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I have always like watching movies. However, as time went by, I have only known of Hollywood, European, Japanese, and Filipino cinema.

When I learned that Awara is one of Time Magazine's Top 100, I got a copy. The movie called my attention because I haven't seen a Bollywood movie.

I watched Awara, and I was entertained. All the genre you can think of, you'll find it there. Name it: melodrama, action, comedy, romance, music, fantasy. Raj Kapoor craftily weaved them in the almost three hour-long classic.

Behind the melodrama is the social commentary. The conflict between a person versus the orthodox beliefs of the milieu is a recurring theme each of us face in everyday life. Pressures to adhere to the norm led the main character to his plight. Children growing up in squalid areas is an important issue tackled.

The musical sequences showed the movie's multi-faceted nature. It showed references to Chaplin, Rodgers/Hammerstein, and the like. Particularly amazing is the dream sequence in an east meets west setting. Elements of Hindu-Buddhist mythology are mingled with those of ancient Greco-Roman.

The eclectic experience solidified my belief that Bollywood is indeed a pillar of world cinema. I look forward to watching more.

Raj Kapoor directs and stars in this classic Bollywood drama, which looks at the complicated lives of a poor man (Kapoor) and a privileged woman (Nargis). In Hindi with English subtitles.

This is the fifth collaboration between the two leads and this is one film from Indian cinema that I absolutely loved from start to finish the first time and exactly the same result occurred on a re-watch.

Kapoor gives a very good performance starring as Raj Raghunath, the man who is about to have one big moment of truth in the courtroom after he kills a criminal. Preparing to take the case to court, he is backed by his lawyer Rita (Nargis), who also happens to be his long-lost love.

Kapoor suits his role very well and makes the most of the time he has on the screen, while Nargis offers really good support in her role as the woman who is strongly prepared to defend Raj in court.

Elsewhere, there are strong supporting performances to be had from Prithviraj Kapoor and Leela Chitnis in their respective roles as Judge Raghunath and Leela Raghunath. Judge is the man taking charge of the latest proceedings at the latest case in the courtroom, while Leela is the woman who is thrown out of the house as it is believed she is up to no good...

Keep an eye out for Shashi Kapoor who appears as the younger version of Raj.

The direction from Raj Kapoor is excellent because he allows the facial expressions to be seen to a strong effect throughout, as well as keeping a very good pace going from start to finish, while the script is very well written by Khwaja Ahmad Abbas as he makes the movie easy to follow.

The technical aspects that stand out best are the set, camera and music, because the set is decent to view throughout, while the camera makes good use of the locations and the music is enjoyable to listen to.

Overall, Awaara is one well-acted film which terrific performances from Raj Kapoor and Nargis and this is one film that can definitely keep you gripped. One of the best Bollywood movies to have been made in the year of this release.

Awaara is an inimitable classic of Indian cinema and, in my opinion, of cinema is general. The film is a commentary on the social and political climate of those years in India, but its relevance remains so palpably strong today it's almost unbelievably how visionary the makers of the films were. Awaara touches upon a host of themes, from gender inequality with references to Indian mythology (Ram's rejection of Sita in the Ramyana), as seen in the story of a woman accused of impurity due to abduction; and the whole age-old debate of nature vs. Nurture, which is a key issue in this film. And the film has a stance on all those matters, which are tackled with honesty and great criticism by the writers. Poverty, a frequent motif in many Kapoor films, is portrayed as the mother of all crimes, and ignorance is the mother of poverty.

But besides being a strong social dramedy with a message, Awaara is just a terrific film - incredible entertainment, a beautiful romantic musical, an affecting human story - the artistic and aesthetic value of which is hard to match or recreate. The camera work is stupendous, the B&W cinematography (Radhu Karmakar) does wonders to the unique narrative, as does the music (Shankar-Jaikeshan). These two ingredients are intertwined in the film's most spectacular and best-photographed part - a lengthy musical dream sequence - the first of its kind in Indian cinema and which captures the protagonist's state through symbolism and introduces both amazingly decorated, lavish sets and phenomenal songs, culminating in the wonderful "Ghar Aaya Mera Pardesi". I can't think of many cinematic moments of such extraordinary artistic and cinematographic merit.

