywood Soundtracks and lading to the First Place. The best work of Shankar-Jaikishan, Hasrat Jaipuri, Shailendra, Ramesh Shastri & Jalal Mahilabadi and Lata Mangeshkar with her amazing voice.
Raj kapoor add to this movie many emotions.
Two friend, that go to vacations on they car. Two friend but so different from each others. Pran (Raj kapoor) fell in love with a poor girl that not learns noting about the life. Pran woes love her so when she woes in his arm he woes Cry and answer in Different way….:
“There no life without laughter and Tears. These Joys and sorrows for the design of love. Without tears real love doesn’t exist.
Smiling Flowers, Crying dew drops the combination of beauty and love. Is beautiful that happened when you in love. That is why love is measured not in terms of time but in terms of longing.”
What make Raj Kapoor Say same thing like that?
And why after She missing and He think she diet. His friend takes him for a woman. He doesn’t like it but he touches the woman feet why?
Human Values
Like Ritu Nanda write in her books Raj kapoor Woes Maybe young on 23 years old but in his eyes that he sees already every thing and Know many things that people like us don’t learn in 23 Years old.
The movie Barsaat make with many Emotions of Love.
About the part that Raj kapoor answer to Nargis after she see him cry. It the true about the life. Every one cry or laugh in his life we always have bad moments in our life and also bad.
True Love wily can’t exist with out tears. If you well look around you see many people that Cry when they in love. In English movie when man tell a woman that he love her and she don’t know this she smile but with tears in the eyes. When same one asks a woman to marry him she smile and have tears in the same time. When the man go and leave the woman back in home and go to army they cry and smile and when he be back and they hug they again and cry again this time from happiness. This in are life in the same screen Raj Kapoor not cry because she sing her song. Like he say Love don’t have time it just happened like that. Before Raj Kapoor Cry he smile to Nargis in the beginning and then a minute latter he get sad Same time the tears comes with out you know this. This what happened when you love.
Even it happened to me when I hear same song that I wily love and it sound so nice to my hears I don’t know how because I start to cry then. I even don’t know why but this is the real way of love.
Woman Honors.
Like I Know Raj Kapoor always give honors to Woman. He says the woman is the person that bring us to life and give us life with out we woes can’t keep our generation.
Human Values.
The friend takes him to same woman that seal love. He don’t like at and don’t won't to go in and even touch her. Then he hear a baby cry the woman go to the room and take the kids in her Hand he ask her about his father and she say that he don’t know that he have a child. He sees how much the kid sick and leave to her same money and touch her like and leave.
Raj kapoor try to show the way of the woman that seal they love for the sick of They kids The touching Legs Mean:
Like I Say before Raj Kapoor woes give honor to the woman. That she woes seal her lover for her sick kids. Because this Raj kapoor Touch her Legs. In India you give people honor by touching they legs. After he understands why she does at he gives her honor.
Then when He Back to his friend He tells him that she a mother and his friend ask why? He answer “Not a woman love she going to sold but a mother love. You don’t understand you are modern thinking”
This Also the true about our life and same of them stile exist. Same woman work for they family in this way.
This true what Raj say to the his friend same People know about that and same people know that this exist but they close they eyes.
This movie have a lot Human Values many emotions Even the Songs about the true about the life in our life and the music give at moor design of Love and emotions.
This movie is not a film maker It emotions it human Values.
That why no one can Remake this movie and even can get to the way of Raj kapoor Making movies.
Making Films is something else. Being human is something else.
When you mix it that Our Raj Kapoor.
http://s6.zetaboards.com/RajKapoorFanclub/forum/28163/
Raj kapoor add to this movie many emotions.
Two friend, that go to vacations on they car. Two friend but so different from each others. Pran (Raj kapoor) fell in love with a poor girl that not learns noting about the life. Pran woes love her so when she woes in his arm he woes Cry and answer in Different way….:
“There no life without laughter and Tears. These Joys and sorrows for the design of love. Without tears real love doesn’t exist.
Smiling Flowers, Crying dew drops the combination of beauty and love. Is beautiful that happened when you in love. That is why love is measured not in terms of time but in terms of longing.”
What make Raj Kapoor Say same thing like that?
And why after She missing and He think she diet. His friend takes him for a woman. He doesn’t like it but he touches the woman feet why?
Human Values
Like Ritu Nanda write in her books Raj kapoor Woes Maybe young on 23 years old but in his eyes that he sees already every thing and Know many things that people like us don’t learn in 23 Years old.
The movie Barsaat make with many Emotions of Love.
