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Kal khel mein hum ho na ho, gardish mein tare rahenge sada. Bhuloge tum, bhulenge woh, par hum tumhare rahenge sada.

showman.jpg

Raj Kapoor at the Gene Siskel Film Cente

Complete RK

Photo gallery1

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Date of Birth:14 December 1924 (1924-1988)
Education:His basic education was spread over different places as Papaji (Prithviraj) was then on the move. He studied in Peshawar, then did part of his schooling in Calcutta and eventually failed to get a form to appear for the Matric exam in Bombay's Antonia D'souza High School. His nemisis at studies was the cumpolsory second language, Latin. He achieved the unprecedented distinction of winning the All India Elocution Competion for three successive years but failed in Latin and that was the end of his academic career. When Papaji asked him as to why he wished to leave school and not try again he replied, "Sir, If I graduate what happens? If you want to become a lawyer you go to a law college; if you want to be a doctor you go to a medical school; and if you want to be a film-maker, where do you go?" Papaji had no answer. It was ordained.
Family History:
Career History:Rajji, as he was always addressed, was the eldest son of Prithviraj and Rama Kapoor. He was born on 14 December 1924 in Peshawar, an army cantonment town in the North West Frontier Province of British India, now in Pakistan.
First Professional Role:

Raj Kapoor is many things to many people: producer, director, actor, editor, musician, story- teller, a man of many moods, an acknowledged patriarch of India's film making industry. There will be endless debates about his exact contribution to the art of cinema, but few can deny that he was the greatest entertainer known to Indian films - the great showman.

Ranbir Raj Kapoor was the son of Prithviraj Kapoor the head of India's greatest and largest film family. He started work as general factotum for Bombay Talkies before moving on to assist Kidar Sharma. Here he was made to sweep floors and be the clapper boy but Sharma noticed the young man's determination to make it. Sharma gave him his break a lead actor in 1947 with Neel Kamal opposite Madhubala.

The following year at the age of 23, Raj Kapoor made his directorial debut with Aag, the first film under the RK banner. Aag was an interesting film in that it challenged traditionally established conventions of sympathetic characters and straightforward storytelling. It was also the first of his many films with Nargis, the two of them going on to become the leading pair of Hindi Films. Aag was also the first of many of Raj's films to explore duality - Aag looked at Physical beauty v/s Inner beauty (a theme revisited in Satyam Shivam Sundaram (1978)), Barsaat (1949) looked at Love v/s Lust, Mera Naam Joker (1970) at Public life v/s Private life etc.

Mehboob's Andaaz (1949) made Raj a top star and in the same year it was the passionate romance Barsaat which really reckoned Raj Kapoor as a director of much merit.

Barsaat, a runaway hit, also brought to the limelight new music directors Shankar - Jaikishen, lyricists Shailendra and Hasrat Jaipuri and the actress Nimmi. The raw passion between Raj Kapoor and Nargis in Barsaat shot with a beautiful almost poetic use of light and shade drove audiences wild. The music of the film was hummed across the nation and along with Andaaz and Mahal that year, the songs were instrumental in Lata Mangeshkar's climb to the top as a playback singer. In fact Raj Kapoor's musical sense and feel for rhythm and involvement in music sittings have ensured the highest quality of music in his films.

The fifties saw Raj Kapoor's greatest work as a Producer-Director besides establishing himself as one of India's biggest ever film stars along with Dev Anand and Dilip Kumar - the Trimurthi!

Awaara (1951), the tale of a vagabond was perhaps his greatest triumph and was released in Russia as Bradyaga to unprecedented success. It's dream sequence with huge statues set amongst the clouds to the strains of Nargis dancing to Ghar Aaya Mera Pardesi stands out even today!

With Awaara, Raj Kapoor created the Chaplinisque tramp, an allegory for the innocent state of mind of the post Independent Indian. This image was used once again in Shree 420 (1955) tracing the corruption of an innocent soul who comes to the city to make his living.In fact. many of Raj's other films look at the naïve simple hero used by a cruel and corrupt society like Anadi (1959).

After his break up with Nargis (their last film together was Chori Chori (1956) though she did do a cameo in Jaagte Raho (1956)), while Raj Kapoor continued to explore social issues - Jis Desh Mein Ganga Behti Hai (1960) or complex human relationships - Sangam (1964) there is a marked difference in his treatment of the heroine who became a sex object with a high accent on her physical attributes!

Reverting back to the Chaplinisque image, Kapoor made his magnum opus Mera Naam Joker (1970) about a clown who laughs on the outside and cries within and though absolutely brilliant in parts (particularly the first chapter of the adolescent hero discovering love and sex) the film, a highly self indulgent exercise flopped miserably at the box office shattering him.

