Kapoor, Raj

Ranbir Raj Kapoor was born on December 14, 1924 in Peshawar (now Khyber Pakhtunkhwa Province , Pakistan ) in the family of the outstanding actor and theater figure Prithviraj Kapoor and his wife Rama (nee Ramsarni Mehra). Raj played his first film role in the movie “Revolution” in 1935 at the age of eleven ^{[4] [5]} . Since childhood, he played on the school theater stage, participated in competitions and received prizes for recitation, staged home performances for relatives and friends. Subsequently, these hobbies were reflected in the autobiographical film "Sizzling Passion". However, Raj's dream was a movie. Having not even received a certificate of maturity (he did not pass Latin at the final exam), he began working as an assistant director at Bombay Talkies Studios from his youth, and in practice he mastered the main cinematic specialties, while studying the achievements of Western cinema. Since 1944, Raj worked in his father’s theater ( Prithvi Theater ) as an assistant director, as well as an actor, showing improvisational ability, emotionality, temperament and musicality in the performances of “The Wall” and “Patan”. The producers noticed him, and since 1946 he began to act actively ("Valmiki", 1946, "Blue Lotus", 1947, dir. Kidar Sharma).

First Experience

The turning point for India in 1947 was a turning point in the fate of Raj Kapoor: his dream of filmmaking came true. Having played four main roles in 1947, he invested the earned money in the creation of his first film “Incinerating Passion”. In this film about the beginning theater director, many characteristic elements of Kapoor’s future paintings were revealed, both from a technical and substantive point of view: contrasting black and white shooting with the play of light and shadow, autobiographical touches, the philosophy of true and false beauty, the theme of the artist’s true mission . The collaboration of Raj Kapoor with actress Nargis began with this film (later they starred together in 16 films).

Despite the modest success of the first film, Raj Kapoor founded his own studio RK Films (“R.K. Films”) in 1948 and set about creating a large-scale film “The Rainy Season”, with which his unfading directorial glory began ^[6] . In those days, Raj Kapoor was the youngest director in India and, possibly, all over the world. The success of the film “Rainy Season” was facilitated by the collaboration of the young director-enthusiast with a whole group of talented, creative people, which laid the foundation for the formation of the “Kapoor team”. Features of the Indian worldview and cultural tradition required special attention to the musical range of the picture. Collaboration with the best composers and Kapoor’s own musical talents have now and forever made exclusively high-quality music the trademark of films released under the flag of “R. C. Films. " The soundtrack of the film "Rainy Season", created by the new composing duet Shankar-Jaishishan, remains one of the best in the history of Indian cinema. In the same year, Indian cinema viewers were able to enjoy the brilliant performance of the acting trio Raj Kapoor - Nargis - Dilip Kumar (the only common film of two legendary actors) in the film of Mehbub Khan "Reputation".

In most of his early films, Kapoor was not only a director and producer, but also a leading actor. In the film “Rainy Season”, his romantic duet with Nargis was notable for the intensity of the Indian cinema of that time, emotional tension and naturalness (whispering, intimate intonations, spontaneous gestures). One of the frames with Raj and Nargis even formed the basis of the symbolic emblem (logo) “R. K. Films ”, depicting the Artist and his Muse. The artist holds a violin in one hand, the other embraces a beautifully curved girl. In a slightly modified form, this logo has been preserved for decades in all films of the studio, including those created by the sons of Raj Kapoor after the death of his father. Beautiful music, a tense plot, an exceptional, expressionist visual range and charismatic young heroes brought the film a resounding success.

