Ram Teri Ganga Maili

Directed by: Raj Kapoor

Starring: Rajeev Kapoor, Mandakini, Divya Rana, Saeed Jaffrey

Released: 1985

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

Will there ever be another man or woman who could reach the level of Raj Kapoor´s story telling? Because had it not been for Raj Kapoor, Ram Teri Ganga Maili just might have been a whiny story with two non-actors, one of which is not even an eye-candy. But it was Raj Kapoor on a director´s chair, and he did manage to create yet another beautiful, though not flawless film.

Disgusted by his rich and corrupted father (and oblivious to pretty Divya Rana´s feeling), Narein (Rajeev Kapoor, who looks very much like his older brother Rishi, yet lacks his charisma and talent) joins a group of young men traveling all the way from bustling with life and filth Kolkata to Gangotri and place where the river Ganges/Ganga begins her journey. Keeping in mind a promise given to his loving grandmother, Narein brings along a jug with an intention to bring clean and unpoluted water of the holy river back home for her. Almost instantly upon his arrival he meets a local village girl Ganga (Mandakini, looking more Russian than Indian with her Slavic bone structure and blue eyes), and both young people are instantly attracted towards each other.

So much that they actually get married according to a tradition of Ganga´s people and engage in pleasant nightly activities. Alas, Narein has to return home, but promises his kind-of-wife to return for her. Alas, alas! The family meanwhile fixed his marriage with rich and pretty Radha (already mentioned Divya Rana). Alas, alas, alas! The news about Ganga shock Narein´s beloved grandmother so much she dies. And Narein is stopped from going back to Ganga by Radha´s influential father, who is determined to ensure his daughter´s happiness by marrying her to Narein. Thus Rajeev Kapoor, a boring hero if there ever was one, becomes sad. And stays sad.

Meanwhile Ganga gives birth to his son, and to ensure he grows up with his father´s name she decides to look her kind-of-husband up. And with nothing but her baby and utter naivity she sets out on a long journey, that actually makes it seem everybody in the world wants to rape her, and she ironically finds shelter in a kotha. Indeed, Narein teri Ganga maili ho gayi.....

Mandakini and Rajeev Kapoor were two non-actors, and it actually played to their advantage they were both so talentless, so they actually fitted together well. At least Mandakini has a certain X_factor, a screen presence, and she is definitely the life of the movie. The tale itself gets a bit tiring in the second half, with hero sitting at home and heroine meeting various creeps, but the finale was definitely worth all that, even if only for the wonderful Radha/Meera´s love comparism in a song. Music of the film is brilliant overal, and this last song has to be a crowning jewel.

Ram Tera Ganga Maili, skillfully drawing parallels between the holy river that is polluted by sins of others and a girl Ganga, polluted by pretty much the same source of dirt, is also (in)famous for the semi-nude and completely-nude scenes that would be shocking to many even today. Raj Kapoor, after all, liked to show female body (remember Zeenat in Satyam Shivam Sundaram or even Simi Garewal´s booty in Mera Naam Joker?). Yet it is again a part of Raj Kapoor´s art that the nudity never seems out of place or vulgar. It is not there to lure anyone into Mandakini´s lap (makes me think if she was actually cast because no other actress agreed to reveal herself as much?), it is not there to shock. It is used to show her purity, her acceptance of the natural part of life. And I loved that. I loved pretty much everything about this film.

Sangam

Directed by: Raj Kapoor

Starring: Raj Kapoor, Vyjayanthimala, Rajendra Kumar

Released: 1964

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

A love triangle that with more progress gets more and more intense, until it just fills you with utter anxiety over the characters. Sangam is considered a classic and I heartily agree. Apart from the interesting fact it was Raj Kapoor´s first film in colour, it was definitely great to see a film that pretty much started the Bollywood obsession with foreign, particularly European (read Swiss) locations.

Sunder, Gopal and Radha have known each other since childhood. When they grow up, Gopal becomes a lawyer while Sunder is a happy good for nothing, deeply in love with Radha. He is not discouraged even by Radha´s cold attitude towards him and her obvious liking of Gopal – who is resisting her tries to get closer to him, even though he is in love with her as well. Why? Sunder is his best friend and he has been vocal about his love for the girl. For Gopal this pretty much means Sunder called dibs on Radha and as a good Bollywood friend he buries his own feelings and even goes asking for Radha´s hand on behalf of his pal. However Radha´s parents do not want their daughter to end up with Sunder Nobody. And so he valiantly joins the army and becomes a pilot to become worthy enough.