Raj bounced back with Bobby(1973) a teenage romance of young lovers fighting parental opposition that is aped by Hindi cinema till today.

Satyam Shivam Sundaram (1978) examining Physical Beauty v/s Inner Beauty was a misfire but Prem Rog (1982) based on widow re-marriage and his swan song Ram Teri Ganga Maili (1985) about innocence being sullied were critical and commercial successes. In the latter the female protagonist is a metaphor for India - once pure but now sullied by dirt and corruption.

At the time of his death Raj Kapoor was making Heena, a love story breaking the barriers of the Indo-Pak border, which was subsequently completed by his eldest son Randhir. His sons, all primarily actors, have tried to keep the RK Banner alive albeit with mixed results. Which just goes on to prove - Raj Kapoor was one and one of a kind.

Raj Kapoor was awarded the Dadasaheb Phalke Award for his contribution to Indian Cinema in 1988.
Astrological Sign: Capricorn

Children of Raj Kapoor

 

When Randhir was born

Raj Kapoor's eldest son Randhir was born on 15th February 1947. The same year he started shooting his first film, "Aag". With the birth of his first child also arrived his first car. Daughter Ritu was born on 30th October 1948. R.K. Films acquired its first office in May 1948 and in October the same year Raj Kapoor released his second film, "Barsaat". It was then that he acquired his second car, that sleek convertible Oldsmobile which was a flamboyant part of Raj Kapoor in the fifties. The film "Andaz", with Raj Kapoor as the hero, was released this year and earned him a lot of popularity.

 

Ritu

Raj Kapoor's second offspring Married and running  Escorts India

Bachan Rk Wedding (Nikhil Nanda To Shweta Bachan)

 

When Rishi was born

Rishi, born on 4th September 1952, the year that Raj Kapoor first went to the USA to attend the Indian International Film Festival.(picture no 13)

With his daughter Rima, born on 28th September 1956. That was a phase of his life when financial crisis led him to work in films other than his own, and with other heroines - Nutan, Mala Sinha, Saira Banu, Waheeda Rehman

 Rima 

Second daughter of Raj and Krishna Kapoor. She is married to Manoj, only son of Shashi and Koshu Jain and is mother to the two wonderful little devils this side of the Suez Canal.

Raj with his youngest son Rajiv

 

Rajiv, born on 25th August 1962 the year he planned to make "Sangam".

 

 

Raj Kapoors bungalow will house tech centre
My father had a dream. He wanted Rajbaugh to be used for educational and social purposes, says Rajeev Kapoor, Raj Kapoors youngest sons. Rajbaugh, the 100-acre Kapoor estate in Loni village, Pune was sold to the Maharashtra Institute of Technology recently.

The place evokes nostalgic memories of the showman who came there to retreat from the daily grind in Mumbai. Raj saab used to come here three or four times a week. He used to sleep on a gadda (mattress) spread on the wooden floor. He used to write his stories here, recalls Soha Sharma, who worked there as a cook.

Vishwanath Karad, from the institute, who looked after the sale, says, the Kapoors could have sold the property to any big developer. But they decided to give the property to benefit a larger section of society. The bungalow will be turned into a museum in memory of Raj Kapoor.

Karad adds, We will have a gurukul where yoga, ancient Indian culture and Sanskrit will be part of the curriculum. We will also have a college for technical education. The details are still being finalized. The Raj Kapoor memory will linger on despite the sell-out, promises Rajeev Kapoor.

 

 

What others have to say about Raj Kapoor

Anil Kapoor :  also discloses that despite some physical similarities, he is not related by blood to the Raj Kapoor dynasty, although the two families have always been very close. He says, "You could say I am as close to them as any close relative can be.

"My father and grandfather are from Peshawar and they used to stay in the same lane as Raj Kapoor's family. That is how they came together. My grandfather, father and Raj Kapoor all came to India together from Pakistan. "I always look up to them and don't think I will be able to reach upto them, ever."

 

Raj kapoor was from kandahar and on partition moved over. There was a film of his life and he always referred to himself as punjabi.

for example,he was saying things like--in punjab,we have an old saying-----.or us punjabis-----.
i think that its mainly rishi who refers to pathans.maybe they identify,with the region--living there so long but they still seemed to call themselves punjabis.they are a mixed hindu/sikh family too.