The fifties pushed the boundaries of Kapurov glory and surrounded him with the love of the audience. As an actor, in this decade he invariably entered the top three, making, together with Dilip Kumar and Dev Anand , the famous acting “triumvirate” of the Bombay film industry. Despite the director's vocation and success, he still starred a lot, including in order to have the means to create his own films. This fact should not detract from the fact that he was an outstanding actor, capable of being sincere, natural, mobile and plastic in front of the camera, having a wide range of expressive means, from grotesque and clowning to the ability to convey the subtlest emotional nuances with one eye or a smile. However, with a few important exceptions, “Watch!” (1956), “And Morning Will Again” (1958), "Coot" (1959), “The Third Oath” (1966) the best roles he played in the films of Raj Kapoor, director. This applies, first of all, to the famous films “ Tramp ” (1951, the film was a participant in the main program of the 1953 Cannes Film Festival ) and “ Sir 420 ” (1955), in which the classic image of the charming “tramp” Raj, or Raju, a man was created from the urban social lower classes, which goes through adversity and trials, but retains a “golden heart” and does not lose optimism under any circumstances. This image inspired by Charlie Chaplin became the most famous acting mask of Raj Kapoor ^[5] . The last time Kapoor put it on in his opus magnum - the four-hour confession film “ My Name is Clown ” (1970), the creation of which took him about six years.

Kapoor's tapes, combining the seemingly incongruous: lyrics, romance, folklore, mythology, pathos, humor, realism and social criticism, gained popularity not only in India and neighboring countries of South Asia, but also in Iran , Turkey , Arab countries, China , countries of Eastern Europe and Southeast Asia. For the inhabitants of these countries, Raj Kapoor has become an image and a symbol, a “standard-bearer” and “ambassador” of post-colonial, non-Rouvian India. However, Kapoor had the most deafening, phenomenal success with the Soviet audience, for a long time becoming the most popular foreign actor and almost the most popular Indian in the USSR ^[5] . Many films "R. K. Films ”, such as“ The Tramp ”,“ Shoe Cleaners ”,“ Mr. 420 ”,“ Watch! ”And“ The Country in Which the Ganges Flows ”(1960), are distinguished by increased attention to ethical and social topics, Seal of the era of non-Rouvian socialism. Many of them reflect not only the idealistic views of young Kapoor, but also the Marxist views of the author of most scripts - writer Khoja Ahmed Abbas .

At the same time, sixteen films in which young Raj Kapoor played together with Nargis during 1947-1956 made them the best romantic pair of Indian cinema, the equal of which has never appeared since then due to the spark and sincerity of the screen presence. The couple was distinguished by such teamwork, mutual understanding and mutual magnetism that the audience could not understand where the screen life ends and the real one begins. Thanks to Nargis, even the famous “social” films - “The Tramp” and “Mr. 420” - looked like romantic paintings of great love, and love was in them that anchor that did not let the young hero drown, and that beacon, to whose light he sought in the hopeless darkness of poverty and misery. Pure, bright love was the philosophy and ethos of Kapoor and gave his social films an individual, humane coloring. The heroine of these films was, as a rule, not a traditional “woman with a man”, but a bright, strong, independent and whole person who could play a pivotal role in the fate of the hero and come to the rescue in the most difficult moment. In this sense, the appearance of Nargis at the end of the outstanding film “Watch!” Is symbolic, where exactly she turns out to be the only person who gives water to the hero of this parable tormented by thirst. A vivid picture of the romantic couple Raja and Nargis is given by popular songs from their films, which perfectly transmit various emotional shades of love relationships: Mujhe Kisi Se Pyaar Ho Gaya , Meri Aankhon Me Bas Gaya (both - “Rainy Season”), Dam Bhar Jo Udhar Munh Pere (“The Tramp”), Jane Na Nazar (“The Breath of Love”), Yeh Raat Bheegi Bheegi , Aaja Sanam Madhur Chandani (both “Secret from Everyone”) and many others, as well as the innovative scene of the hero’s dream from the film “The Tramp” ". In its own way, the famous song Pyar Hua Iqrar Hua (“Mr. 420”), or “song under an umbrella”, in which happy lovers sing about those times when they will be gone, but their “descendants” will remain (Raj Kapoor called Nargis is the “mother of his films” ^[4] ), and future generations will sing their love songs. In 1957, the creative union of Raj Kapoor and Nargis broke up: she began acting in Mehbub Khan’s large-scale film “ Mother India, ” which became the pinnacle of her career, and after that she got married and almost left the movie.