About the part that Raj kapoor answer to Nargis after she see him cry. It the true about the life. Every one cry or laugh in his life we always have bad moments in our life and also bad.
True Love wily can’t exist with out tears. If you well look around you see many people that Cry when they in love. In English movie when man tell a woman that he love her and she don’t know this she smile but with tears in the eyes. When same one asks a woman to marry him she smile and have tears in the same time. When the man go and leave the woman back in home and go to army they cry and smile and when he be back and they hug they again and cry again this time from happiness. This in are life in the same screen Raj Kapoor not cry because she sing her song. Like he say Love don’t have time it just happened like that. Before Raj Kapoor Cry he smile to Nargis in the beginning and then a minute latter he get sad Same time the tears comes with out you know this. This what happened when you love.
Even it happened to me when I hear same song that I wily love and it sound so nice to my hears I don’t know how because I start to cry then. I even don’t know why but this is the real way of love.
Woman Honors.
Like I Know Raj Kapoor always give honors to Woman. He says the woman is the person that bring us to life and give us life with out we woes can’t keep our generation.
Human Values.
The friend takes him to same woman that seal love. He don’t like at and don’t won't to go in and even touch her. Then he hear a baby cry the woman go to the room and take the kids in her Hand he ask her about his father and she say that he don’t know that he have a child. He sees how much the kid sick and leave to her same money and touch her like and leave.
Raj kapoor try to show the way of the woman that seal they love for the sick of They kids The touching Legs Mean:
Like I Say before Raj Kapoor woes give honor to the woman. That she woes seal her lover for her sick kids. Because this Raj kapoor Touch her Legs. In India you give people honor by touching they legs. After he understands why she does at he gives her honor.
Then when He Back to his friend He tells him that she a mother and his friend ask why? He answer “Not a woman love she going to sold but a mother love. You don’t understand you are modern thinking”
This Also the true about our life and same of them stile exist. Same woman work for they family in this way.
This true what Raj say to the his friend same People know about that and same people know that this exist but they close they eyes.
This movie have a lot Human Values many emotions Even the Songs about the true about the life in our life and the music give at moor design of Love and emotions.
This movie is not a film maker It emotions it human Values.
That why no one can Remake this movie and even can get to the way of Raj kapoor Making movies.
Making Films is something else. Being human is something else.
When you mix it that Our Raj Kapoor.
http://s6.zetaboards.com/RajKapoorFanclub/forum/28163/
Raj kapoor about Amitabh Bachchan
Wednesday, February 18, 2009
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.
http://s6.zetaboards.com/RKForum/topic/751857/1/?x=0#post36101
Jaane Kahaa Gaye Wo Din Lyric
Lyric
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”
Barsaat Car
This is the Car that Raj Kapoor Use on the Film Barsaat
after success of barsaat raj bought an oldsmobile convertible
http://z6.invisionfree.com/RKForum/index.php?showtopic=620
after success of barsaat raj bought an oldsmobile convertible
http://z6.invisionfree.com/RKForum/index.php?showtopic=620
Dulha Dulhan, Preview
My Preview Of Dulha DulhanThis 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
http://z6.invisionfree.com/RKForum/index.php?showtopic=82
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
Wednesday, February 11, 2009
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
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
http://z6.invisionfree.com/RKForum/index.php?showtopic=621&st=0&#last
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.
http://z6.invisionfree.com/RKForum/index.php?showtopic=602
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
http://z6.invisionfree.com/RKForum/index.php?showtopic=465&st=0
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.
http://z6.invisionfree.com/RKForum/index.php?showtopic=379
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
http://z6.invisionfree.com/RKForum/index.php?showtopic=574
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
http://z6.invisionfree.com/RKForum/index.php?showtopic=574
Nargis Dutt
Monday, February 2, 2009
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
http://z6.invisionfree.com/RKForum/index.php?showtopic=42&st=0
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.
http://z6.invisionfree.com/RKForum/index.php?showtopic=616
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!
http://z6.invisionfree.com/RKForum/index.php?showtopic=603
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!
http://z6.invisionfree.com/RKForum/index.php?showtopic=603
Prithviraj Kapoor Raj Kapoor Father
Sunday, January 25, 2009
Date of Birth
3 November 1906, Peshawar, British India. [now in Pakistan]
Date of Death
29 May 1972, (cancer)
Birth Name
Prithvinat Kapoor
Spouse
Rama Kapoor (1923 - 29 May 1972) (his death) 4 children
Trivia
Son of Dewan Basheswarnath Kapoor. Father of Raj Kapoor, Shammi Kapoor and Shashi Kapoor. Grandfather of Randhir Kapoor, Rishi Kapoor, Rajiv Kapoor, Karan Kapoor, Kunal Kapoor and Sanjana Kapoor. Great-grandfather of Karisma Kapoor and Kareena Kapoor
Considered the most handsome Indian actor of Pre-Independence India and the founder of India's first film family, the Kapoors.