 

With Kapoor's death, the R.K. banner is in the hands of his eldest son Randhir Kapoor. The film Henna (1991), shot in India and Pakistan, was an attempt at encouraging friendlier ties between the two countries and pointing out the futility of hatred. He shot two songs for Henna before his death on June 2, 1988

rajk1.gif

 
RANBIRAJ KAPOOR 1924 - 1988)
Raj born 14th dec 1924 died 2nd june 1988
www.rajkapoorindia.com
"A lot of work of every artist, of anyone in any creative profession, is somewhat autobiographical ...... Something of his experience is always attached to it, it remains there and one brings it out in one form or another. That is how it is."
 
Rajji, as he was always addressed, was the eldest son of Prithviraj and Rama Kapoor. He was born on 14 December 1924 in Peshawar, an army cantonment town in the North West Frontier Province of British India, now in Pakistan.
His basic education was spread over different places as Papaji (Prithviraj) was then on the move. He studied in Peshawar, then did part of his schooling in Calcutta and eventually failed to get a form to appear for the Matric exam in Bombay's Antonia D'souza High School. His nemisis at studies was the cumpolsory second language, Latin. He achieved the unprecedented distinction of winning the All India Elocution Competion for three successive years but failed in Latin and that was the end of his academic career. When Papaji asked him as to why he wished to leave school and not try again he replied, "Sir, If I graduate what happens? If you want to become a lawyer you go to a law college; if you want to be a doctor you go to a medical school; and if you want to be a film-maker, where do you go?" Papaji had no answer. It was ordained.
The next 5 years he devoted to learning the different arts of film making in all departments as an assistant. In 1944 he joined Papaji's Prithvi Theatres and was responsible for all that happened backstage, right from the lighting of the sets and sound effects and music to art direction in their first stage play 'Shakuntala". In the next play "Deewar" he acted in a small role of the servant boy
He did his first film as a hero in Kedar Sharma's "Neel Kamal". There followed a number of small films like "Jail Yatra', "Amar Prem", "Dil Ki Rani", "Chittor Vijay" but these were of little consequence, as his heart and mind were set on a different path he had chosen for himself.
His own production, RK Films took shape in 1947 with his first directorial venture, "Aag". Though not a great success it established his obsession as an intense film-maker. A year later his second film "Barsaat", also produced, directed and acted in by him, made headlines as a box office super hit and became the springboard of an outstanding career.
After Barsaat he made the most universally accepted socio-musical and romantic film with a very topical and strong message to world cinema about film standards in India, comprising the first ever father son combination, "Awara".
RAJ KAPOOR: The passion for cinema runs in the Kapoor genes. The eldest son of actor Prithviraj Kapoor grew up under the arc lights. Raj Kapoors blue eyes were always dreamy and full of ambition. Some dreams clicked; some didnt just like his films. Come to think of it, Raj Kapoors films werent great vis-à-vis the theme or the depth. But a mix of drama, dreams and most importantly, sensuousness flowed in all Raj Kapoors leading ladies Nargis, Vyjayantimala Bali, Padmini, Zeenat Aman, Dimple Kapadia
Actor, director, producer and entrepreneur. He was all that. But most importantly, he was The Big Showman. Raj Kapoors legacy lives on through his kith and kin in the Hindi film industry and of course, through RK Films.
AWARA: The film that gave Raj Kapoor, and to a certain extent Indian cinema, international recognition. The song Awara hoon, resounded in every nook and corner of not only India, but also the then USSR and European countries. This was the film in which the image of the tramp, the Chaplinesque figure, emerged. Raj Kapoor went on to immortalise it in Shree 420.
SANGAM: Raj Kapoors first colour film reflected the actor-filmmakers showmanship at its best. Thespian Dilip Kumar was the first choice for this triangular love story starring Raj Kapoor and Vyjayantimala, but the role was ultimately bagged by Rajendra Kumar. The film was shot in Rome, Paris, London et al. The director took his stars to various cities to attend the premiere shows. But sadly was Raj Kapoor, the returns were not as fabulous as the pre-release hype. Yet, Sangam remains one of Raj Kapoors most-remembered films.
JIS DESH MEIN GANGA BEHTI HAI: The Raj Kapoor-Padmini starrer, with its diluted Gandhian philosophy and inspired by Vinoba Bhave was a great hit. The story is about a naive do-gooders love for a dacoit girl and how he succeeds in reforming the gang she belongs to. Incidentally, son Rishi Kapoor took the first few words of the most popular song of that movie, Aa ab laut chalen for the title of the film he made recently.
MERA NAAM JOKER: This 1970 film was the swansong of Raj Kapoor, the actor. The audiences did not accept Raj Kapoors clownish antiqcs, notwithstanding the melodrama and the three beautiful women in the film. The songs Jeena yahan, marna yahan and Jaane kahan gaye wo din were the only redeeming elements in an otherwise mediocre movie. After this film, Raj Kapoor restricted himself to direction and gave sensuous hits like Bobby, Satyam Shivam Sundaram and Ram Teri Ganga Maili etc.
Raj Kapoor's first film role was at the age of seven in Inquilab,
produced in 1935 by Debaki Bose.
Memorable Films