And this is just another part of Awaara. Kapoor's direction is revolutionary in many ways - the ability to create a film which embraces all the possible ingredients of mainstream Hindi cinema and yet imbue it with an atmosphere of authenticity and meaning, much to the point of neo-realism at some points. Indeed, this is characteristic of almost all the films Kapoor made in collaboration with the legendary screenwriter K. A. Abbas - always resulting in a great combination of stylish entertainment and educative value. The dialogue in this film is exactly that, it is alternately realistic, poetic, melodramatic, humorous - and sometimes all at the same time. All of it exists in the film's climax, namely a court sequence where the protagonist sits in the defendant's stand. Ironically, the judge is his own estranged father. It is so often that the film tugs at the heartstrings.

Awaara rests on a truly electrifying chemistry between Raj Kapoor and Nargis. It's not just about the tension and the perceptibly passionate energy, it's about mutual comfort, affection and understanding. One scene between them, when she brands him "savage", is tough viewing but very revealing. This is perhaps Kapoor's best performance as an actor - unquestionably he is at his dashing and stylish best - often typically humorous and flamboyant, embraces the Chaplinesque tramp persona - but his inner turmoil, anger and rage are so tangibly powerful. As played by Nargis, one of the most luminous actresses I can imagine, Rita sees all of it - it's in her eyes and every gesture. Nargis shines in this performance, capturing every bit of her character's perceptive and compassionate nature and looking madly in love throughout (maybe she really was).

Kapoor's character actors are brilliant. Prithviraj Kapoor is excellent as the prejudiced father and judge Raghunath. He may be impressive in his stylish demeanor but his pathetic weakness more than helps create one of the uniquely flawed and grayish film characters of the time. Less complex obviously but still fantastic is K. N. Singh as Jagga, a vengeful criminal who is pretty much an archetypal villain but also the one some viewers might find more sympathy for compared to Raghunath. Leela Chitnis is brilliant in a heartbreaking performance as Raj's suffering and kind mother. It is her character I felt most for, and her story is the one I thought could have been even better explored. Awaara is a gem of Indian cinema, a film that is always a pleasure to watch and which Raj Kapoor will certainly be remembered for.

When I was little, my grandmother often told me about a movie from her younger ages - Awaara /released as Bradyaga/. She was always telling me, that when it came to Bulgaria it was a total hit. People watched it more that 20 times! (especially the gypsies, who thought of Indian people as their ancestors). If I ask somebody, who is over 50 year old about that film, I am sure, that he will remember it. And when the main actor - Raj Kapoor visited the country, thousands of people traveled to see him. My grandma, who was one of the best portrait photographers at that time and was asked to make his pictures with the leaders of the country, remembers that he and his wife never acted like international movie stars. They met with ordinary people, visited hospitals and orphanages. Why was that film so special? Especially in Bulgaria - a country on a Balcan peninsula with such a different culture from India? First of all, it was so different from the Soviet films that were broad-casted at that time. It was full of life, passion, love, music, and nevertheless - it was a social film - about the problems of the different classes. And it made a country so far away close. It was the first step for the good relationships between our two countries. A few years ago I have the chance to watch this movie. And I can tell, its messages are still up to day. Something that you can tell for every really good film. Watch it, you will not regret it.

Awaara is a stunning example of full tilt filmmaking. Featuring superb (and appropriate) musical interludes by the Shankar-Jaikashan team, this film effortlessly blends a wide range of influences: noir, gothic horror, neo-realism, and the surrealism of Jean Cocteau all come into play. Raj Kapoor and Nargis are one of the finest screen couples of all time, equaling if not topping Jean-Louis Barrault and Arletty in Children of Paradise, another possible cinematic influence on Kapoor, who also directed. This is an exciting, moving, and unforgettable film.

I saw it as a kid, sometime in 1957 or 1958. I was marveled and for a long time the movie remained in my heart. I was humming the Awaara Hum all the time, I was imagining myself as Raj, I was thinking at Rita. I started to consider myself a grown up: after all also Raj started in the movie as a kid and became a grown up. I knew now his songs, I knew so all I needed to be a grown up.