Born in Peshawar in a middle-class landlord family. His father was a police officer. He enrolled at Edward College, Peshawar after finishing his schooling at Lyallpur and Lahore. He was married at 18 and did a year of law after graduation but interrupted his law studies to pursue his dreams of acting.
Was posthumously awarded the Dadasaheb Phalke Award for his contribution to Indian Cinema.
In 1944, he invested in and set up Prithvi Theatre. He was the first to use the concept of modern, professional urban theater in Hindustani. In over 16 years of its existence under Prithviraj Kapoor, the theater did some 2,662 shows, with Prithviraj starring as the lead actor in every single show.
Acted in India's first ever talkie Alam Ara (1931), although not in the lead role, which was given instead to Master Vithal.
Prithviraj did his B.A. from Edward college, Peshawar, a feat that few of his descendants were destined to match. He also studied law as a graduate student for one year, but his heart was in the theatre. In 1928, with the help of a loan from his aunt, Prithviraj moved to the city of Bombay (present-day Mumbai) which is the switch of the Hindi film industry.
He acted as an extra in his first film role, though he grew up to get a lead role for his third Cinema Girl in 1929 [8]. After featuring in nine silent films [9], Kapoor did a supporting role in India's first film talkie, Alam Ara (1931). His performance in Vidyapati (1937) was much appreciated. His best-known performance is perhaps as Alexander the Great in Sohrab Modi’s Sikander (1941). He also joined the only English theatrical company called 'J. Grant Anderson' which remained in India for a year [8]. Through all these years Prithviraj remained devoted to the theatre and performed on stage regularly. He developed a reputation as a fine actor on both stage and screen.
By 1944, Prithviraj had the wherewithal and standing to found his own theatre group, its premiere performance was, Kalidasa's "Shakuntala" in 1944. His eldest son, Raj Kapoor, had already struck out on his own; the films he produced had been successful and this was also an enabling factor. Prithviraj invested in and founded Prithvi Theatre, a travelling troupe which staged memorable productions across India. In over 16 years of existence, the theater staged some 2,662 shows. Prithviraj starred as the lead actor in every single show.[10]
Commemorative stamp celebrating 50 years of Prithvi Theatre, 1945-1995By the late 1950s, it was clear that the era of the travelling theatre was past; that art-form had been irreversibly supplanted by the cinema. No longer was it financially feasible for a troupe of up to 80 people (as Prithvi theatre was) to travel the country for four to six months at a time with their tons of stage props and equipment, living in hotels where possible and at campsites otherwise. The financial returns, through ticket sales and the rapidly diminishing largesse of patrons from the erstwhile princely class of India, was just not adequate to support such an effort. Many of the fine actors and technicians that Prithvi Theatres nurtured had found their way to the movies. Indeed, this was the case with all of Prithviraj's own sons. As Prithviraj progressed into his 50's, he gradually ceased theatre activities and accepted occasional offers from film-makers, including his own sons. Later, under his son, Shashi Kapoor, and his wife Jennifer Kendal, it merged with the Indian Shakespeare theatre company, "Shakespeareana", and the company got a permanent home, with the inauguration of the "Prithvi Theatre" in Mumbai November 5, 1978 [11].
In 1995, the 'Golden Jubilee year' of the founding of Prithvi Theatre, India Post, issued a special two Rupee, 'commemorative' postage stamp in New Delhi [12], it featured the logo of Prithvi Theatre 1945-1995, and an image its founder 'Prithviraj Kapoor', without the name, as just his face seemed enough, being the legend that he had become in his lifetime and beyond in Hindi theatre [13]. The first day cover, (stamped 15-1-95) showed a illustration of performance of travelling theatre in progress, on a stage that seem fit for a travelling theatre, as Prithvi theatre was for sixteen, till 1960 [11].
His notable filmography of this period includes Mughal E Azam (1960) where he gave his most memorable performance as the Mughal emperor Akbar, Harishchandra Taramati (1963) where he played the lead role and unforgettable performances as Porus in Sikandar-e-Azam (1965) and the stentorian grandfather in Kal Aaj Aur Kal (1971) where he appeared with his son and grandson Randhir Kapoor.
Kapoor starred in the legendary religious Punjabi film Nanak Naam Jahaz Hai (1969), a film so revered in Punjab that there were lines many kilometers long to purchase tickets.
