Dil Ki Rani

Dil Ki Rani


Dil Ki Rani is one of the first movies that Raj Kapoor did. The movie woes write by Y.N. Joshi and Directed by Mohan Sinha. In this movie Raj Kapoor Play next to Madhubala it woes the first movie that they work together and it also the first film of Raj Kapoor alone without his Father Prithviraj Kapoor on the cast.


In this movie Raj Kapoor play a singer and a poet name Madhav. Madhav is a big singer and poet that all the country likes his songs. All madhav songs talk about woman that steal his heart no one know who woes this woman that steal the poet heart.
A woman name Raj Kumari Singh (Madhubala) she one of the biggest fun of Madhav she wont to meet the poet. Her father Thakur Sangram Singh (Badri Prasad) he a paper editor his paper business not going so well He decide to find same subject that make many people to read his paper. One they his daughter give an Idea to interview the poet Madhav for his paper.

Raj Kumari Meet the poet and Madhav name her as his heart staler and the both get in love. But Raj kumari father don’t like poet he say that they flirt with many woman’s. When he get know that Raj Kumari love madhav he woes try to do anything that they not meet. He and his helper Munshiji (Munshi Khanjar) try to do anything to ruing they love story.



First Plan:
After Thakur Sangram Singh and his helper Munshiji find out that Madhav have problem with his tooth munshiji find an Idea what to do. Raj Kumari won’t to make a party and invite Madhav to the party. Her father allow her but not really. He and Munshiji start is plan he go to Madhav house a send him a sweetened and tell him that Raj Kumari Send them to him. Madhav eat them even he know he have problem with his tooth. His Tooth did get hurt but it not stops him to come to the party. And the plan woes not success.


Second Plan:
Thakur Sangram Singh Like madhav friend Banke because the same to each other. He won’t him to marry to Raj Kumari before Madhav marry to her. But Banke don’t believe in love. So what will they do?
Thakur Sangram Singh ask from his daughter to write a love latter and tell her that he going to post at in the paper. Raj kumari write the latter and give that to her father. Her father add Banke name to the latter and send it to him.
Banke turn to be fools in love and tell madhav about at. When madhav hear that banke also love Raj Kumari He deiced to make raj kumari hate him for his best friend.
Is it work? She stop hate him?
No!


Banke decide them the true that he tell madhav that he also in love with raj kumari for testing they love.
And he makes them marry without that her father know. When her father know about that he get angry. But banke make him agree to the wedding after he tell him that he never can do such of thing like this to his best friend.


My Opinion:


The Movie is so short then other movies. The movie includes many great stars but the movie not going so well. I will enjoy seeing Madhubala and Raj Kapoor and both of them on young age Raj Kapoor woes 32 with his long hair (that not wily look good on him) and madhu only 14. This one of they first movies.
Like I read before in many article and in many books, Many people that know Raj Kapoor even his family say that Raj woes always like to sing. I will enjoy hear him singing in this movie. I wily think that he woes great singer. I even hear that he woes sing in his other young film but the song woes never add to the film LP. But stile it woes so fun to hear him singing. Too bad He has only one song but if you see the movie you find am singing there many times.

I enjoy this movie even it not so well. I use to watch only when I fell bad and wont to laugh.
In the End it a wily Sweet and Funny movie

6/10

to watch the movie online:
Click here

Awaara book

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.

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

Prithviraj Kapoor Raj Kapoor Father

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.

http://z6.invisionfree.com/RKForum/index.php?showtopic=597

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.

after reading this
now notice in the opening titles that nargis name comes first

RajKapoorFan:

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.

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

RKfan:

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.

RajKapoorFan:

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/

Raj Kapoor on his life and times

Raj Kapoor on his life and times, Interview Of Raj Kapoor By Rohini Iyer


He would tell his life story passionately. Like he made films. From Awara to Ram Teri Ganga Maili, he was obsessed with all his films even though his profession had taken much more than given in return. It took me a long time to convince him to talk about himself. It took me even longer to tell him that it was for an interview for public reading. Finally, after much cajoling from me and my good friend Randhir Kapoor, Raj Kapoor, relented.