Well, I was a kid; it seems that also grown ups were in love with Awara; someone told me of a respectable physician who had been seen hanging around and humming Awaara Hum.

And this was what was happening those times in Romania. And in Bulgaria. And in the Soviet Union. And in Turkey. Kids and grown ups were humming the songs, imagining themselves as Raj, unconditionally in love for Rita, kids considering themselves grown ups, grown ups behaving like kids.

The life of this movie was becoming a legend.

I watched again the movie, a couple of days ago, on TV. Of course it gave me an immense pleasure and I began (jokingly this time, while clearly happy) to sing Awaara Hum again.

Did I notice this time something that I had missed years ago? Well, this time I was able to examine the fascination conveyed by this movie, surrounding this movie. I was able to examine it, as I was now detached; long time ago I had been immersed in the fascinating universe of Awara.

I was able this time to observe that the fascination was not coming from the plot; it was from somewhere beyond. The actor playing the father of Raj was also in real life the father of Raj Kapoor. The same with the actor playing Raj as kid: he was the brother of Raj Kapoor. As for Nargis, the great actress playing Rita, she was in real life the great love of Raj Kapoor. And all the rest of the cast was infused with the chemistry among these guys: their reciprocal chemistry, their chemistry for the cinematic art.

I think at the secret of this movie: it has a secret, no doubt about. You see, in 1949 the Japanese Ozu had created Late Spring, followed by Early Summer in 1951, the same year Raj Kapoor created Awara; I consider Ozu one of the greatest masters of cinema; in 1956 the Indian Satyajit Ray would create Pather Panchali, which is maybe one of the most profound movies of all times; followed by Aparajito and then by The World of Apu. Well, Awara stands, courageously, in my preferences among the movies of these titans, and this because it has a secret of his own.

Many noted the Chaplinesque dimension of the tramp created by Raj Kapoor in Awara. And clearly Kapoor had Charlot in his mind: the same humorous courage to stand against all odds. But, it's not only Charlot in Awara; you feel there also the air of films noirs, while the romance, saturated with music, has a surrealist poetry.

And maybe here is where the secret lies: this movie was created with the pleasure for creating cinema; with the passion to succeed in bringing on the screen a perfectly popular movie. If you want to understand what Bollywood means, you should see this movie from 1951. A movie openly looking for popularity because made by someone in love for the people, someone loving to tell stories to enjoy the attendance. Awara has a clear social message, but, as someone has very well observed, it is not a popular movie made to convey the message, rather the opposite: the message serves to convey a popular movie.

A magnificent film - entertainment (singing dancing, sweet, sweet pathos) and excitement - who can forget the crazy Heaven/Hell sequence. The film is marred only by Raj's occasional violence to the character played by Nargis.

The songs are of a consistent hight quality. I have only one question - whatever happened to Honey O'Brien?

Actor-producer-director Raj Kapoor has given many excellent movies to the Hindi movie audience, yet Aawara stands tall among them all. It's a movie which is not only considered a classic by critics from all strata and categories but also got thumping commercial success also. Its song in Mukesh's immortal voice - Aawara hoon, found itself echoeing not only in the streets and corners of India but also Russia and China.

Nature vs. Nurture is an ages old controversy starting from the plants and small creatures but extended to human-beings also. Can the acquired characteristics be transferred through genes ? Is it necessary that a baddie's offspring will turn into a baddie only and good soul's offspring will develop as a good and virtuous human-being only ? No ! The movie answers. As far the development of characteristics and personality traits are concerned, nurture has a much bigger (perhaps the only) role in that instead of nature or the acquiring of things by birth.