He also starred in the Punjabi films Nanak Dukhiya Sub Sansar (1970) and Mele Mittran De (1972).
In 1954, he was awarded the Sangeet Natak Akademi Fellowship, and in 1969, the Padma Bhushan by the government of India. He remained Nominated Rajya Sabha Member for eight years [9].
After his death in 1972, he was posthumously awarded the Dadasaheb Phalke Award for the year 1971. He was the third recipient of that award, the highest accolade in Indian cinema.
As was customary in that era, Prithviraj married at a young age. At age 18, Prithviraj married the 15-year-old Ramsarni Mehra, in a match that was arranged by their families. Their eldest child, Raj Kapoor, was born in December 1924. By the time Prithviraj moved to Bombay in 1928, the couple were the parents of three children. In 1930, Ramsarni joined Prithviraj in Bombay. The following year, while she was pregnant for the fourth time, the couple suffered the tragic loss of two of their three children in the space of one week.[14] One of their children, Devi, died of double pneumonia while the other child, Nandi, died of poisoning in a freak incident when he swallowed some rat-poison pills strewn in the garden.
The couple went on to have four children further. All three of their surviving sons, Raj Kapoor, Shammi Kapoor and Shashi Kapoor, were to become famous actors and film-makers in their own right. They also had one daughter, Urmila.
After his retirement, Prithviraj settled in Bombay, in a cottage near Juhu beach. The property was later to be converted into a small, experimental theatre, the Prithvi Theatre. Both Prithviraj and Ramsarni suffered from cancer in their declining years and died within a fortnight of each other. Prithviraj died on May 29, 1972 and was followed by his wife of 48 years on June 14th the same year.
He acted as an extra in his first film role, though he grew up to get a lead role for his third Cinema Girl in 1929 [8]. After featuring in nine silent films [9], Kapoor did a supporting role in India's first film talkie, Alam Ara (1931). His performance in Vidyapati (1937) was much appreciated. His best-known performance is perhaps as Alexander the Great in Sohrab Modi’s Sikander (1941). He also joined the only English theatrical company called 'J. Grant Anderson' which remained in India for a year [8]. Through all these years Prithviraj remained devoted to the theatre and performed on stage regularly. He developed a reputation as a fine actor on both stage and screen.
By 1944, Prithviraj had the wherewithal and standing to found his own theatre group, its premiere performance was, Kalidasa's "Shakuntala" in 1944. His eldest son, Raj Kapoor, had already struck out on his own; the films he produced had been successful and this was also an enabling factor. Prithviraj invested in and founded Prithvi Theatre, a travelling troupe which staged memorable productions across India. In over 16 years of existence, the theater staged some 2,662 shows. Prithviraj starred as the lead actor in every single show.[10]
Commemorative stamp celebrating 50 years of Prithvi Theatre, 1945-1995By the late 1950s, it was clear that the era of the travelling theatre was past; that art-form had been irreversibly supplanted by the cinema. No longer was it financially feasible for a troupe of up to 80 people (as Prithvi theatre was) to travel the country for four to six months at a time with their tons of stage props and equipment, living in hotels where possible and at campsites otherwise. The financial returns, through ticket sales and the rapidly diminishing largesse of patrons from the erstwhile princely class of India, was just not adequate to support such an effort. Many of the fine actors and technicians that Prithvi Theatres nurtured had found their way to the movies. Indeed, this was the case with all of Prithviraj's own sons. As Prithviraj progressed into his 50's, he gradually ceased theatre activities and accepted occasional offers from film-makers, including his own sons. Later, under his son, Shashi Kapoor, and his wife Jennifer Kendal, it merged with the Indian Shakespeare theatre company, "Shakespeareana", and the company got a permanent home, with the inauguration of the "Prithvi Theatre" in Mumbai November 5, 1978 [11].
In 1995, the 'Golden Jubilee year' of the founding of Prithvi Theatre, India Post, issued a special two Rupee, 'commemorative' postage stamp in New Delhi [12], it featured the logo of Prithvi Theatre 1945-1995, and an image its founder 'Prithviraj Kapoor', without the name, as just his face seemed enough, being the legend that he had become in his lifetime and beyond in Hindi theatre [13]. The first day cover, (stamped 15-1-95) showed a illustration of performance of travelling theatre in progress, on a stage that seem fit for a travelling theatre, as Prithvi theatre was for sixteen, till 1960 [11].
His notable filmography of this period includes Mughal E Azam (1960) where he gave his most memorable performance as the Mughal emperor Akbar, Harishchandra Taramati (1963) where he played the lead role and unforgettable performances as Porus in Sikandar-e-Azam (1965) and the stentorian grandfather in Kal Aaj Aur Kal (1971) where he appeared with his son and grandson Randhir Kapoor.