After leaving Nargis

After parting with Nargis Kapoor took a forced creative pause and for several years did not engage in directing. At that time, he starred a lot: at different studios, with different partners, with different directors, in films of various genres, which had different successes among the public and critics. So, with the actress of the tragic plan Mina Kumari, he starred in the tragedy "Shard" (1957), and then in the social drama "Four Hearts, Four Roads" (1959), with Little Sinha - in the melodramas “Education” (1958) and “Games of Fate” (1959), with the famous Madhubala , with whom he once made his debut in the 1947 film “Blue Dotos”, - in the bright masala-film “Two Masters” ( 1959). In these paintings, his acting potential and charisma were not used to the full, although none of the roles can be called a failure. Two films belonging to the “Golden Ten” of Kapurov's acting works belong to this period: “And There Will Be Morning Again” (1958) and “Coot” (1959). The plot of the first of these films goes back to the Crime and Punishment of Dostoevsky , since his hero, an ordinary young man from the city lower classes, educated, but poor and not having much hope for the future, almost by accident becomes a murderer. The film explores the psychology of the hero, who is pursued not only by the police, but also his own conscience. Raju Kapoor had not played roles of such psychological depth before, and he dealt with it exceptionally well. The seriousness of the film corresponded to the lyrics, the author of which was an outstanding poet Sahir Ludhianvi. Kapoor was a worthy partner in this film Mala Sinha. The film remains one of the few adaptations of Dostoevsky in India. In the film "Coot" Kapoor played the reincarnation of his almost folklore "tramp", a simpleton with empty pockets and a golden heart who falls in love with a rich girl ( Nutan ), unaware that she is rich; The film was given a special charm by the touching line of relations between Raj and his named mother performed by Lalita Pavar . The film was a big box office success and was awarded with awards. A successful duet with Nutan was continued in a number of other paintings ( The Fraudster , 1960; The Wedding of My Beloved , 1963).

In 1960, the film studio "R. K. Films, "finally released a new film: the film" The Country in which the Ganges flows ", raising a complex patriotic theme. Raj Kapoor was the producer and leading actor in this film, and the director of the film in the credits was called cameraman Radhu Karmakar. It is hard to say how Kapoor really participated in the production of the film (this also applies to a number of other films by R.K. Films, in which Kapoor was a producer), but it is obvious that the film bears the stamp of his personal style. Kapoor's interviews preceding the release of the film suggest that this film is the same authorial work by Kapoor as his previous films. The film is a kind of bridge between the black and white “vintage” films of Kapoor of the forties and fifties and large-scale color films of the sixties and eighties. The simpleton-Raju, the hero of this story, has to solve not so much personal problems as the problems of the whole “people” (the people in this case are the tribe of robbers captured by the hero), and he successfully copes with this task. The heroine of this film was played by an actress of the southern school, a highly professional dancer Padmini , whose temperamental and sensual image sharply contrasted with the elegant sophistication of Nargis.

Kapoor's next film is Sangam (1964) - was significant in many ways. It was the first color film of a forty-year-old director, and it was no coincidence that his color scheme was thought out to the smallest detail. But not only this played a role in the fact that the film did not go off the screens of movie theaters for a year and broke all box office records. In this film, Kapoor first departed from social problems and focused on family affairs; the drama of three friends, bound and tormented by love, passion, jealousy, friendship and mutual devotion, turned out to be, by and large, very true and “vital”. Emotionally rich melodrama, adorned with beautiful music and visual feast - luxurious shooting in Europe, turns to the end a real tragedy of total misunderstanding and loneliness. Raj Kapoor plays in it a very ambiguous role of a good and sincere person tormented by internal demons. The film is distinguished by the subtlety and ruthlessness of psychological analysis, is multi-layered, contains significant symbolic nuances. It became a consequence of the director’s experienced “midlife crisis” and is intended more for an adult audience, the same age as the director. The actress of the southern dance school Vijayantimala , who, under the strict guidance of Kapoor, was able to “give out” a truly dramatic performance of a complex role, became quite a worthy partner of Kapoor in the film “Sangam”.