Aawara starts with the trial of Raj Kapoor with his biological father, Prithvi Raj Kapoor being on the other side and his lady-love, Nargis as his defence attorney. The story moves to flash back with the abduction of Prithvi Raj Kapoor's wife, Leela Chitnis by a baddie, K.N. Singh. However when she returns, she has to face the horrible truth of suspicion in the eyes of her household members that she was raped by K.N. Singh and the child being carried by her in her womb belongs to K.N. Singh and not Prithvi Raj Kapoor. The insect of suspicion, eats up the wisdom of Prithvi Raj Kapoor and he expells his pregnant wife from his home. She gives birth to a son and fosters him under the hope that he will become a learned man like his father. However, poverty and hunger throws him in the arms of K.N. Singh only who is hell-bent upon inflicting a life-long bitter revenge upon Prithvi Raj Kapoor who had ensured a harsh sentence for him. He develops Raj Kapoor as a baddie only and one day himself gets killed by him. When Raj Kapoor is tried for the murder charge, Nargis reveals the truth that Raj Kapoor is none else but the son of Prithvi Raj Kapoor himself. Ultimately the father recognizes and embraces his son who is sentenced to prison for the murder.

Aawara emphatically underscores the fact that it is ultimately the nurturing and the environment which matters in the development of the personality of a child. The child of a highly learned, pious and virtuous family may become a criminal in the company of bad guys and the child of a sinful person may become a very nice and admirable person by getting the fosterage of a pious family / group. Raj Kapoor has given admirable direction to the story, written by Khwaza Ahmed Abbas. The narrative has been made entertaining, not sermon-heavy. There is ample doz of comedy, romance and melody in the movie. The scene in which Raj Kapoor beats himself behind the wall to win the heart of Nargis, is hilarious. The master story-teller has used symbols quite artistically to signify different events. The use of moon in the song - Dumb Bhar Jo Udhar Munh Phere is a marvellous example in this context.

Raj Kapoor was a shrewd filmmaker. He used to deliver entertainment enveloped in message instead of delivering message enveloped in entertainment. He has done the same thing in Aawara too. The movie supposedly underscore the supersession of nurture over nature. However when Nargis tries to convince Prithvi Raj Kapoor that Raj Kapoor is indeed his son, she brings the point of his anger which is a ditto of his father. What does it underscores ? Definitely the transition of acquired characteristic through genes. Further, if Raju becomes a good man in the end, ultimately the theory of his father only comes true that a good man's offspring is meant to be a good one. This shows the triumph of nature, not nurture.

The technical and production value aspects are quite according to the standards set by Raj Kapoor for the movies of his banner. This black and white movie reminds of the noir cinema of the forties. Raj Kapoor's permanent cameraman, Radhu Karmakar has caught the mood of the movie very well through his camera.

The music of Shanker-Jaikishan is great. The song - Aawara hoon had almost become the national anthem at the time of the release of the movie and even today, after sixty years, it is as popular as it was at that time. The other songs of the movie are also no less by any means.

The performances of Nargis, Leela Chitnis, K.N. Singh etc. are very good. I will mention two actors- Prithvi Raj Kapoor who has delivered a towering performance in the role of judge Raghunath and Shashi Kapoor who has played the childhood version of Raj Kapoor quite briliiantly at the tender age of 13 years. Raj Kapoor, as the perennial Raju, has again done well with his mannerisms.

In the end, I just put up one point which always haunts me whenever I read any such thing or any such movie (including the Ramayan) that to which extent it is justified to harass a woman under suspicion of being raped and carrying an illegitimate child in her womb due to that incident. Though the movie was made in 1951, still the people's psyche is more or less the same in the Indian society. Had Raj Kapoor's mother, Leela Chitnis been actually raped by K.N. Singh, would Prithvi Raj Kapoor be justified in expelling her from the house (that too in the pregnancy state) ? Why should a woman be punished for a crime committed by a man and that too by quoting Lord Rama and justifying this injustice to the woman with the example of Lady Sita ? This question always makes me uncomfortable.

This is a classic Bollywood movie and seminal Raj Kapoor - Nargis vehicle, forcing home to the audience all manner of stereotypes, prejudices and assumptions before systematically dismantling them all with a sledgehammer. It was another of RK's successful and respectful attempts at mass entertainment mixed with mass education, generations later it's all so obvious that unfortunately we can lose sight of how much good it did at the time and just how well-intentioned it was.