Kapoor starred in the legendary religious Punjabi film Nanak Naam Jahaz Hai (1969), a film so revered in Punjab that there were lines many kilometers long to purchase tickets.
He also starred in the Punjabi films Nanak Dukhiya Sub Sansar (1970) and Mele Mittran De (1972).
In 1954, he was awarded the Sangeet Natak Akademi Fellowship, and in 1969, the Padma Bhushan by the government of India. He remained Nominated Rajya Sabha Member for eight years [9].
After his death in 1972, he was posthumously awarded the Dadasaheb Phalke Award for the year 1971. He was the third recipient of that award, the highest accolade in Indian cinema.
As was customary in that era, Prithviraj married at a young age. At age 18, Prithviraj married the 15-year-old Ramsarni Mehra, in a match that was arranged by their families. Their eldest child, Raj Kapoor, was born in December 1924. By the time Prithviraj moved to Bombay in 1928, the couple were the parents of three children. In 1930, Ramsarni joined Prithviraj in Bombay. The following year, while she was pregnant for the fourth time, the couple suffered the tragic loss of two of their three children in the space of one week.[14] One of their children, Devi, died of double pneumonia while the other child, Nandi, died of poisoning in a freak incident when he swallowed some rat-poison pills strewn in the garden.
The couple went on to have four children further. All three of their surviving sons, Raj Kapoor, Shammi Kapoor and Shashi Kapoor, were to become famous actors and film-makers in their own right. They also had one daughter, Urmila.
After his retirement, Prithviraj settled in Bombay, in a cottage near Juhu beach. The property was later to be converted into a small, experimental theatre, the Prithvi Theatre. Both Prithviraj and Ramsarni suffered from cancer in their declining years and died within a fortnight of each other. Prithviraj died on May 29, 1972 and was followed by his wife of 48 years on June 14th the same year.
What Is It That Make Many Remember Raj Kapoor? Forum
Many today, remember the late Raj Kapoor. Some enjoy listening to his songs, most of which were sung by the late Mukesh and some just enjoyed his films and many enjoyed watching his films as to them, he was considered portraying reality and for many facts of life. To many, he was the ultimate showman in Bollywood.
But what is it that makes millions outside India remember the showman? In countries like Russia and China, where there are not many Indians, still listen to songs from raj Kapoor's movies such as "Awara" and "Shree 420." In deed Raj Kapoor did go to Russia a long time ago and also had a Russian Circus in his epic movie, "Mera Naam Joker" and also gad a Russian actress in it. But what about China? Nothing suggests that the late showman went to China and yet many elderly Chinese have said that they grew up listening to his songs. It is understandable if someone from another country such as USA, Britain, where the Indian population is high outside India, says this.
In deed Raj Kapoor made films that in many ways were applicable to the public where reality was concerned. He showed reality in many ways and also went on to explain facts of life in more than one ways. So what was it about this showman that has made many remember his films and songs?
But what is it that makes millions outside India remember the showman? In countries like Russia and China, where there are not many Indians, still listen to songs from raj Kapoor's movies such as "Awara" and "Shree 420." In deed Raj Kapoor did go to Russia a long time ago and also had a Russian Circus in his epic movie, "Mera Naam Joker" and also gad a Russian actress in it. But what about China? Nothing suggests that the late showman went to China and yet many elderly Chinese have said that they grew up listening to his songs. It is understandable if someone from another country such as USA, Britain, where the Indian population is high outside India, says this.
In deed Raj Kapoor made films that in many ways were applicable to the public where reality was concerned. He showed reality in many ways and also went on to explain facts of life in more than one ways. So what was it about this showman that has made many remember his films and songs?
Well here is What Israel know about Raj Kapoor.
In Israel we have alot Indian people that come from India. Same of them Stile Remember who his it Raj Kapoor and stile watch his movies and Listen to his songs.
And there also the Indian People that Say that Raj Kapoor movies and songs It so old Fashin And they go watch the New Bollywood Movies. In same way they say that Raj Kapoor do the same movie just that it woes on Black and White and the Song woes too old. (true words)
One day after I move to my new house with my family. me and my family meet our neighbor nice person with the name Mahir. Mahir he is not An Indian person. One my dad invit him to our party for the new house Mahir that bring same present and fell sad for at. Next day he come to us with a peresent he say that he don't bring Preset Yesterday and He woes fell Sorry about that. He sit with my father and talk they talk about many stuff. then next week dad ask me If I have the movie Sangam I say yes I did then he ask me if I Have Hebrew Subtitle with that I say not it only incloud with English subtitle.