Tragedy strikes and he is killed during an operation. But life doesn´t stop for the others. After recovering from mourning for his friend, Gopal finally gives into Radha´s desires and they romance for a while, planning wedding. 

But this is Bollywood, and even back in the 60s the rule had to be obeyed – if you´ve not seen the body, the hero is far from being dead and he is going to show up and mess up whatever you´ve managed to built in his absence. And so Sunder reappears, healthy and still as much in love. And Gopal decides the girls is not worth his friend´s heartbreak, and has the two of them wed, without telling Sunder the truth....

Excellent performances by Raj Kapoor and heavenly beautiful Vyjayanthimala leave the third one - of Rajendra Kumar - lag behind somehow, because his character is definitely as well explored as theirs are, and well, because they are better actors. And Vyjayanthimala is definitely the star of the film. The character of Radha was wonderfully realistic. From a young and romantic girl with a huge crush she grows into a mature, responsible woman, who has no need to cry her eyes out because her life took an unexpected turn, and finds happiness and love in spite of it. That is a concept not often seen in Bollywood, most of the time the heroine becomes a walking shadow, never getting over her first love. Radha´s mischief, her pain, her everything was simply believable. Vyjayanthimala´s dancing skills are not utilized, hardly at all, but her comic stint that includes bagpipes and a lamp shade was brilliant.

To be completely honest I genuinely hate stories where two friend both love one girl and they keep pushing her into each other´s arms for the sake of their sacred friendship, without even asking what the heck the girl wants. Every time I wish the girl just lets them have each other and moves on completely. Even here all the selfless dosti was not my cup of chai. 

The ending, after all the anguish I went through with jealousy stricken Raj Kapoor and helpless, desperate Vyjayanthimala, came rather abruptly and definitely did not satisfy me. I would have been much happier if husband and wife could actually sort all that out without anyone needing to run a bullet through his heart. What an unconvincing reason for any marriage to gain happiness back.

I watched the film without subtitles (Yay me! Though some minor things escaped me.) and after a long time actually felt really connected to what was happening on the screen. Classic for a reason.

Awaara

Directed by: Raj Kapoor

Starring: Raj Kapoor, Nargis, Prithviraj Kapoor, Shashi Kapoor, Leela Chitnis

Released: 1951
Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

Sometimes you see sparks of brilliance in a starting artist. They obviously need more time to grow and polish their skill. But that was not really the case of Raj Kapoor. Awaara was his third directorial venture after movies Barsaat and Aag, but instead of sparks of brilliance it completely shines with it from beginning to end. A very talented actor, he was no less amazing behind the camera. With Awaara he not only entered film history, but also proved that if you have capable performers and are able to give everything a form, you do not need a complicated story that would take you on a roller-coaster ride with various unexpected twists or sudden changes of heart. All you need is talent and will. And a lot of belief in what you are doing. Awaara stands as a testament to that.

A story told in a retrospective is, as I have already mentioned, very simple. It tells us about a young aspiring man ruined by life circumstances, but remaining pure in heart, and finally redeeming himself – a pattern very popular through all the decades and witnessed in countless movies from Ganga Jumna to Khalnayak and many, many more.

Mein toh asli khalnayak hoon in this story.

Once young and just married judge Raghunath takes his wife for what is supposed to be a romantic trip into the country. However as soon as they get comfortable in the house she is kidnapped by a goon Jagga. You see, Jagga was not always a goon. But Raghunath, whose greatest belief in life is that „good people are born to good parent and criminals can only conceive more criminals“, convicted him for a crime he did not commit simply because Jagga´s forefather had been bandits, sending him thus to jail. When he is released, Jagga, filled with a huge desire for a revenge, indeed becomes a goon. His plans to ruin the judge by kidnapping and raping his wife are only half-finished. Because Mrs. Judge has recently become pregnant and Jagga immediately comes up with a much better scheme of how to destroy the judge´s happiness and show him that his belief nature always tops nurture just may not be right.