I was watching the colourful Suraj a while ago and was reminded of old black and white Awara which I hadn't seen in decades – it's another take on once a bandit's son always a bandit's son; or, Blood vs Destiny. Delinquent wastrel and felon Raj is the kicked about son of a strict old-fashioned judge (played by Prithviraj) which neither of them realise, he and childhood friend Nargis who is now the judge's ward fall in love and, well, it spirals out of control for everyone. Is it Nature or is it Nurture that has made him a proud tramp? Some lovely noirish photography and atmospheric flashback scenes complement a melodramatic storyline, and there's even time for an admirable dream/nightmare sequence. It's a marvellous, if very contrived film with plenty of ideas, some tremendous images and great music by Shankar - Jaikishan as it is but as usual for me whenever the incomparable Lata sings it's turned into something even more special. Favourite bits: Nargis never looked lovelier or more iconic throughout but Aa Jao Tadapte Hain Arman with RK stroking her hair takes top prize; the literally dreamy and fascinating Tere Bina Aag Yeh Chandni; and RK does his anthem Awara Hoon too. According to Lata it took a whole night to record the music for the dream sequence.

So many sincere films made over the last 50 years have no morality, at the most charitable most don't even know the meaning of the word; so what's so bad about a film having too much? Nothing wrong at all with Good beating Evil! Imho, even though poverty still breeds crime while Our Betters still deny it, Raj Kapoor's finest film.

Perhaps Raj Kapoor's greatest film. Release in 1951, the film was a huge hit not only in India but also in the then Soviet Union, Turkey and other nations. Raj Kapoor plays his Chaplinsque character in this character. Nargis delivers a great performance as Rita. The film is a commentary on the society that exists. It showcases how a petty thief wants to transform himself but the conditions prevalent around him don't allow him. He has to tread the path of evil. The film also showcases the poor living conditions of the slums. The chemistry between Raj Kapoor and Nargis is perfect. The boat scene between them is perfect. It's a craftily put classic. Performances put by Pritviraj Kapoor and Leela Chitnis are also good. The musical score seems perfect.The title song-"Awaara Hoon" was a huge hit when the film was released. The movie is both entertaining while at the same time conveying a strong social message.

Ah, the Indian film industry. The only place where it's acceptable to burst out into song regardless of the depressing, dire straights of turmoil you may find yourself in. While it wasn't as jarring as having characters belt out jaunty numbers in the middle of their family crises in Mother India, Raj Kapoor's Awara is most definitely melodramatic enough to have the singing seem both out-of-place and completely appropriate.

The film is a bit of a social plea to LOOSEN UP, depicting a harsh but respected judge (Prithviraj Kapoor, the director's own father) who sentences an innocent man on the conviction that a criminal's son would end up on a criminal. His blind belief is put to the test when he is estranged from his wife and son, Raj (director Raj Kapoor), who in turn grows up to become a petty thief.

The film's plot, criticism and metaphor are fairly obvious, and the film is of course WAY too long (at a whopping 168 minutes), but more fascinating to examine is the relationship between Raj Kapoor and his father Prithviraj. Is it just a matter of both being actors so playing father-son helps the resemblance, or is there some sense of offspring rebellion, that his father expected his son to synthesize his steps incrementally, and that the son, despite the fact that it DID come true, still resents the father for pushing so hard? This is all speculation, but it's intriguing stuff.

As for the film, the leads are what keep this bloated ship afloat. Both Kapoof men, as well as the coincidental female love interest Nargis (who he keeps seeming to run into AND was adopted by his dad, who has a kind of creepy subtextual desire in his eyes about her). There's an extended dream sequence packed into the middle of the film brought to mind the finale of the same year's An American in Paris, in that it is impressive and beautiful, but ruins the flow of the film and serves no bearing to the plot at large. Every subtext of the sequence has already been spelled out, and it proves an unwelcome impediment to the resolvement of the plot.

The film's last reels involve a genius bit of setting, as some of the most nakedly emotional moments in the film are set on an extremely windy beach, getting around the criticism of the 'wind in the hair' cliché by positing its characters in a place where that sort of wind could be expected. It gets that sort of grandiose, but never falls apart, and despite its length and simplistic plot, it never lost me for good, and although it didn't knock me out like the greatest of Indian cinema, it was definitely a worthwhile marathon jaunt.

{Grade: 7.75/10 (B/B-) / #12 (of 16) of 1951}

Well, after getting hammered to the wall about my review of Sholay, I'm back again to review another bloated piece of Indian film-making. At 2 ½ hours, Awaara certainly has a lot to live up to..