As an Actor
Andaaz (1949)
Anhonee (1952)
Chori Chori (1956)

Parvarish (1958)
Phir Subah Hogi (1958)
Anadi (1959)
Chhalia (1960)
Teesri Kasam (1966)
As an Actor-Producer
Jaagte Raho (1956)
Jis Desh Main Ganga Behti Hai (1960)
As an Actor-Producer-Director
Aag (1948)
Barsaat (1949)
Awaara (1951)

Shree 420 (1955)
Sangam (1964)
Mera Naam Joker (1970)
As Producer-Director
Bobby (1973)
Prem Rog (1982)
Ram Teri Ganga Maili (1985)
As Producer
Boot Polish (1954)
Ab Dilli Door Nahin (1957)
 
 
His Story
It was then that the whole thing just entered me, and I could not do anything except belong to the world of show business, theatre and cinema.
I was very fair, with blue eyes. My fathers actresses used to cuddle me whenever I visited the stage. I used to feel very excited as they fondled me, but even as early as that I had learnt the art of concealing emotions. I was extremely precocious. And I was a worshipper of nudity. I think it all started because of my intimacy with my mother who was young, beautiful, and had the sharp features of a Pathan woman. We often bathed together, and seeing her in the nude must have left a deep erotic impression on my mind. In my films, bathing scenes recur often. There is an excellent Urdu phrase, Muqaddas uriyan which means sacred nudity. But women in general occupy most of my childhood memories, and have seeped into my films like ghosts that refused to be buried.
Raj kapoor touching father Prithviraj Kapoor's feet.
Raj Kapoor would touch his mothers and fathers feet reverently. That is one thing he never missed anywhere, any time. He would often remember his father as having said, Today people remark that Raj Kapoor is the son of Prithviraj Kapoor, but a time will come when people will say, there goes Prithviraj Kapoor, the father of Raj Kapoor. That will be the biggest day in my life.
His sister
Umi, the only sister of the Kapoors, following the family tradition, married and lived a life away from show business. She fondly recalls her brothers unique combination of playfulness and arrogance, followed by instant humility. Many years after our parents died, we would sit below their large framed photographs, hung above his low mattress, and talk. He never slept on a bed ever! His face would sadden and his glorious blue eyes cloud with memories which nobody could penetrate, and then he would heave a sigh, shake his head at her and say, 'But I have yet much more to learn and more to create.I still have so much work to do'. Just as I wondered at his sincere humility, he would suddenly yell, 'But without me where would you all be! Ahm brahm aasmi! [in Sanskrit, I am what I am].
A letter written by Raj Kapoor to his wife, before leaving for the North Eastern Frontier at the time of India's war with China.
To you my eternal love and life, to you, mother of my children, my dear wife Krishna, I am addressing a letter 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. Wherever 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 belongings bestowed on me, but that in my maddening self-centredness I am unable to express that, as much as you all belong to me, my bondage to you becomes stronger than ever.
Maybe it is this bondage that gives me strength to act and react on all diversities of life pertaining to my very existence, namely, my work. I am attempting to write to you, how much of it I will be able to do, I do not know. You know very well, I am an impulsive man. But one thing is very sure and 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 you 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.
With all my love, ever yours Raj.
Raj Kapoor with eldest son Randhir
Raj Kapoor's eldest son Randhir was born on 15th February 1947. The same year he started shooting his first film, "Aag". With the birth of his first child also arrived his first car. Daughter Ritu was born on 30th October 1948. R.K. Films acquired its first office in May 1948 and in October the same year Raj Kapoor released his second film, "Barsaat". It was then that he acquired his second car, that sleek convertible Oldsmobile which was a flamboyant part of Raj Kapoor in the fifties. The film "Andaz", with Raj Kapoor as the hero, was released this year and earned him a lot of popularity.
(picture no 12)
Raj with his son Rishi
With his son Rishi, born on 4th September 1952, the year that Raj Kapoor first went to the USA to attend the Indian International Film Festival.(picture no 13)
With his daughter Rima, born on 28th September 1956. That was a phase of his life when financial crisis led him to work in films other than his own, and with other heroines - Nutan, Mala Sinha, Saira Banu, Waheeda Rehman
(Picture no 14)
Raj with his youngest son Rajiv
With his youngest son Rajiv, born on 25th August 1962 the year he planned to make "Sangam".
(picture no 15)
Raj Kapoors bungalow will house tech centre
My father had a dream. He wanted Rajbaugh to be used for educational and social purposes, says Rajeev Kapoor, Raj Kapoors youngest sons. Rajbaugh, the 100-acre Kapoor estate in Loni village, Pune was sold to the Maharashtra Institute of Technology recently.
The place evokes nostalgic memories of the showman who came there to retreat from the daily grind in Mumbai. Raj saab used to come here three or four times a week. He used to sleep on a gadda (mattress) spread on the wooden floor. He used to write his stories here, recalls Soha Sharma, who worked there as a cook.
Vishwanath Karad, from the institute, who looked after the sale, says, the Kapoors could have sold the property to any big developer. But they decided to give the property to benefit a larger section of society. The bungalow will be turned into a museum in memory of Raj Kapoor.
Karad adds, We will have a gurukul where yoga, ancient Indian culture and Sanskrit will be part of the curriculum. We will also have a college for technical education. The details are still being finalized. The Raj Kapoor memory will linger on despite the sell-out, promises Rajeev Kapoor.
At last
Anil Kapoor :  also discloses that despite some physical similarities, he is not related by blood to the Raj Kapoor dynasty, although the two families have always been very close. He says, "You could say I am as close to them as any close relative can be.
"My father and grandfather are from Peshawar and they used to stay in the same lane as Raj Kapoor's family. That is how they came together. My grandfather, father and Raj Kapoor all came to India together from Pakistan. "I always look up to them and don't think I will be able to reach upto them, ever."
 