It was over innumerous cups of tea, and endless meetings at his cottage that I finally got him to relive his past. And the glory of it!

He sat cross-legged on the divan, with a far away look in his eyes. With the shades drawn and the décor tastefully subdue in the pearly light, time in the RK cottage seemed to have suspended. Even the sun tiptoed in with caution as Raj Kapoor spoke:

My parents:
We hail from a small town called Samandru. My grandfather was a judge and my grandmother wished that my father Prithviraj Kapoor too would study law and become a judge like her husband. But my father had other plans. A graduate, he took keen interest in literature and Shakespeare. He was very fond of Ramleela and that's how he got interested in theatre.

Once, he was chosen to play Ram in a small Ramleela company, but his parents were against it. Those days acting was not considered a respectable profession. Only prostitutes and other such lower classes were associated with it. My grandparents felt very humiliated that their son was a part of Ramleela. But my father had made up his mind and one fine day, he gave up his studies, left home and came to Bombay with my mother and me. We lived in a one-room tenement on Reay Road.

From here he started his struggle in films. And that was the beginning of the legend that he was to become. Papaji was like a universe. I've never seen a more complete man. We, Shammi, Shashi and myself are nothing compared to him. In a way he was responsible for the star system. He was the first actual star on Hindi screen.

His spirit was always the same, undiminished till the last day. Papaji died of throat cancer. I took him to Sloane Kettering and we tried everything to save him. The doctors gave him three months to live. He wanted to come back and die in his own house. When the end came, Shashi was in London and its incredible how Papaji remained alive till his son's return. As soon he arrived Papaji took his three son's hands in his and said: 'Never shall you three brothers part!' and then passed away.

My brothers:
I think we brothers realised his loss more and more as we grew older. We actually grew closer after his death. Earlier we had drifted apart in search of our goals... our success. But strangely with age our memories of our childhood sharpened. I used to work on stage as a child artist. Shammi and Shashi also joined me. Shashi loved the theatre like Papaji, while I loved cinema. Shammi struck a happy medium. Nobody knows this, but my parents had two more children, Virendra (Bindi) and Davendra. Both died at a very young age. Virendra by accidentally swallowing rat poison, and Davendra of pneumonia, at the age of three. Recently when Shashi and I were jointly admitted in the Breach Candy Hospital, I felt very protective towards him. A woman always has her man, but the man unconsciously leans on his roots, his heritage. He feels like an orphan without his parents.

My marriage, my family:
Mine was the only arranged marriage among us brothers. Actually Krishna is my bua, my father's second cousin. One fine day my father said, "You are getting married," and I said, "Yes father". That was in 1946 when I was 22 years old.

Nine months later Daboo was born. When he was 15 days old my father introduced him to the audiences at the Opera House where he was performing a play. He put paint on his face and applied a tilak on his forehead and announced his birth. That was the kind of pride he had in his work. He was far removed from today's actors, and this includes my own sons, who make their living out of films and hypocritically say: "Oh, we don't like filmi people!"

My studio:
I've struggled a lot for what I have today. Those days most of the shootings took place indoors, there were very few outdoors. Once when I was shooting for Awara, I had completed 13 days of shooting when on the 14th day I was asked to dismantle my sets because the studio had been hired to someone else. I was very upset and that day I decided to make my own studio. I put together all the money I had and laid the foundation of RK Studio. During our days money was very hard to come by. It took almost ten years to earn my first lakh!

When I was picturising the song Ghar aaya mera pardesi on 13 different sets my wife Krishna saw it and her reaction was: "We don't have a house to live in and you are spending all your money on your studio!" I understood her concerns and explained to her: "Jo pehle set banate hain, unke ghar baad main bante hain. Jo pehle ghar banate hain unke set kabhi nahin bante."

