Mera Naam Joker: too big? Too much?

Publié le 19 Décembre 2011

Father was a clown

The cinematographic monument Mera naam Joker, which was directed, produced and starred by Raj Kapoor took 6 years to complete, cost millions and was a catastrophic flop when it came out in 1972 (see the wikipedia page). No wonder: the first version was more than 5 hours long! And even in its present length of 3 hours 44 minutes, it has two intermissions. Each of its three main episodes could almost be a full feature. Yet the movie has everything one could wish: Raj Kapoor at the steering wheel, a crowd of great actors and beautiful girls, romance, humour, great moments of showmanship: so why the disappointment? On Imdb somebody comes up with this explanation: “This supposedly autobiographical epic tale from Raj Kapoor broke all film-making conventions of '70s India. It was too long, there was no constant heroine and the hero never won.” Indeed, the movie is probably too raj-kapooresque for its own good. It seems it must be an essential piece of incriminating evidence in the enduring blogosphere RK bashing… or is it? Well, here goes, let’s see!

Clown and hero

It opens on a clever piece of self-promotional derision which probably contains the key to the movie’s enigma: some important people, whom at first we now nothing about, are welcomed to the first seats of a circus and when the show begins, we are told in a grandiloquent manner that this is the final show of the company’s well-known clown, Raju. And sure enough, he soon pops out of a heart which represents his love of the stage, of life… and perhaps of himself. But a real funny scene follows: a bunch of hysterical surgeons, as clownish as Raju himself, rush to explain that his heart is too big, he has to undergo an operation, otherwise he will die! He protests, but they drag him to the operation table and in an accelerated Chaplinesque way, fight and fuss around his reclining body before uniting to pull out (with a huge pair of tweezers) the swollen heart. All this while, the VIP onlookers have been seen to wonder at the allegory, which of course is clear: the film is going to be an exploration of Raju’s overgrown heart; we are going to be shown what it costs to love too much. But before we enter the movie per se, let’s listen to Raju’s answer. It sums up both his mission as a clown, and the ambiguity of freedom vs determinism. Whose fault is it if he has loved to excess?

Operate on the world

It’s never a simple task to tell one’s own story. By definition, one is still alive when the task is attempted. So even if one starts with the beginning, childhood, then youth, etc. one is quickly assailed by questions such as: do I say this? Do I leave that unsaid? What will “he” or “she” or “they” think if I dare speak about this event, and what if I don’t? Very cleverly, Raj Kapoor has chosen an avatar of himself, the joker, to deflect what might have been too personal in the story of his life; he has also decided to focus on only three, symbolical, episodes; and unless one knows his real biography, it’s difficult to say whether these episodes even refer to real relationships. Clearly though, there is a progression. We go from aching initiation (Mary), to pure love (Marina), and finally to deceitful seduction (Meena). In itself, this sequence contains a pessimistic teaching: love and happiness do not go hand in hand; one cannot both have a heart and master it. The fact that RK has built his film around these three women also reveals both his strength and his weakness. Any true hero would have been faithful to one only. But the realism of these three figures gives the movie a power that legend doesn’t have. An undercurrent of confession lurks beneath the archetypal characters. Besides, which man, even if happily married all along to one single wife, has loved only one woman in his life? (The same works for women of course). For all its allegorical dimension, Mera naam Joker is thus founded on serious stuff: life itself.

Raju my darling

First icon in the gallery: Mary (Simi Garewal, who cannot act, but this won’t be held against her), the perfect teacher of love. When she arrives in Raju’s class one day, they’re all prepared: this replacement teacher is going to be lampooned big time. But she enters the room coolly, and upon looking at her caricature on the board, says: is this me? Every representative of the male sex present in the room only has to look at her, and then back to the board to admit there’s a huge difference… And she laughs them all into exquisite submission. From then on, a slightly podgy Raju (young Rishi Kapoor) will pour all his love on this not so old educator, just because she has a certain sense of justice and believes everyone should be treated equal, whether lean or fat. The fatso will grow to become the best student in the class because nobody else has ever paid attention to him, and this beautiful teacher will become his guru: simple, isn’t it? Well, only on the surface. Because there are enough signs from Raj Kapoor the string-puller at the back that whatever is presented as a coming-of-age story was in fact (perhaps) a more sombre story. At least for young Raju, if not for Mary herself (whoever she is hiding). Look for instance at this picture of her wedding:

what must he do

Isn’t this almost panicky glance, half-hidden behind the white veil, the sign of a secret which young Raju cannot fathom (or openly admit to)? His question, “What must I do?”: who is actually asking it? Isn’t it Raj Kapoor himself, confronted to existential choices for which his film is a kind of answer? Shouldn’t we understand this interrogation as passing through all the film? What must I do if life and love have made me who I am? Should I hide what I think is most magnificent and transcendent for a man in this world: the love for women and their beauty, just because religion, morals and propriety oblige us to hide it? Of course we have to respect women themselves, their intimacy, their feelings, their own desires. But we owe them the truth which their social role denies them so often. Is it wrong to suggest that a young teacher, the moment she’s getting married, feels an attraction for one of her students? What should I decide (RK might have been saying), knowing that my films are going to reach millions and that what I say, perhaps too daringly, will remain in the public’s memory and shape the educational standards of the next generations? In fact this question of choice or decision is recurrent in the movie:

what shall I do  what-should-he-decide.jpg

Raju himself, and many other characters, are faced with the moral question of which way to choose or which decision to take. In this sense, Mera naam joker is an adult’s movie, and it perhaps isn’t very surprising that it flopped: as a rule, audiences come to watch pictures with a child’s mind: they want clearcut options of what is good and bad, they want goodies and villains, reward and punishment. The kind of complexity which is apparent in the first episode, with Mary the temptress teacher and initiator to desire, is hardly meant for them. 

Object of desire 1 not a child

The second episode with Marina is morally less difficult; it’s more in the aesthetic field. It owes its attraction to Kseniya Ryabinkina, an actual Russian ballet dancer from the Bolshoi, whom RK probably got to know because of his huge success in the USSR, where hits like his Awaara were appreciated. She’s a Madonna type beauty, a Leonardo, with her hair neatly parted on each side, and her wistful airs from a faraway North. Her charm also comes from her ignorance of Hindi, and the slow progress she makes throughout the episode with her funny accent (it was great, I could understand everything she said! I mean, in hindi, not in Russian!).

Marina 1

It’s clear she represents ideal love; she’s an archetype for a love so wonderful and simple that it somehow doesn’t belong to this Earth. Otherworldliness was clear in her job: Marina is a flying trapezist, she swings and jumps far too high for a clumsy clown like Raju to bond with her. Yet the story makes her notice him and, like the legend of the worm in love with a star, she befriends him and caresses him like only angels can. It is within her story that Raj Kapoor focuses on the fourth feminine figure of his film, Raju’s mother. Of course like all mothers, this one desires her son to marry and continue the cycle of life. A lot of good feelings there, perhaps too many for the movie’s good, but well, this is RK’s sensitive chord. He allows himself to show his self-pity in such a way that it’s almost painful. We have to watch Raju moping, Raju whining, Raju’s dejected looks…I wish RK hadn’t let himself become overwhelmed by this sentimentality, and I wonder whether he indulged in it because he thought it would make people love him more, or whether he wanted to expose his fragility and thus get rid of it?

Lying Heartbroken

Nevertheless, what Marina does in the story, the figure she cuts, all this is almost nearly always merry and fun. In spite of the mother scenes, with all its crying and imploring, and in spite of Raju’s self-pitying moments, everything that happens when she is there is bathed in an optimistic light which makes the rest of the film look sombre in comparison. No wonder Raju is so desperate when she leaves. No wonder he is so nostalgic (it is during this episode that we are shown extracts of Shree 420 and Awaara): it is 1972 and for the man he is now, the road is more downhill than uphill. His great successes are behind him, and the kind of love, the kind of fulfilment embodied by Marina belongs to the past. At 48, he cannot hope to find love again.