Raj kapoor was from kandahar and on partition moved over. There was a film of his life and he always referred to himself as punjabi.

for example,he was saying things like--in punjab,we have an old saying-----.or us punjabis-----.
i think that its mainly rishi who refers to pathans.maybe they identify,with the region--living there so long but they still seemed to call themselves punjabis.they are a mixed hindu/sikh family too.
With Kapoor's death, the R.K. banner is in the hands of his eldest son Randhir Kapoor. The film Henna (1991), shot in India and Pakistan, was an attempt at encouraging friendlier ties between the two countries and pointing out the futility of hatred. He shot two songs for Henna before his death on June 2, 1988.
KARISHNA RANBIRAJ KAPOOR
In reality she is Prithviraj Kapoor's cousin. Yes. His mother's brother's daughter. A pretty little lady from a crew of 13 siblings including Premnath and Rajindernath, product of three wives of Mr. Malhotra, IG of Police, Rewa at the time of her marriage to Raj Kapoor in 1946. The results of her Matriculation examination were declared after the wedding and she had passed with distinctions. In life to follow as Raj Kapoor's wife her contribution to his success and the upbringing and love she gave to her offsprings was to bring far greater laurels to her unending list of distinguished achievements, but there is no escaping the fact that she was first his Aunt and then his wife.
She was 16 and he was 22. She was new to the Bombay environment and he was on the threshold of stardom. As his career graph ascended both as an actor then director and producer to studio-owner, she accepted the chores of a housewife and mother of his children. She played her part as hostess to his friends and business associates to such perfection that it is still considered a landmark of film parties like the ones hosted by Mrs. Raj Kapoor.