After the huge success of Sangama, Raj Kapoor focused on working on a film called him magnum opus , the main creation of his life. We are talking about the four-hour film “ My Name Clown ”, consisting of three parts with three different heroines, which took six years of life, a lot of strength and nerves. While work was underway on the film, Raj Kapoor continued to act in films. This is the specifics of Bollywood: a world-famous genius director was forced to earn money for his own film as an actor employed on the sets of other directors (in which he did not intervene in any way). Most often, these directors exploited the long-found image of a “cute simp,” which by the mid-sixties ceased to satisfy the viewer who switched to new characters - more successful and less reflective. From these colorful and vivid pictures (Crime and ..., Around the World ), one can single out the film “Seller of Dreams” (1967), firstly, because it contains Raj Kapoor (which time was already a little over forty) played along with the future megastar of the seventies, the young dream girl Hema Malini , laying the foundation for her movie career, and, secondly, because Raj Kapoor changed the image of a coot to the image of a wizard - much more in line with him in life.

At the same time, in 1966, Raj starred in the movie "The Third Oath", which was produced by his friend and ally, the poet Shailendra. This film occupies a very special place in the acting track record of Kapoor, which was shot in it without a fee - out of friendly feelings for Shailendra and in order to achieve a high artistic goal. And he succeeded: the film, directed by the Bengali director Basu Bhattacharya based on the story of Indian writer (Hindi) Mare Gaye Gulfam Phanishvarnatha Renu, is called a “poem on celluloid” - such is his poetic and lyrical power. The film takes place in Bihar at the beginning of the 20th century. Raj Kapoor plays a not-too-young villager, the ox-chaser Hiraman, whom fate brings with a beautiful, well-educated urban woman - the Hirabai dancer (Wahida Rehman ). The friendship and love between these two dissimilar people, who suddenly became more familiar to each other than their relatives, are shown in this film so subtly and unusual that the film rightly deserved national awards and was presented at international festivals, and Kapoor’s game in it is recognized as one of the most shining peaks of his acting biography. In this film, as in the earlier films “Watch!” And “There Will Be Morning Again”, Raj Kapoor once again showed the full power of his acting talent beyond the images familiar to the general public.

In the center of the story of the film “My Name is Clown” (1970), there is a lonely man, a clown Raju, who, before our very eyes, goes from adolescence to old age, losing a lot and gaining little on this way. The slogan of his life is gradually becoming the magic spell “ Show must go on ” ( Show must go on ! ) - which he follows with manic perseverance, despite all the terrible blows of fate. The clown considers it his duty and happiness to make people laugh and bring them a feeling of full existence, and does this at the expense of the internal reserves of goodness and humanity, which seem inexhaustible. In the first part (novel), the teenager Raju (the first role of Rishi Kapoor , the director’s son) falls in love with a teacher ( Simi Gareval ) who is getting married. Unusually beautiful in the picture, almost mystical, painted in nostalgic tones of the search for lost time, this part differs along with that bold image of puberty sensuality. The love of the teacher, of course, is doomed from the very beginning, and, obviously, from the very beginning, the love of the circus clown Raj from the second short story, who falls in love not with anyone, but with the Soviet gymnast Marina (in this role was performed by the Bolshoi theater dancer Ksenia Ryabininka ), similar to a heavenly fairy. Nevertheless, the strange feeling of “what if Chapaev floats out?” Does not leave the viewer until the very end of the second part, when Raj watches with a hopeless glance the plane flying off into the distance with a Russian girl. The motive of hopeless love for the ideal is suddenly replaced by a more mundane feeling for the earthly girl Mina ( Padmini ), who at first becomes his companion and shares hardships and joys with him, and then, having risen due to the very reserves of humanity that are inexhaustible in him, betrays him at first opportunity. All three short stories are framed by the Prologue and Epilogue, in which the old and gray-haired Clown meets all his passions (inviting them to his last performance in the circus) and sings an unusually touching song about life and death, despair and duty. The complexly conceived, powerfully executed, but oversaturated (by the standards of Indian cinema) self-reflection picture was not accepted by the mass audience, as it did not match the patterns of a "family" movie, romantic comedy or melodrama. Her dramatic and tragic power was not up to the Indian audience, as a result of which the film failed miserably at the box office, putting Raj Kapoor on the brink of bankruptcy and causing him serious mental trauma.