A prisoner is on trial for hitting a judge! The prisoner has no counsel! But wait! At the last minute a counsel comes sweeping in! (HOW many times have I seen this?) Who is she? What connection does she have with the prisoner AND the judge? Heck, what connection does the prisoner have with the judge? All of this is answered as we, of course, go into FlashBackLand..

Awaara begins with a wife of a would-be magistrate who is kidnapped by a thief for a few days. When she is returned unharmed, The magistrate learns that she is pregnant! Who is the father? Thinking that the father is the bandit, and since we are talking 1950's India, the mother is thrown onto the street! (But not before we get many MANY clichéd shots of windows open, drapes blowing in the wind!) Soon, the child is born into poverty, and is forced to lead the life that, at least what the magistrate says, was given to him.

He meets a cute little girl, and she invites him to her birthday party, but he is ostracized because of his societal standing, and is soon arrested for a crime and is send off to juvvy prison.

When he gets out several years later, he goes back to the only life he knows, which is crime, and during a somewhat botched robbery, he bumps into a lady. Yes! The birthday girl from several years back! And they start off on an affair that gets sillier and sillier as the time goes on (and on and on) Predictable from the very get go (It was immediately apparent what relationship the judge, the lawyer and the president had), filled with yawnish musical numbers, broody acting and a slow, slow sluggish pace. What COULD have been an interesting caste drama turns into a bloated mess.

Musicals in America in their heyday were mostly about the lives of prominent show business personalities or small town middle class Americana, never about the outcast or the urban slum dweller. This is not the case with the films of Indian director, Raj Kapoor, especially in Awaara, a 1951 film and the later Boot Polish. These films call attention to the less fortunate and, in the case of Awaara, the vagabond whose life of crime is the inevitable outcome of growing up in the slums.

In Awaara, Kapoor's real father (Prithviraj Kapoor) plays a heartless judge who accuses his pregnant wife (Leela Chitnis) of infidelity after she was kidnapped by bandits and throws her out of his home (the logic of this eludes me since she was already pregnant when kidnapped). The stern judge staunchly believes that a thief's son will always be a thief and a good man's son will always turn out good. In a series of flashbacks, the film dramatizes the unfortunate consequences of this belief system. Raju, played by the director Raj Kapoor as an adult and by his brother Sashi Kapoor as a child, is born on the streets and grows up in the slums.

Under the guidance of a ruthless bandit named Jagga (K. N. Singh), he turns to stealing to help support his mother. Raj has little to comfort him except for a picture hanging on the bare walls of his house of Rita, his childhood sweetheart played by the stunning Nargis, a real life lover of Kapoor. The romance between Raj and Rita is one of the central motifs of the film and the chemistry between the two is electric. This is especially evident in the boat scene where she performs an exotic dance to the Dum Bhar song, and after she calls him a junglee (savage) and he slaps her in an incident that serves to bring them closer together.

Raju, the tramp, is forced to live on his wits but does so with humor and a Chaplinesque charm. When he finds out the true circumstances of his childhood, however, he sets out to get revenge against his father, the judge, and ends up facing a charge of attempted murder in the judge's own courtroom. Rita, a lawyer herself, defends him as she promised she would years ago. She puts the judge on the witness stand and asks pointed questions about how he condemned his wife and child to a lifetime of poverty. Rita holds him and society responsible for the conditions that led Raju to commit his crime and asks the judge to forgive him and admit that Raju is his son. Raju, in turn, offers an impassioned plea to the court to punish him as a criminal but not to neglect the conditions that gave rise to his life of crime. In the end, a very moving scene of attempted reconciliation between father and son had me wiping away the tears.

Awaara is reminiscent of both 40s film-noir with its dark cobblestone streets and menacing shadows and, in its social conscience, of the great Italian neo-realists like de Sica. But basically, Awaara is still in the Bollywood tradition; that means drama, romance, music, comedy, and action -- all put together in a total package to appeal to a wide audience. With great songs and dances, amazing dream sequences, style and panache, strong drama, and an inspiring message, it is not surprising that Awaara became one of the most popular films in Indian cinematic history. It is one of my favorites as well.