Initially I had thought that only RK films would be shot in my studio but God had something else in mind for me. Jab main fakir ban gaya, I had to let others shoot in my studio. No, Nargis never helped me financially. I never took money from her to build RK but RK ke har set par Nargis ki mehnat aur lagan chuppi hui hai. The RK emblem is a reflection of her contribution to the studio. Without her the emblem cannot fully represent RK. Later, I bought a house in Deonar and shifted there with my children. My father refused to come with me, he preferred to stay back in our old house in Matunga, nor did he ask for anything from me. He never asked me how much I earned. I've continued this tradition.

Disillusionment:
One has to change to adapt to the new breed. But sometimes I don't understand the new world. I remember, some years ago, an actress came to me with her father for a role in Kal Aaj Aur Kal. While negotiating the price the father said: "Look I'm not interested in your RK banner. I'm only interested in how much you pay my daughter." This is what the system has done to today's actors. Maybe they are right, but there is a sense of loss in all this.

A girl like Padmini Kolhapure, who is tremendously talented, is allowing herself to be a victim of the system by her choice of films. Why, for Mr Rishi Kapoor's dates I've got to go to his secretary and plead with him! I laugh when people call me a legend or an institution. V Shantaram or Mehboob Khan could be called that. Not me. I only feel old and tired. And I see RK as a flickering flame. It is up to Daboo, Chintu and Chimpu to keep it burning. It is now up to them.

http://z6.invisionfree.com/RKForum/index.php?showtopic=21

Melody-master Raj Kapoor

Melody-master Raj Kapoor
By I.M. Soni

RAJ Kapoor was a melody-master par excellence. Lata Mangeshkar says, “One thing I have noticed through the years — that, no matter who be the music director of an RK film, in the end the music is given by Raj Kapoor himself.”

He was unlike others who engage a music director and the lyrics are set to tunes. He “composed” the tunes himself and stored them to be used later in his films as when the situation demanded.

O basanti pavan pagal... was shaped into a beautiful song in “Jis Desh Mein Ganga Behti Hai.” But it was first used in a snatch as background music in “Awaara” when Prithviraj Kapoor visits his son in jail and calls him “beta” for the first time.

Sun sahiba sun...was approved by Raj Kapoor for RK’s “Ajanta” as far back as 1952. The film did not go on the floor at all.

Raj had visualised the song on Nargis, but it was finally picturised on Mandakini decades later.

When Raj Kapoor launched on his career as a film-maker, he had wanted Shanker-Jaikishan for “Aag”, but Ram Ganguly was thrust on him by Prithviraj.

“Aag” launched Mukesh as Raj Kapoor’s ghost voice with Zinda hoon.... Mukesh become Raj’s “soul mate” in the latter’s own words.

Shanker-Jaikishan who evolved a fresh style of music for RK camp were guided and inspired by Raj himself. It was Raj Kapoor who fashioned Lata’s singing technique for the duo, according to Kishore Bhiwani.

The dream sequence in “Awaara” was shot for 23 hours at one stretch. The takes were repeated till Lata’s voice became limpid, a silver stream of sweet melody.

Raj Kapoor was always present at the time of song rendering. Chithiye dard firaaq waaliye... (“Heena”) had been composed and ready for Lata. Raj Kapoor came into the recording room. He changed the tune and the orchestration of Ravindra Jain. Chithiye... thus turned into a tune composed impromptu Raj Kapoor.

Laxmikant-Pyarelal who composed music for “Bobby” said they walked out as the music for the film was given by Raj himself. They had only to arrange it.

Raj Kapoor’s heart was not really in the “Mera Naam Joker” songs sans Lata for reason which may not be stated here. The songs did not come from Raj Kapoor’s heart. The voice was missing. The vision (Nargis)had already vanished.

Lata says in the book named after her: “Very few film makers in our industry have such a grounding in music. He could play the piano, the tabla and the flute... The opening lines of the songs in his films were written by him... and even some of the tunes were composed by him, not entire songs, but the opening lines.”

The music master is gone. Now his ever-haunting legacy of songs will endure like the RK emblem — the lover with a violin in his hand

http://z6.invisionfree.com/RKForum/index.php?showtopic=572