Born Ranbirraj Kapoor, he began his career as a clapper boy (for Bombay Talkies) and later assistant director (at Bombay Talkies and Ranjit Movietone).

1948 - R.K. Films launched.

The studio's films were synonymous with unforgettable music and the fine performances by Raj Kapoor and Nargis. Kapoor excelled in his roles as the loveable, ultimately innocent tramp.

Most of the musical scores were by Shanker Jaikishen, the lyrics by Hasrat Jaipuri and Shailendra, and under Kapoor's able direction, the studio was a force to reckon with.

Some films --

1948 - Aag

The film launched Raj Kapoor as actor and director. As he said - ''...it was the story of youth consumed by the desire for a brighter and more intense life. And all those who flitted like shadows through my life, giving something, taking something, were in that film.''

A beautiful film on the dreams of a disfigured boy. It contained many of the elements that were to become hallmarks of his style - imagery and chiaroscuro (use of shadows).

1949 - Barsaat.

The memorable music of the film has rendered it an all-time favourite (along with Shri 420).

- Andaaz.

1951 - Awara.

The loss of innocence but inability to belong are the themes of the film, representing too the dilemmas of a newly independent nation. The 9-feet dream sequence was filmed over 3 months!

1953 - Aah.

1955 - Shri 420.

This film has the wonderful song of love - ''Pyar hua ikraar hua''! The vagabond of Awara was once again a loveable character, and Shanker Jaikishen's music maintained its high.

The year 1955 saw some superlative films and music - •Satyajit Ray's Pather Panchali (a Bengali film), •Phani Sarma's Pioli Phukan (an Assamese film), •Tapi Chanakya's Rojulu Marayi (a Telugu/Tamil film), •Guru Dutt's Mr. and Mrs. 55 (a Hindi film), • P. Ramdas' Newspaper Boy (a Malayalam film).

1956 - Jaagte Raho.

A riveting film that takes a close, critical look at middle-class life. The peasant searching for water, and the final denouement when Nargis pours him the much-needed water - purity and simplicity were the ideals in Raj Kapoor's early films.

- Chori Chori.

1957 - Sharada.

1958 - Phir Subah Hogi.

Along the lines of Dostoevsky's novel Crime and Punishment, the film offers, again, a social comment. The line 'Woh subah kabhi to aayegi' serves as refrain and plaintive longing.

1959 - Anari.

1960 - Jis Desh Main Ganga Behti Hai.

- Chhalia.

The film depicts the story of a woman left behind in Pakistan after the Partition, the havens provided to her by two supposedly notorious characters - one in Pakistan and one in India, and her final reconciliation with her husband. A telling statement on the thought processes of the 'good folk' and the underlying decency of those society chooses to condemn.

1964 - Sangam.

Among the first films to be shot abroad, the film glorifies the friendship between men even as the heroine appeals for justice in love.

1966 - Teesri Kasam.

The lyrical quality of the film made it special.

1970 - Mera Naam Joker.

Raj Kapoor's magnum opus, six years in the making, that failed at the box-office but is definitely a favourite with cinema-goers. The clown doll, Kapoor's circus finale, and the songs are factors that have not been forgotten.

The failure of this film is seen as the reason for Kapoor's emphasis on sexuality in his later films.

1973 - Bobby.

A mega-hit that introduced Rishi Kapoor (Raj Kapoor's son) and Dimple Kapadia (now hailed as one of India's best).

1978 - Satyam Shivam Sundaram.

1985 - Ram Teri Ganga Maili.

 

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.

SOURCE

So Many Cinemas.
Author - B.D. Garga
Publishers - Eminence Designs Private Limited.

Encyclopaedia of Indian Cinema.
Author -Ashish Rajadhyaksha and Paul Willemen
Publishers -Oxford University Press.

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