Raj Kapoor's remarkable efforts show extraordinary storytelling in an all in one entertainment which goes with social commentary going on together.

We get the purpose of the movie in starting only, but we still enjoy the journey of right and wrong through the main character connected to almost all the events happening, but its not a story of just one character or a situation, but beautifully giving a social message with different situations and very strong characters. All the characters trying to prove their right and wrong philosophies followed by different known and unknown relations present. It is a great effort made in writting the script to choose journey instead of suspense !

The lighting is applied to create a good contrast throughout and cinematography was beautifully done showing some divergent camera movements and angles in intense scenes. Editing is wow ! Specialy double exposures and a sense of speed used and experiencing such beautiful sets imagined and made is a wonder in itself

Experiencing this musical drama will make a special place in your heart and will be known for its storytelling forever.

I saw it when I was very young. It was dubbed by Changchun Film Studio of China perfectly. I was deeply moved by the film. I saw it over and over again on TV. Although I didn't understand it very well, I was still very interested. So, I really want to go to India in the future.

Raj Kapoor's "Awaara," released in 1951, is a timeless classic that continues to captivate audiences with its compelling narrative, memorable performances, and unforgettable music. As one of Indian cinema's iconic films, "Awaara" stands as a testament to Raj Kapoor's directorial prowess and his ability to create a cinematic experience that transcends generations.

Plot

The film revolves around the central character, Raj, played by Raj Kapoor himself, who grapples with the complexities of fate, morality, and societal expectations. The narrative is richly layered, combining elements of drama, romance, and crime, creating a poignant story that resonates with the human experience.

Raj Kapoor's portrayal of Raj is nothing short of stellar. His ability to convey a wide range of emotions, from the innocence of a young man to the anguish of a misunderstood soul, showcases his acting prowess. The on-screen chemistry between Raj Kapoor and Nargis, who plays Rita in the film, adds depth to the narrative, making the love story a poignant and integral part of "Awaara."

One of the film's notable strengths is its exploration of societal issues. The theme of nature versus nurture is woven into the storyline, as Raj grapples with his criminal father's legacy while trying to establish his own identity. This exploration of morality and the impact of upbringing on an individual's choices adds a layer of depth to the film, elevating it beyond a mere love story.

Music The film's music, composed by Shankar Jaikishan, is nothing short of legendary. The timeless melodies, including the iconic "Awaara Hoon," have become cultural landmarks. The music not only complements the narrative but also serves as a standalone element that has endured through the decades. The soul-stirring lyrics and evocative tunes contribute significantly to the film's emotional resonance.

Raj Kapoor's directorial vision is evident in every frame of "Awaara." The film showcases his innovative storytelling techniques, such as the dream sequence featuring the renowned dancer Cuckoo, which was groundbreaking for its time. Kapoor's use of symbolism and visual metaphors adds a layer of sophistication to the film, making it a visual treat for cinephiles.

Despite being released over seven decades ago, "Awaara" remains relevant and continues to influence contemporary cinema. Its exploration of societal issues, coupled with the timeless romance and unforgettable music, ensures its place in the annals of Indian film history. The film's enduring popularity is a testament to its universal themes and the timeless charisma of Raj Kapoor.

In conclusion, Raj Kapoor's "Awaara" is a cinematic masterpiece that transcends time and cultural boundaries. Its exploration of morality, memorable performances, soul-stirring music, and directorial brilliance make it a must-watch for cinephiles and a cornerstone of Indian cinema's golden era.

I started writing this review 40 minutes through the film and some parts until now really tear jerking. Especially the scene where raj's mother loses her senses thinking she has cooked for her son and raj realizing that as a child is really heart-touching. The cinematography is really brilliant and feels fresh even today and reminded me of the works of Kurosawa and satyajit ray. Especially the close-ups and top angle shots. No wonder this movie resonated well all over Asia and Europe. The child version of Rita reminded me of young Mary from It's a wonderful life by Frank Capra. And Raj Kapoor looks like Indian Clark Gable.