When after several days judge gets his wife back, he is relieved and overjoyed. But as soon as her belly starts to grow so do his doubts and insecurities. While she is looking forward to the baby, he is becoming more and more scared she may have been unfaithful to him, until finally she throws her out of the house right at the moment she goes into a labour. And so his son is born on a dirty street, destined not to know his father (because his saintly mother with no self-respect really never tells him anything about him except praising him) and fight hunger in poverty.

Suffering from sock-ophobia.

Skip ahead a few years and Raj, as the kid is named, is a school-boy. His best friend is rich and carefree girl Rita, but their friendship makes an abrupt end as the girl moves into another city. Raj is at the same time forced to leave school and after his attempts at finding a job fail, Jagga makes an entry into the story again, manipulating the fate of the child according to his wishes and turning him into a thief. Up until he grows up and meets his lost friend Rita (who has grown up to be a lawyer), he never really questions the way he is walking on. 

"There´s new McDonalds across the street!"

 But together with flames of love Raj is soon consumed by flames of guilt and bad conscience. Both are captured gorgeous through several scenes I can imagine must have seem quite daring at the time (bathing together in a pond, changing clothes, singing about making love...) and of course through songs. The iconic Ghar Aaya Mera Pardesi taking place in a dream and showing us both heaven, where innocent and pure Rita of high principles waits for her lover impatiently, and hell, from where is Raj trying to free himself in a desperate attempt to reach the skies. I hope nobody will ever try to re-release Awaara in colour, because the black and white give this particular song a beautiful fantasy quality. All in all the cinematography of the movie seems completely modern. Often the movies technically do not stand the test of time, but Awaara does – another proof of the timelessness of the movie.

Heaven... a classical dance...

Hell.... techno party!

Waiting has never looked more beautiful...

"Swich off that techno please...."

What makes it a pure classic is also a complex painting of all the feelings that can ever enter one´s heart. From vulnerability, love, hate, guilt to anger, revenge, passion, sacrifice and devotion. And all protagonists are perfectly perfect in capturing all those emotions. As someone who has a thing for family ties and clans I was excited to realize Awaara is among other things also a stage for a big family meeting of the Kapoors (although back then they were not yet considered the reigning filmy clan). Prithviraj Kapoor in the role of a judge nurturing his prejudice, is as imposing as he seemed to me in Mughal-E-Azam, only more human and bit less dignified. Shashi Kapoor as a schoolboy Raj, was a delight for my heart. You see, Shashi-ji is a huge crush of mine, and to watch him being adorable and good at such a young age just made my fangirl heart proud.

When huge crushes were little....

The stars of Awaara however (and understandably so) are the leading pair. It was my first encounter with Raj Kapoor the Actor. I had heard a lot about him being great, but was a bit wary since if anything I am a source of unpopular opinions, but all my fears were put to rest in the very first scene itself and I can finally add my voice to his praise. Excellent - that and nothing else can be said about him. He has a certain tragic to him, even when acting joyful. Some curious sadness is his main feature. And all his beautiful effort is met with even more success when he shares the screen with Nargis, who was just absolutely charming, enacting her role with admirable ease. I also need to say that I was initially a bit let down with her looks, that did not fit my idea of „beauty“, but more I watch her, the more I am in love with her face, with her clear profile and bright eyes, expressiveness and purity you feel from her. 

Jodi of dreams....

The gorgeous, gorgeous Nargis...

That much said Awaara did not touch the most inner me, although I cannot really explain why, because it doesn´t lack anything. I did have issues with the character of Raj´s mother, who was just too humble to make her any good. There is a limit to what a woman can take before she should stand up for her own image, even in a world as strongly dominated by men as India fifty years ago, but instead of being all tears over her faithful love to a man who not only disrespected her, but threw her out of his house while she was in labour and never tried to find out what happened to her, I was actually somehow disgusted. When your guy doesn´t deserve your devotion, he just doesn´t, and he can be a hundred times your husband. Not saying she should have hated on him, but the amount of love she still had for him and holding absolutely not even a slightest grudge against him whatsoever was just ridiculous.

Although I personally loved Shree 420, that has not only similar casting but also a similar theme, more, Awaara still remains a must-see. 

Hats off to you sir. Am a fan.