Director's Masterpieces

Финансовые потери были компенсированы достаточно скоро благодаря оглушительному успеху следующей режиссёрской работы Капура — подросткового романса о влюбленных — « Бобби » ^[7] (1973), хотя душевная рана лишь затянулась и мучила Капура до конца его дней (в наши дни фильм «Моё имя Клоун», явно опередивший своё время, пользуется популярностью и наибольшей известностью среди всех творений режиссёра, уступая, может быть, лишь «Бродяге»). В успехе картины «Бобби», автором сценария которой выступил старый товарищ режиссёра писатель Ходжа Ахмад Аббас, а в возрастных ролях отцов, выступающих против брака молодых людей, разделённых социальным положением и принадлежностью к разным религиозным общинам, снялись друзья режиссёра Пран и Премнатх, решающую роль сыграли «свежесть» красивой юной пары Риши Капур — Димпл Кападия , смелые решения мизансцен, энергичная музыка. Фильм стал законодателем молодёжной моды, а также моды на подростковую тематику в болливудском кино. «Бобби» безусловно понравился зрителям, однако критики увидели в нём чисто развлекательный «болливудский» фильм без особой социальной подоплёки и философской нагрузки. Радж Капур выдержал критику весьма достойно и начал готовиться к осуществлению другого давнего замысла (перекликающегося с самым первым фильмом режиссёра, «Огонь») — философской картине « Истина, любовь и красота » (1978). Эта картина отражает новые размышления автора по поводу старой темы противостояния внутренней и внешней красоты, начатой первым фильмом Капура «Огонь» тридцать лет назад. Новаторская по форме, глубокая по содержанию, яркая и запоминающаяся «психоделическая» картина не выдержала испытания привередливой зрительской аудиторией своего времени, так как, очевидно, намного это время опережала. Зрителю не понравились слишком откровенные эротические мотивы и образы (особенно образ главной героини в исполнении Зинат Аман , для которой роль Рупы стала лучшей в карьере), заслонившие собой как интересные мысли и образы, так и мощный, предполагающий катарсис, финал. Этот провалившийся в прокате экстраординарный фильм, как и другие фильмы Капура, теперь признан классикой индийского кино.

Капур не был бы Капуром, если бы не боролся до конца. Два его следующих фильма, «Любовный недуг» (1982) и « Ганг, твои воды замутились » (1985), стали блокбастерами и лидерами проката. Как и все прочие фильмы Капура, они касались сложных тем и имели непростое художественное решение (хотя и не такое сложное, как в картинах «Моё имя Клоун» и «Истина, любовь и красота»). Первый из них был посвящён теме повторного брака вдовы (традиционно запрещенного в индуизме), то есть, по сути, боролся с косностью бесчеловечных традиций. Второй фильм рассказывал о судьбе горской девушки Ганги, чья судьба была искалечена злым и беспощадным миром, что аллегорически перекликалось с «судьбой» реальной Ганги — великой реки Ганг — чистой в горах и невероятно грязной в нижнем течении. Как и в двух предыдущих фильмах Капура, где он выступал уже только как режиссёр, главными здесь являются женские образы, сыгранные молодыми актрисами Падмини Колхапуре и Мандакини соответственно. Интересно также отметить, что все главные мужские роли в этих фильмах сыграны родственниками режиссёра — его сыном Риши («Бобби» и «Любовный недуг»), братом Шаши («Истина, любовь и красота») и сыном Радживом («Ганг, твои воды замутились»)