Rajji, as he was always addressed, was the eldest son of Prithviraj and Rama Kapoor. He was born on 14 December 1924 in Peshawar, an army cantonment town in the North West Frontier Province of British India, now in Pakistan.
His basic education was spread over different places as Papaji (Prithviraj) was then on the move. He studied in Peshawar, then did part of his schooling in Calcutta and eventually failed to get a form to appear for the Matric exam in Bombay's Antonia D'souza High School. His nemisis at studies was the cumpolsory second language, Latin. He achieved the unprecedented distinction of winning the All India Elocution Competion for three successive years but failed in Latin and that was the end of his academic career. When Papaji asked him as to why he wished to leave school and not try again he replied, "Sir, If I graduate what happens? If you want to become a lawyer you go to a law college; if you want to be a doctor you go to a medical school; and if you want to be a film-maker, where do you go?" Papaji had no answer. It was ordained.
The next 5 years he devoted to learning the different arts of film making in all departments as an assistant. In 1944 he joined Papaji's Prithvi Theatres and was responsible for all that happened backstage, right from the lighting of the sets and sound effects and music to art direction in their first stage play 'Shakuntala". In the next play "Deewar" he acted in a small role of the servant boy
He did his first film as a hero in Kedar Sharma's "Neel Kamal". There followed a number of small films like "Jail Yatra', "Amar Prem", "Dil Ki Rani", "Chittor Vijay" but these were of little consequence, as his heart and mind were set on a different path he had chosen for himself.
His own production, RK Films took shape in 1947 with his first directorial venture, "Aag". Though not a great success it established his obsession as an intense film-maker. A year later his second film "Barsaat", also produced, directed and acted in by him, made headlines as a box office super hit and became the springboard of an outstanding career.
After Barsaat he made the most universally accepted socio-musical and romantic film with a very topical and strong message to world cinema about film standards in India, comprising the first ever father son combination, "Awara".
RAJ KAPOOR: The passion for cinema runs in the Kapoor genes. The eldest son of actor Prithviraj Kapoor grew up under the arc lights. Raj Kapoors blue eyes were always dreamy and full of ambition. Some dreams clicked; some didnt just like his films. Come to think of it, Raj Kapoors films werent great vis-à-vis the theme or the depth. But a mix of drama, dreams and most importantly, sensuousness flowed in all Raj Kapoors leading ladies Nargis, Vyjayantimala Bali, Padmini, Zeenat Aman, Dimple Kapadia
Actor, director, producer and entrepreneur. He was all that. But most importantly, he was The Big Showman. Raj Kapoors legacy lives on through his kith and kin in the Hindi film industry and of course, through RK Films.
AWARA: The film that gave Raj Kapoor, and to a certain extent Indian cinema, international recognition. The song Awara hoon, resounded in every nook and corner of not only India, but also the then USSR and European countries. This was the film in which the image of the tramp, the Chaplinesque figure, emerged. Raj Kapoor went on to immortalise it in Shree 420.
SANGAM: Raj Kapoors first colour film reflected the actor-filmmakers showmanship at its best. Thespian Dilip Kumar was the first choice for this triangular love story starring Raj Kapoor and Vyjayantimala, but the role was ultimately bagged by Rajendra Kumar. The film was shot in Rome, Paris, London et al. The director took his stars to various cities to attend the premiere shows. But sadly was Raj Kapoor, the returns were not as fabulous as the pre-release hype. Yet, Sangam remains one of Raj Kapoors most-remembered films.
JIS DESH MEIN GANGA BEHTI HAI: The Raj Kapoor-Padmini starrer, with its diluted Gandhian philosophy and inspired by Vinoba Bhave was a great hit. The story is about a naive do-gooders love for a dacoit girl and how he succeeds in reforming the gang she belongs to. Incidentally, son Rishi Kapoor took the first few words of the most popular song of that movie, Aa ab laut chalen for the title of the film he made recently.
MERA NAAM JOKER: This 1970 film was the swansong of Raj Kapoor, the actor. The audiences did not accept Raj Kapoors clownish antiqcs, notwithstanding the melodrama and the three beautiful women in the film. The songs Jeena yahan, marna yahan and Jaane kahan gaye wo din were the only redeeming elements in an otherwise mediocre movie. After this film, Raj Kapoor restricted himself to direction and gave sensuous hits like Bobby, Satyam Shivam Sundaram and Ram Teri Ganga Maili etc.
Raj Kapoor's first film role was at the age of seven in Inquilab,
produced in 1935 by Debaki Bose.
Memorable Films

As an Actor
Andaaz (1949)
Anhonee (1952)
Chori Chori (1956)

Parvarish (1958)
Phir Subah Hogi (1958)
Anadi (1959)
Chhalia (1960)
Teesri Kasam (1966)
As an Actor-Producer
Jaagte Raho (1956)
Jis Desh Main Ganga Behti Hai (1960)
As an Actor-Producer-Director
Aag (1948)
Barsaat (1949)
Awaara (1951)

Shree 420 (1955)
Sangam (1964)
Mera Naam Joker (1970)
As Producer-Director
Bobby (1973)
Prem Rog (1982)
Ram Teri Ganga Maili (1985)
As Producer
Boot Polish (1954)
Ab Dilli Door Nahin (1957)
 