Later part of the film feels like a charlie Chaplin movie with most of the scenes plays in a fast forward fashion. I feel Prithviraj Kapoor shines throughout the latter part of the movie. With his eyes, he firmly induces terror into a viewer's mind. This aspect of his acting can be noticed in Mughal-E-Azam as well. I feel Nargis a little overrated here. She is not a real beauty, but the presentation of her is what made her so beautiful in this film. She looked so beautiful in this film. I have seen her films before and after this movie, but never this beautiful. Especially in the dream song sequence she is astounding.

I'm all praise for this movie. No two ways about it because MASALA CINEMA is India's identity. A well made masala melodrama is always my kind of cinema. This movie was released in 1951 4 years after India's independence. Cinema is a new thing for that generation. I wonder how they would've felt to see this movie on big screen. I myself felt like watching in a big theater.

This is undeniably one of the most popular movies of Hindi cinema. Which will make it hard for some to review. But for people not having the nostalgic background this movie is quit slow and predictable.

Very few one dimensional characters without a lot of development. The theme song however Is a classic for good reason.

There's not really a lot that we can say, other old movies like, Masoom and. Anand stand stronger.

Now is this recommendable for a movie buff, probably yes. It's cool to tick the box and have your own opinion on a movie like this.

"Awaara" is a cinematic masterpiece that stands as a testament to the golden era of Bollywood. Directed by the legendary Raj Kapoor, this 1951 classic is a compelling blend of drama, romance, and social commentary, which resonates with audiences even today.

The film's narrative is a rich tapestry that explores the life of Raj, a man whose destiny is shaped by the societal forces around him. Raj Kapoor delivers a performance that is both powerful and poignant, capturing the essence of a character torn between the right path and the wrong, between love and revenge.

Nargis, as Rita, is the epitome of grace and conviction, her chemistry with Kapoor igniting the screen with a palpable intensity. The supporting cast, including Prithviraj Kapoor as the stern Judge Raghunath, adds depth to a story that is as much about individual choices as it is about the societal constructs that influence them.

The music of "Awaara," composed by Shankar-Jaikishan, is nothing short of iconic, with Mukesh's rendition of "Awaara Hoon" becoming an anthem that transcended geographical boundaries. The film's songs are not just melodies but narrators of the story, weaving seamlessly into the fabric of the plot.

Visually, "Awaara" is a feast for the eyes, with its noir-inspired cinematography and set designs that range from the gritty streets to the ethereal dream sequences. The film's dream sequence, in particular, is a marvel of visual storytelling, blending surreal imagery with emotional depth.

"Awaara" is not just a film; it's a cultural phenomenon that garnered international acclaim, including a nomination for the Grand Prize at the Cannes Film Festival in 1953. It's a film that broke barriers and touched hearts.

In conclusion, "Awaara" is a must-watch, a jewel in the crown of Indian cinema that continues to inspire and captivate viewers around the world. Its legacy is a reminder of the power of film to reflect, to challenge, and to enchant.

Love it , especially Raj kapoor sir. This movie was ahead of it time . And Nargis was amazing. Having such movie 70 years before is just mind blowing. I really enjoyed it. Every should watch it . Story line , music nd camera moment are great .

Title song "awara" has amazing music. It really covers reality of life nd forces one ponder that no one is born bad but how one goes on right path nd other on wrong paths of life. Who is responsible for it ? Is there something wrong in system nd with the thought process of common being .Why one caught in imagination of good nd bad ? Why one values its self so much? The theme is amazing.

I watched this a few times when I was a teenager, in the '60s. It was in my home country, Romania, where it was a Huge Success, actually, Huge Success is less said, it was more than that, it was like a cult film and even more than that. It ran many years in a row and everybody knew the songs, at least the title song was heard by trams, buses, trolleybuses and other public places. It was some sort of RajKapoormania, much bigger than the Beatlesmania. Maybe I was crying then, being just a naive little kid, I do not remember exactly whether I was crying or not. I've reviewed it now in 2017. It did not impress me at all, you need a lot of love for film and patience to watch it all. It's still well done - it's a Bollywood classic - but the actors' play, especially Jagga (K.N. Singh) and Justice Raghunath(Prithviraj Kapoor) is too exaggerated. Exactly like the whole plot.