Последним — и, к сожалению, незаконченным — фильмом великого индийского режиссёра стала «Хенна» — история пакистанской девушки-мусульманки (Зеба Бахтияр), полюбившей спасенного ею индуса «с того берега» (Риши Капур). Как и многие ранние фильмы Капура, он снимался по сценарию Ходжи Ахмада Аббаса. Считается, что этой картиной Капур хотел не только сказать веское слово в защиту культурно-исторического единства Индийского субконтинента, объединяющего нынешние Пакистан , Индию и Бангладеш , но и вспомнить свою малую родину, Пешавар, ныне находящуюся на территории Пакистана.

Как истинный великий художник, Радж Капур умер за работой. Его творческий потенциал далеко не был исчерпан. Он умер от осложнений, связанных с астмой, в Дели, через месяц после вручения ему Президентом Индии премии Дадасахеба Фальке, присуждаемой лучшим кинематографистам Индии ^[4] . Смерть Капура в 1988 году была воспринята в Индии как национальная трагедия ^[6] .

Радж Капур, наряду со своими братьями Шаши и Шамми, представляет собой второе поколение актёрской династии Капур. Трое его сыновей (Рандхир, Риши, Раджив) также стали актёрами. Наибольший успех выпал на долю среднего из братьев — Риши Капура, блиставшего в романтических ролях, а ныне знаменитого характерными ролями. Правнучками основателя династии Капуров — Притхвираджа Капура (1906—1972) и внучками Раджа Капура являются индийские киноактрисы Каришма и Карина Капур, дочери Рандхира Капура. С 2008 года свой путь в индустрии кино начал сын Риши Капура — Ранбир Капур, названный именем великого деда. Его актёрский послужной список насчитывает два десятка фильмов. Критиками и зрителями отмечено великолепное исполнение главных ролей в фильмах «Рок-звезда» (2011),«Барфи» (2012), «Санджай» (2018). Другой внук Раджа Капура — Никхил Нанда — индустриалист, руководитель крупной промышленной компании в Дели. Он женат на дочери актёра Амитабха Баччана. Младшие внуки Раджа Капура — Арман и Адар Джайны, также снимаются в кино.

Радж Капур — один из самых популярных актёров за всю историю кино. Он получил признание как критиков, так и простых людей. Но если критики, историки кино и искусствоведы больше интересуются режиссёрскими работами Капура, то «простые люди» помнят и любят его прежде всего как актёра, причём зачастую как актёра необычайно широко диапазона — от клоунады до трагедии. Особое место в его искусстве занимал образ бродяги, нищего юноши с большими амбициями и чистой душой. Именно с этим образом ассоциируется Радж Капур в сознании миллионов. На родине, в Индии, Радж был и остается культовой фигурой, имеет невероятное число наград, признан «шоуменом тысячелетия» и почитается как один из пионеров и классиков индийского кино эпохи его золотого века. Периодически в Индии и других странах проводятся ретроспективные показы фильмов Капура, они регулярно демонстрируются по индийскому телевидению. Популярность сохраняют и песни из фильмов Капура разных лет (в свое время альбомы к фильмам "Сезон дождей", "Господин 420", "Сангам" и "Бобби" были самыми продаваемыми в своем десятилетии): их исполняют многие современные певцы. В пятидесятые годы в СССР, как и в некоторых странах Восточной Европы, в Китае и на Ближнем Востоке, Радж Капур, как и его соратница Наргис, пользовался необыкновенной популярностью. Всенародная любовь к Капуру обрела в СССР характер «капуромании»: широко распространялись самодельные фотографии Капура и самиздатовские пластинки на рентгеновских снимках с песнями из "Бродяги" и "Господина 420". Его персональная известность способствовала чрезвычайному росту популярности индийского кино в СССР. На его фильмах были аншлаги, поклонники осаждали кинотеатры, на «Бродягу», а затем на «Господина 420» невозможно было достать билеты даже при повторных прокатах. После одного из специальных показов «Бродяги» в кинотеатре « Ударник » в Москве поклонники Капура пронесли его автомобиль на руках от кинотеатра до гостиницы ^[5] .