One day My dad back home I Remember I Woes in my room. then I hear the opining of Raj Kapoor You know with the Barsaat posion what Raj add to all his movie in the begin. I Run down and see that My Dad buy Sangm. I say what? and it woes Incloud Hebrew Subtitle And Guess how check the movie if it ok... Me.
So I Make fast Checking for the movie and say to my dad That this ok my dad cell my brother tell him to bring the movie for Mahir.
Yes there many people in Israel that love so much the movie Sangam same of them Remember all the songs Today same of them will know only that Raj Kapoor make the movie Sangam and play there. But if you go to the old people and say Raj Kapoo they start singing to You "Ichak Dana" and "Awaara Hoon".
In Israel we have alot Indian people that come from India. Same of them Stile Remember who his it Raj Kapoor and stile watch his movies and Listen to his songs.
And there also the Indian People that Say that Raj Kapoor movies and songs It so old Fashin And they go watch the New Bollywood Movies. In same way they say that Raj Kapoor do the same movie just that it woes on Black and White and the Song woes too old. (true words)
One day after I move to my new house with my family. me and my family meet our neighbor nice person with the name Mahir. Mahir he is not An Indian person. One my dad invit him to our party for the new house Mahir that bring same present and fell sad for at. Next day he come to us with a peresent he say that he don't bring Preset Yesterday and He woes fell Sorry about that. He sit with my father and talk they talk about many stuff. then next week dad ask me If I have the movie Sangam I say yes I did then he ask me if I Have Hebrew Subtitle with that I say not it only incloud with English subtitle.
One day My dad back home I Remember I Woes in my room. then I hear the opining of Raj Kapoor You know with the Barsaat posion what Raj add to all his movie in the begin. I Run down and see that My Dad buy Sangm. I say what? and it woes Incloud Hebrew Subtitle And Guess how check the movie if it ok... Me.
So I Make fast Checking for the movie and say to my dad That this ok my dad cell my brother tell him to bring the movie for Mahir.
Yes there many people in Israel that love so much the movie Sangam same of them Remember all the songs Today same of them will know only that Raj Kapoor make the movie Sangam and play there. But if you go to the old people and say Raj Kapoo they start singing to You "Ichak Dana" and "Awaara Hoon".
Legendary actor-filmmaker Raj Kapoor was not only popular in Russia, but also had his share of fans in China, according to Tourism and Culture Minister Ambika Soni.
Speaking at the Traveller Diamond and Platinum Awards function, Soni said she was surprised that Indian films were watched in China, which she recently visited for a cultural event.
"A senior citizen asked me if any Indian film stars or songs would be seen in the festival. When I said no, he said he had grown up listening to the songs of Raj Kapoor's movie Awara," Soni recounted. "I was surprised to see the extent of the penetration of the Indian film industry," she added.
The Diamond Award at the event organised by Today's Traveller magazine was presented to well known producer-director Yash Chopra for his contribution to the Bollywood film industry. On the occasion, Soni released The Bollywood Connection, a book which showcases travel and tourism in the country by exploring different spheres of leisure and business.
"The Indian film industry has not only emerged as one of the biggest in the world but is also making quality films," Soni said.
Soni said actor Aamir Khan had been chosen to be the brand ambassador for the Atithi Devo Bhava campaign of the tourism ministry. Under the scheme, efforts are being made to increase social awareness about the needs of tourists, especially women travellers.
http://www.bollywood101.com/article.asp?ar...hina-too-Ambika
Speaking at the Traveller Diamond and Platinum Awards function, Soni said she was surprised that Indian films were watched in China, which she recently visited for a cultural event.
"A senior citizen asked me if any Indian film stars or songs would be seen in the festival. When I said no, he said he had grown up listening to the songs of Raj Kapoor's movie Awara," Soni recounted. "I was surprised to see the extent of the penetration of the Indian film industry," she added.
The Diamond Award at the event organised by Today's Traveller magazine was presented to well known producer-director Yash Chopra for his contribution to the Bollywood film industry. On the occasion, Soni released The Bollywood Connection, a book which showcases travel and tourism in the country by exploring different spheres of leisure and business.
"The Indian film industry has not only emerged as one of the biggest in the world but is also making quality films," Soni said.