 
His Story
It was then that the whole thing just entered me, and I could not do anything except belong to the world of show business, theatre and cinema.
I was very fair, with blue eyes. My fathers actresses used to cuddle me whenever I visited the stage. I used to feel very excited as they fondled me, but even as early as that I had learnt the art of concealing emotions. I was extremely precocious. And I was a worshipper of nudity. I think it all started because of my intimacy with my mother who was young, beautiful, and had the sharp features of a Pathan woman. We often bathed together, and seeing her in the nude must have left a deep erotic impression on my mind. In my films, bathing scenes recur often. There is an excellent Urdu phrase, Muqaddas uriyan which means sacred nudity. But women in general occupy most of my childhood memories, and have seeped into my films like ghosts that refused to be buried.
Raj kapoor touching father Prithviraj Kapoor's feet.
Raj Kapoor would touch his mothers and fathers feet reverently. That is one thing he never missed anywhere, any time. He would often remember his father as having said, Today people remark that Raj Kapoor is the son of Prithviraj Kapoor, but a time will come when people will say, there goes Prithviraj Kapoor, the father of Raj Kapoor. That will be the biggest day in my life.
His sister
Umi, the only sister of the Kapoors, following the family tradition, married and lived a life away from show business. She fondly recalls her brothers unique combination of playfulness and arrogance, followed by instant humility. Many years after our parents died, we would sit below their large framed photographs, hung above his low mattress, and talk. He never slept on a bed ever! His face would sadden and his glorious blue eyes cloud with memories which nobody could penetrate, and then he would heave a sigh, shake his head at her and say, 'But I have yet much more to learn and more to create.I still have so much work to do'. Just as I wondered at his sincere humility, he would suddenly yell, 'But without me where would you all be! Ahm brahm aasmi! [in Sanskrit, I am what I am].
A letter written by Raj Kapoor to his wife, before leaving for the North Eastern Frontier at the time of India's war with China.
To you my eternal love and life, to you, mother of my children, my dear wife Krishna, I am addressing a letter 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. Wherever 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 belongings bestowed on me, but that in my maddening self-centredness I am unable to express that, as much as you all belong to me, my bondage to you becomes stronger than ever.
Maybe it is this bondage that gives me strength to act and react on all diversities of life pertaining to my very existence, namely, my work. I am attempting to write to you, how much of it I will be able to do, I do not know. You know very well, I am an impulsive man. But one thing is very sure and 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 you 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.
With all my love, ever yours Raj.
Raj Kapoor with eldest son Randhir
Raj Kapoor's eldest son Randhir was born on 15th February 1947. The same year he started shooting his first film, "Aag". With the birth of his first child also arrived his first car. Daughter Ritu was born on 30th October 1948. R.K. Films acquired its first office in May 1948 and in October the same year Raj Kapoor released his second film, "Barsaat". It was then that he acquired his second car, that sleek convertible Oldsmobile which was a flamboyant part of Raj Kapoor in the fifties. The film "Andaz", with Raj Kapoor as the hero, was released this year and earned him a lot of popularity.
(picture no 12)
Raj with his son Rishi
With his son Rishi, born on 4th September 1952, the year that Raj Kapoor first went to the USA to attend the Indian International Film Festival.(picture no 13)
With his daughter Rima, born on 28th September 1956. That was a phase of his life when financial crisis led him to work in films other than his own, and with other heroines - Nutan, Mala Sinha, Saira Banu, Waheeda Rehman
(Picture no 14)
Raj with his youngest son Rajiv
With his youngest son Rajiv, born on 25th August 1962 the year he planned to make "Sangam".
(picture no 15)
Raj Kapoors bungalow will house tech centre
My father had a dream. He wanted Rajbaugh to be used for educational and social purposes, says Rajeev Kapoor, Raj Kapoors youngest sons. Rajbaugh, the 100-acre Kapoor estate in Loni village, Pune was sold to the Maharashtra Institute of Technology recently.
The place evokes nostalgic memories of the showman who came there to retreat from the daily grind in Mumbai. Raj saab used to come here three or four times a week. He used to sleep on a gadda (mattress) spread on the wooden floor. He used to write his stories here, recalls Soha Sharma, who worked there as a cook.
Vishwanath Karad, from the institute, who looked after the sale, says, the Kapoors could have sold the property to any big developer. But they decided to give the property to benefit a larger section of society. The bungalow will be turned into a museum in memory of Raj Kapoor.
Karad adds, We will have a gurukul where yoga, ancient Indian culture and Sanskrit will be part of the curriculum. We will also have a college for technical education. The details are still being finalized. The Raj Kapoor memory will linger on despite the sell-out, promises Rajeev Kapoor.
At last
Anil Kapoor :  also discloses that despite some physical similarities, he is not related by blood to the Raj Kapoor dynasty, although the two families have always been very close. He says, "You could say I am as close to them as any close relative can be.
"My father and grandfather are from Peshawar and they used to stay in the same lane as Raj Kapoor's family. That is how they came together. My grandfather, father and Raj Kapoor all came to India together from Pakistan. "I always look up to them and don't think I will be able to reach upto them, ever."
 