представлен неполный список наград

Filmfare Awards :

• 1959 — за лучшую мужскую роль — «Простофиля»
• 1960 — за лучшую мужскую роль — «В стране, где течёт Ганг»
• 1964 — за лучшую режиссуру — «Сангам»
• 1970 — за лучшую режиссуру — « Моё имя — клоун »
• 1982 — за лучшую режиссуру — «Любовный недуг»
• 1982 — за лучший фильм — «Любовный недуг»
• 1985 — за лучший фильм — « Ганг, твои воды замутились »
• 1985 — за лучшую режиссуру — «Ганг, твои воды замутились»

Национальная кинопремия (Индия) :

• 1955 — за лучший фильм на хинди — « Господин 420 »
• 1960 — за лучший фильм на хинди — «В стране, где течёт Ганг»

Премия ассоциации бенгальских журналистов :

• 1964 — за лучшую режиссуру — «Сангам»
• 1964 — за лучший индийский фильм — «Сангам»
• 1964 — за лучший монтаж — «Сангам»
• 1967 — за лучшую мужскую роль — «Третья клятва»
• 1971 — за лучшую мужскую роль — «Моё имя — клоун»
• 1971 — за лучшую режиссуру — «Моё имя — клоун»

Государственные награды :

• 1971 — Падма Бхушан
• 1987 — Премия имени Дадасахеба Фальке

Международные премии :

• 1957 — Хрустальный глобус на кинофестивале в Карловых Варах — «Бодрствуйте!»

Actor

Камео

• 1954: Чистильщики обуви / Boot Polish
• 1981: Судьба / Naseeb
• 1987: Радж Капур (фильм)
• 1989: Eeshwar

Screenwriter

• 1985: Ганг, твои воды замутились / Ram Teri Ganga Maili

Director

• 1948: Aag
• 1949: Сезон дождей / Barsaat
• 1951: Бродяга / Awaara
• 1955: Господин 420 / Shree 420
• 1964: Сангам / Sangam
• 1970: Моё имя Клоун / Mera Naam Joker
• 1973: Бобби / Bobby
• 1978: Истина, любовь и красота / Satyam Shivam Sundaram
• 1982: Любовный недуг / Prem Rog
• 1985: Ганг, твои воды замутились / Ram Teri Ganga Maili

Продюсер

• 1948: Aag
• 1949: Сезон дождей / Barsaat
• 1951: Бродяга / Awaara
• 1953: Aah
• 1954: Чистильщики обуви / Boot Polish
• 1955: Господин 420 / Shree 420
• 1956: Бодрствуйте! / Jagte Raho!
• 1957: Ab Dilli Dur Nahin
• 1960: Jis Desh Men Ganga Behti Hai
• 1964: Сангам / Sangam
• 1970: Моё имя Клоун / Mera Naam Joker
• 1971: Kal Aaj Aur Kal
• 1973: Бобби / Bobby
• 1975: Перехитрить судьбу / Dharam Karam
• 1978: Истина, любовь и красота / Satyam Shivam Sundaram
• 1981: Biwi-O-Biwi
• 1982: Любовный недуг / Prem Rog

• Encyclopaedia of Hindi Cinema / Gulazāra, Govind Nihalani, Saibal Chatterjee. — New Delhi, Mumbai: Encyclopædia Britannica, Popular Prakashan, 2003. — 659 p. — ISBN 81-7991-066-0 .
• Encyclopedia of Indian Cinema / Ashish Rajadhyaksha, Paul Willemen. — N. Y. : Routledge, 2003. — 658 p. — ISBN 1-57958-146-3 .
• Рангувалла, Фероз. Кино Индии: Прошлое и настоящее. Панорама индийского кино / Под. ed. М. Л. Салганик. — М. : Радуга, 1987. — 384 с.
• Птенцы гнезда Капура: об индийской кинодинастии Капур