Soni said actor Aamir Khan had been chosen to be the brand ambassador for the Atithi Devo Bhava campaign of the tourism ministry. Under the scheme, efforts are being made to increase social awareness about the needs of tourists, especially women travellers.
http://www.bollywood101.com/article.asp?ar...hina-too-Ambika
Yes! but what is it that makes one remember the late Raj Kapoor? Is it what he portrayed in his films, was it the man himself? What was it about his films that they made so appealing even today?
kkm:
simple
Human Values
Human Values
I entire;y agree with this. I had an Israeli friend at College who cam from Tel Aviv and one day as I playing some songs from "Sangam".He came and sat down and listened to them with me. Then he cried and when I asked him why, he said that he was "homesick" as he heard these songs at home so many times. The thing was that he could understand hindi and speak some words as well What he told me afterwards is that he could understand the message that was being passed on to the audience.
yes you right many people in Israel know the songs of Sangam. One time The israel Cinema make movies that talk about two mans that open a cinema house there they woes shows 24 The movie sangam. the true his that the story of the movie happend to them too. Just that the other man Wily Die in the army.
They also ask Premition for Rk Company to show Same parts of the movie. This woes amazing I can see Rk Icon in the end of the movie under the Thanks Line.
They also ask Premition for Rk Company to show Same parts of the movie. This woes amazing I can see Rk Icon in the end of the movie under the Thanks Line.
| "simple Human Values" |
I wouldn't disagree with you at all.
If you watch his 1973 hit "Bobby, " which starred Rishi Kapoor and Dimple and in particular towards the end, when the two are about to jump from very high into a river gorge and his father, who had objected to the son marrying someone who he didn't approve of and also she was not a Hindu, begs the young couple to move away from the edge, the son just laughs off this and says that even if they were to move away, then the father wouldn't allow them to get married and that they would rather die together. The father keeps on trying until the son and the girlfriend ju,p off. The dialogues said it all - how the parents today have to accept no matter in which community or caste the son or daughter marries in, it has to be accepted. This film was considered to be way ahead of its time; but if you look into it a bit deeper now, you will notice that this sort of thing is happening now - intercaste marriages.
After "Mera Naam Joker," Raj Kapoor was almost without any money but he more than recovered it from "Bobby," in which his friend actor Pran and brother in law, Premnath are said to have worked for free.
I every Raj Kapoor movie, there was some sort of a message, I beilieve for the audience, which I think that is missing in a lot of the movies today.
To the Full conversation
Aag Film, conversation from the Forum
kkm:
ok first some off screen stuff the begining
The film was ready to go on the floors and Raj was determined to get himself the best studio in town. Famous Studio in Mumbai’s central suburb, Mahalaxmi, had been highly recommended to him. He’d heard that Jaddan Bai was at Famous Studio where her son Akhtar Hussain was shooting Romeo and Juliet, the first production of Nargis Art Concern. Raj rushed to the studio to meet bibiji with the intention of quizzing her about the facilities that Famous offered. But he missed her by minutes. The unit, he was told, had packed up for the day and gone home.
Raj impulsively decided he’d drive on to Marine Drive where Jaddan Bai had her apartment. A quarter of an hour later he was outside her door ringing the bell. Jaddan Bai’s eighteen-year-old daughter Nargis was in the kitchen frying bhajias. Hearing the doorbell peal she rushed to open the door and was so startled by the sight of a blue-eyed, rosy-cheeked stranger shuffling outside her door, that she put a hand nervously up to brush away her untidy locks and smeared her forehead with the besan dough on her fingers. Raj was enchanted by the image of this lovely girl with besan on her forehead and hair. The crimson blush staining her cheeks as she realized what had happened, enhanced the pretty picture. Stammering with embarrassment Nargis asked him shyly who he was. Raj introduced himself as Prithviraj Kapoor’s son. Nargis recalled seeing him in the play, Deewar, at Prithvi Theatre and invited him in. But when Raj enquired about bibiji and learnt that Nargis was at home alone he refused to enter the apartment and hurried away.
He went straight to the home of his scriptwriter, Inder Raj Anand. “I must have that girl in my film. Write her into the screenplay of Aag,” he commanded. And Nargis walked into Aag in the ninth reel.
The film was ready to go on the floors and Raj was determined to get himself the best studio in town. Famous Studio in Mumbai’s central suburb, Mahalaxmi, had been highly recommended to him. He’d heard that Jaddan Bai was at Famous Studio where her son Akhtar Hussain was shooting Romeo and Juliet, the first production of Nargis Art Concern. Raj rushed to the studio to meet bibiji with the intention of quizzing her about the facilities that Famous offered. But he missed her by minutes. The unit, he was told, had packed up for the day and gone home.