Raj kapoor was from kandahar and on partition moved over. There was a film of his life and he always referred to himself as punjabi.

for example,he was saying things like--in punjab,we have an old saying-----.or us punjabis-----.
i think that its mainly rishi who refers to pathans.maybe they identify,with the region--living there so long but they still seemed to call themselves punjabis.they are a mixed hindu/sikh family too.
With Kapoor's death, the R.K. banner is in the hands of his eldest son Randhir Kapoor. The film Henna (1991), shot in India and Pakistan, was an attempt at encouraging friendlier ties between the two countries and pointing out the futility of hatred. He shot two songs for Henna before his death on June 2, 1988.
KARISHNA RANBIRAJ KAPOOR
In reality she is Prithviraj Kapoor's cousin. Yes. His mother's brother's daughter. A pretty little lady from a crew of 13 siblings including Premnath and Rajindernath, product of three wives of Mr. Malhotra, IG of Police, Rewa at the time of her marriage to Raj Kapoor in 1946. The results of her Matriculation examination were declared after the wedding and she had passed with distinctions. In life to follow as Raj Kapoor's wife her contribution to his success and the upbringing and love she gave to her offsprings was to bring far greater laurels to her unending list of distinguished achievements, but there is no escaping the fact that she was first his Aunt and then his wife.
She was 16 and he was 22. She was new to the Bombay environment and he was on the threshold of stardom. As his career graph ascended both as an actor then director and producer to studio-owner, she accepted the chores of a housewife and mother of his children. She played her part as hostess to his friends and business associates to such perfection that it is still considered a landmark of film parties like the ones hosted by Mrs. Raj Kapoor.

KARISHNA RANBIRAJ KAPOOR

In reality she is Prithviraj Kapoor's cousin. Yes. His mother's brother's daughter. A pretty little lady from a crew of 13 siblings including Premnath and Rajindernath, product of three wives of Mr. Malhotra, IG of Police, Rewa at the time of her marriage to Raj Kapoor in 1946. The results of her Matriculation examination were declared after the wedding and she had passed with distinctions. In life to follow as Raj Kapoor's wife her contribution to his success and the upbringing and love she gave to her offsprings was to bring far greater laurels to her unending list of distinguished achievements, but there is no escaping the fact that she was first his Aunt and then his wife.

She was 16 and he was 22. She was new to the Bombay environment and he was on the threshold of stardom. As his career graph ascended both as an actor then director and producer to studio-owner, she accepted the chores of a housewife and mother of his children. She played her part as hostess to his friends and business associates to such perfection that it is still considered a landmark of film parties like the ones hosted by Mrs. Raj Kapoor.

His Story

It was then that the whole thing just entered me, and I could not do anything except belong to the world of show business, theatre and cinema.

I was very fair, with blue eyes. My fathers actresses used to cuddle me whenever I visited the stage. I used to feel very excited as they fondled me, but even as early as that I had learnt the art of concealing emotions. I was extremely precocious. And I was a worshipper of nudity. I think it all started because of my intimacy with my mother who was young, beautiful, and had the sharp features of a Pathan woman. We often bathed together, and seeing her in the nude must have left a deep erotic impression on my mind. In my films, bathing scenes recur often. There is an excellent Urdu phrase, Muqaddas uriyan which means sacred nudity. But women in general occupy most of my childhood memories, and have seeped into my films like ghosts that refused to be buried.

Raj kapoor touching father Prithviraj Kapoor's feet.

Raj Kapoor would touch his mothers and fathers feet reverently. That is one thing he never missed anywhere, any time. He would often remember his father as having said, Today people remark that Raj Kapoor is the son of Prithviraj Kapoor, but a time will come when people will say, there goes Prithviraj Kapoor, the father of Raj Kapoor. That will be the biggest day in my life.

His sister

Umi, the only sister of the Kapoors, following the family tradition, married and lived a life away from show business. She fondly recalls her brothers unique combination of playfulness and arrogance, followed by instant humility. Many years after our parents died, we would sit below their large framed photographs, hung above his low mattress, and talk. He never slept on a bed ever! His face would sadden and his glorious blue eyes cloud with memories which nobody could penetrate, and then he would heave a sigh, shake his head at her and say, 'But I have yet much more to learn and more to create.I still have so much work to do'. Just as I wondered at his sincere humility, he would suddenly yell, 'But without me where would you all be! Ahm brahm aasmi! [in Sanskrit, I am what I am].

 

Raj kapoor on his life times!

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.

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