Raj Kapoor @ 100: They Don't Make Auteurs Like Him Anymore

Having his break-out moment in Mehboob Khan’s Andaz (1949), where he co-starred with Nargis and Dilip Kumar, Kapoor found acclaim and widespread acceptance with 1951’s Awara. Coming from a family of actors, producers, directors – Raj Kapoor made an effort to work on his own peculiar style, mannerism – by adapting Charlie Chaplin’s tramp character to India, which he channelled in films like Awara and Shree 420 (1955). 

Among the biggest stars of the 1950s along with Dilip Kumar and Dev Anand, Kapoor showcased an authorial signature in his films with a message around pride for one’s nation, especially in a newly independent, underconfident nation. Even in his relatively unsuccessful films like Jagte Raho (1956), Kapoor tried to address social inequity, and reformation through films like Jis Desh Mein Ganga Behti Hai (1960). While his contemporaries focused on just being better actors, Kapoor took on the mantle of seeing through the busiest time of RK Studios. 

 Like any actor from that era, Kapoor’s personal life was the subject of intense speculation – especially his supposed affair with Nargis in the ‘50s, while being married to Krishna Kapoor. Kapoor poured his heartbreak into Sangam (1964), a film that was initially supposed to star the trio from Andaz. The first technicolour film of his career, Sangam went to star Rajendra Kumar, Vyjayanthimala and Kapoor himself. It would go on to be the last gargantuan success of Kapoor’s career with himself in the lead. 

Battling age and a pronounced decline in aura because of changing times (Rajesh Khanna had emerged as a phenomenon around then), Kapoor bet his house on Mera Naam Joker (1970) – a 248-minute semi-autobiographical saga around a clown’s final performance. The film didn’t do well, and nearly eroded Kapoor’s life’s earnings, including RK Studios’ premises in Chembur. Kapoor had to recover the losses through his sons’ Randhir Kapoor and Rishi Kapoor’s debut films – Kal Aaj Aur Kal (1973) and Bobby (1974) respectively.  

During his ‘second innings’, Kapoor’s films began to focus on female protagonists – in films like Satyam Shivam Sundaram (1978), Prem Rog (1982) and Ram Teri Ganga Maili (1985) – which also launched his youngest son, Rajiv Kapoor. While prepping his fourth such film, Henna (1991), Kapoor passed away. The film was completed by Randhir Kapoor, with Rishi in the lead.  

Known for his varied taste in music, where he took interest in everything from folk music to Rabindra Sangeet, Kapoor’s films were known for their popular songs and albums. His storied collaborations with Shankar-Jaikishan and lyricist Shailendra were an integral part of his ‘showman’ aura – given that he’s known by his songs as much as his performances. It’s impossible to sing Mera Joota Hai Japani, Awara Hoon or even Pyaar Hua Iqraar Hua and not instantly see Kapoor’s face in those songs. 

Raj Kapoor was a rare specimen of a storyteller, star, actor, music aficionado, Bollywood fraternity member, ambassador for India – all rolled into one. It’s not surprising that a 1967 Soviet song by Vladimir Vysotsky mentions Raj Kapoor among the most popular cultural signifiers for India after yoga and Shiva. Such was his popularity.  

Hindi cinema has rarely seen such talent bundled into one person, barring a handful of Kapoor’s contemporaries. There are almost no contemporary parallels to Kapoor – including his grandson. As much as it might signal the changing times, it also has something to do with simple conviction. There’s a reason why auteurs like Kapoor don’t exist anymore: because they’re not prepared to take risks like he did.

"Raj Kapoor 100 - Celebrating the Centenary of the Greatest Showman" is being organised by the Film Heritage Foundation, and will be held from December 13 - 15, 2024 in 40 cities and 135 cinemas (PVR INOX) across India.