L'Honnête Vagabond

MULTI TALENTED RAJ KAPOOR WORKED STARTED DIRECTED , ACTING AND PRODUCING OWN MOVIE FROM 24 YEARS OLD AGE HE WAS MAIN FOUNDER AND EARNING LOT OF MONEY FROM HIS BLOCKBUSTER SUPERHIT COLLECTION MOVIES HE WAS EASTABLISH RK STUDIO ON HIS LEGS Raj kapoor outstanding superstar in Hindi cinema , called Showman , he Was done many blockbuster movies and collection across world 20lakh budget and 4cr collection 1.50cr from india , 2.5cr from Russia , this movie awara was superhit in russia many times till now , world level bollywood indian industry progress based on Raj kapoors idiology and thinking of growth he was done many many sucessfull blockbusters and superhits from since 1955-1980 like awara , shri 420 , Sangam , Barsat , anari, andaz , mera naam joker , jis desh me ganga behti he , ram teri ganga maili , satya shivam sundaram , bobby , chori chori.

Shree 420 is a classic Bollywood "social" of the 1950s. Its romanticized populism deserves comparison to Frank Capra's films. As in Kapoor's earlier Awara, the hero is a Chaplinesque tramp, another vagabond (as in Awara). Poor but honest (and happy), he falls in love with Vidya (Nargis), but is soon tempted to partner with a fat millionaire who makes money through fraud. Raj soon becomes rich but just as quickly regrets his choice, with Vidya serving throughout as the voice of his conscience. Songs in Kapoor's films are classics, but beyond their quality, the way Kapoor uses them is an important aspect of his directorial technique. In a pivotal scene, Raj (Kapoor's hero shares his first name) staggers drunk from a nightclub to encounter a stone-faced Vidya outside her poor home. The narrative problem here is that she – and the viewer – must condemn Raj but, at the same time, the movie has to communicate that she still loves him. Kapoor deftly solves this problem by showing Vidya staring coldly while a white-robed specter of Vidya sings a love song to the departing Raj: two Vidyas, one who censures him, another who reaffirms her love for him. And a good song. Imagine how a Hollywood film might resolve this. How many words would it take? How many tears? Kapor allows the stone-faced Vidya to image our disapproval while the spectral Vidya's song reveals what is going on in her mind.

They rarely make them like this anymore in Bollywood. Meaningful cinema with a message but presented in a highly entertaining and artistically solid way with great song numbers and characters you care for. The cast is first rate, the direction inventive and technically the film is well done. Just two examples: The use of a ghost image to express Vidya's dilemma of having to condemn Raj while still loving him and the use of rain/smoke in the love song. The rain/smoke patterns are subtle but wonderful. The songs are among the most popular in Hindi cinema and not one is weak or a filler. A timeless classic that will never become outdated. Unfortunately there is no good DVD around and the film needs restoration (as practically all older Bollywood films (and most newer ones too)).

"Shree 420" is a classic Bollywood film directed by Raj Kapoor and released in 1955. Starring Raj Kapoor himself, the movie revolves around the story of a young man named Raj who comes to the big city of Bombay (now Mumbai) with dreams of success and wealth. However, he soon realizes that the city is filled with corruption and deceit.

The film addresses various social issues prevalent at the time, such as the exploitation of the poor by the rich and the lure of quick money. Raj Kapoor's character, Raj, represents the common man who is easily swayed by materialistic desires but eventually learns the importance of honesty and integrity.

Composed by Shankar-Jaikishan, with lyrics by Shailendra and Hasrat Jaipuri, the songs, including the iconic "Mera Joota Hai Japani" and "Pyaar Hua Ikraar Hua," have become timeless classics and continue to be loved by audiences even today.

Raj Kapoor's performance in the film is stellar, showcasing his versatility as an actor. He effortlessly portrays the transformation of his character from an innocent and naive young man to someone who becomes disillusioned with the city's corruption. Nargis, who plays Vidya, Raj's love interest, delivers a memorable performance as well, bringing depth and emotion to her character.

The screenplay of "Shree 420" effectively captures the contrasting elements of hope and despair, humor and tragedy, and romance and social commentary. Raj Kapoor's direction ensures a balanced narrative that keeps the audience engaged throughout.

The film's cinematography, though dated by today's standards, was groundbreaking for its time. It beautifully captures the essence of Bombay, showcasing both its vibrant streets and the stark reality of its slums.

Overall, "Shree 420" is a classic Bollywood film that combines elements of romance, drama, and social commentary. It remains relevant even after several decades, as its themes of greed, corruption, and the struggle for a better life still resonate with audiences today. The movie's memorable performances, outstanding music, and Raj Kapoor's directorial vision make it a must-watch for any fan of Indian cinema or those interested in exploring the golden era of Bollywood.

This was a nice film with drama, music, romance and a message made by and starring Raj Kapoor at his peak. He again demonstrated his love of the visual Charlie Chaplin, along with facial similarities his politics were probably not too far removed either.

Jaunty orphan Ranbir Raj makes his way to Bombay to make his fortune, after encountering much human trickery ends up poor in money but rich in love. Reflecting the ups and downs are many good Jaikishan songs, especially Mera Joota Hai Japani and the relentless bouncy Ichak Dana Bichak Dana both sung by Mukesh. Nargis seldom looked lovelier, either when singing in the rain, or in the key emotional scene watching her ghostly version singing her true feelings to Raj. He took to a tuxedo much better than Chaplin did too! The sets were all (RK) studio bound, but were atmospherically displayed in the gleaming black and white.

Overall nothing too heavy but not totally inconsequential either, a perfect example of early Bollywood.