Raj impulsively decided he’d drive on to Marine Drive where Jaddan Bai had her apartment. A quarter of an hour later he was outside her door ringing the bell. Jaddan Bai’s eighteen-year-old daughter Nargis was in the kitchen frying bhajias. Hearing the doorbell peal she rushed to open the door and was so startled by the sight of a blue-eyed, rosy-cheeked stranger shuffling outside her door, that she put a hand nervously up to brush away her untidy locks and smeared her forehead with the besan dough on her fingers. Raj was enchanted by the image of this lovely girl with besan on her forehead and hair. The crimson blush staining her cheeks as she realized what had happened, enhanced the pretty picture. Stammering with embarrassment Nargis asked him shyly who he was. Raj introduced himself as Prithviraj Kapoor’s son. Nargis recalled seeing him in the play, Deewar, at Prithvi Theatre and invited him in. But when Raj enquired about bibiji and learnt that Nargis was at home alone he refused to enter the apartment and hurried away.
He went straight to the home of his scriptwriter, Inder Raj Anand. “I must have that girl in my film. Write her into the screenplay of Aag,” he commanded. And Nargis walked into Aag in the ninth reel.
after reading this
now notice in the opening titles that nargis name comes first
now notice in the opening titles that nargis name comes first
Thanks again for the good info kkm.
Did you know that Raj make two shoots in this movie?
It look like Raj kapoor do shout of the first song on this movie. You can see that before the song Raj Woes with out his Masestach and then on the song he have at.
Did you know that Raj make two shoots in this movie?
It look like Raj kapoor do shout of the first song on this movie. You can see that before the song Raj Woes with out his Masestach and then on the song he have at.
kkm:
I think the mustache scene was shot after the completion of the film its more like a portrait for example when we sometimes pose infront of a still camera for a nice photo.
in the above article from net it says that nargis kicks in the movie on 9th reel the total number of reels is 13 so nargis appearance is only 30% in this movie
and what an apperance
and what an apperance
While watching Aag I got to see some similarities with Mera Naam Joker, as a matter of fact two of his most personal films.
The first that came to mind is about the "phases" into witch both movies are devided, ok Aag doesn't have the three chapter division but it is build in three times of the life of the main character, the first being his days as a child, then his youth and highschool days, the last one is his adult days with him finding his way in life and his work as a theater director.
A second thing is about visual situations that are found in the two films... the first image is the one while Keval is alone on stage and expressing his feeling in a form of monologue in front of void seets, so similar to the scene where Raju the joker is singing one of the songs into the circus tent and yet again in front of a void place...
A third one is about a clown that in Aag Keval, as a child sees while a circus is coming to his hometown, the clown is just announcing the coming of the shows with the circus...same image is in MNJ only this time the clown presenting the show at the gathering crowd is Raju himself.
Even though I did not analize in full the meaning if any, certainly to me it seems too specific to be only random coincidences.
The first that came to mind is about the "phases" into witch both movies are devided, ok Aag doesn't have the three chapter division but it is build in three times of the life of the main character, the first being his days as a child, then his youth and highschool days, the last one is his adult days with him finding his way in life and his work as a theater director.
A second thing is about visual situations that are found in the two films... the first image is the one while Keval is alone on stage and expressing his feeling in a form of monologue in front of void seets, so similar to the scene where Raju the joker is singing one of the songs into the circus tent and yet again in front of a void place...
A third one is about a clown that in Aag Keval, as a child sees while a circus is coming to his hometown, the clown is just announcing the coming of the shows with the circus...same image is in MNJ only this time the clown presenting the show at the gathering crowd is Raju himself.
Even though I did not analize in full the meaning if any, certainly to me it seems too specific to be only random coincidences.
Rita I like you Article about the movie and You right The Movie has have three time.
Kkm now that I start play with my video camera I start to know what run in Raj Kapoor Mind when He think to make the second shoot. When you shoot same part You know that you don't always get what you won't. I woes won't to Shoot the Airplain that Woes drive over my sister Work place but then He Over on our Car so close and I missed him and turn the Camera fast to the Second side.
When you work with Camera You have to Be in the Right place in the right time and If you not get what you won't You mast try again and again.
This what I LEARN TODAY.
http://s6.zetaboards.com/RajKapoorFanclub/topic/8526234/1/
Kkm now that I start play with my video camera I start to know what run in Raj Kapoor Mind when He think to make the second shoot. When you shoot same part You know that you don't always get what you won't. I woes won't to Shoot the Airplain that Woes drive over my sister Work place but then He Over on our Car so close and I missed him and turn the Camera fast to the Second side.
When you work with Camera You have to Be in the Right place in the right time and If you not get what you won't You mast try again and again.
This what I LEARN TODAY.
http://s6.zetaboards.com/RajKapoorFanclub/topic/8526234/1/
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