I love you

I don’t know whether she represents somebody in particular, Nargis for example, with whom RK had an affair; I think I don’t care. Of course if it was clearer, it would have to be taken into consideration. But I believe Marina’s more a construction, an idealization which Raj Kapoor has used in order to represent one aspect of love, and of his loving soul. She comes from Russia: he could easily have imagined that his well-known screen persona had burnt itself in the heart of an innocent and dreamy dievouchka, and from there imagine Marina’s character. Apart from being an angel (the airborne and sauntering Marina leaves on board a plane in a very insistent scene), and a fairy – that’s what Raju’s mother calls her,- Marina is Raju’s poetess and interpreter. She literally translates his message to the world, and makes him understand that, like Jesus leaving his disciples and telling them that if he doesn’t go, how will they receive the Holy Spirit, she has to leave him in order for him to continue his mission as clown and more than clown:

Every clown is a philosopher

Marina’s love belongs not to earthly desire, but to the aspiration towards purity and elevation that we all harbour in our lives. She is the visiting angel which each of us, perhaps, has been lucky to meet once, even if only fleetingly, she is the twinkling star which we can always look up and watch and who can inspire us to be better human beings. After she leaves, Raju and Ustad are observing the departing plane, and Raju, visibly aged and reminded at that moment of the famous song “Awaara hoon” (“my heart is filled with pain, but I wear a smile on my face”), looks straight at the camera and at us, perhaps to ask for forgiveness and compassion:

Raj Kapoor looks at us

After Marina’s departure, Raju has left the circus, or at least that’s what we guess because he’s wandering alone aimlessly. He’s deserted the company of his fellow men, and he’s an orphan in more than one sense. The moment is ripe for his meeting with his last feminine figure, who nevertheless appears to him as a man, or rather as a boy. (We have to accept Raju’s delusion, because for us spectators, Padmini is so obviously - I was going to say gorgeously - feminine, even with her short hair, that we cannot mistake her for a boy!) This encounter is perhaps the most developed, the most meaningful and probably the deepest in terms of autobiographical content (could she represent Vijayanthimala, with whom RK had shot Sangam, and who, even if she denies it, probably had an affair with him). Meena’s story is a complete chronicle of illusion and delusion, of trust and betrayal, which could have justified a movie in itself. Raj Kapoor has portrayed it with consummate art, and including it in Mera naam joker has elevated it to a universality which leaves one wondering what were for him the links of life and the screen. Somehow we’re not so far from Guru Dutt and his meditation on their connection (see kaagaz ke phool). A sense of tragic nostalgia pervades both works.

Raju and love

So Raju meets a boy, called Minoo, and they enter a kind of contract: s/he has a dog, they could train it and start up a travelling circus sort of business. He’s a clown, s/he has a shack where they could live. Soon nevertheless this contract breaks down: Raju discovers Minoo is in fact Meena. He decides to leave her, but she tells him she loves him, and so they stay together. This time she plays feminine roles and is so successful that their little drama shows attract more and more people, among whom professionals who ask them to perform in real showrooms here and there around the country. Finally, one day, Meena is spotted by a cinema producer (Rajendra Kumar) in search for “new faces”: she must choose between her association with Raju and her dream of becoming a movie-star, idolized and famous, at last. The temptation is too strong, and she leaves him.

I'll kill you

There is something profoundly pathetic in Meena’s episode; she genuinely loves and needs Raju, who tells her the truth about herself (“enter the world as your real self”, he says while gifting her a sari), yet she is manipulated by her ambition and thirst for self-accomplishment to the point that she will break his heart, a heart swollen from its love-disease. Inside her, a kind of devil was present from the start, and she has listened to it too much. At least this is what I believe Raj Kapoor is telling us. There is in some women (in men too, arguably, but in women it seems more catastrophic perhaps) a desire to use the beauty and power they have been given from above for their own personal use, and because they have so long and so constantly been deprived of the possibility, they somehow get their revenge on men this way. Such an interpretation of Meena’s attitude is perhaps too strong, but RK’s pessimistic attitude makes me say this nevertheless.

Meena revealed

(this is the moment of revelation, the Kaagaz ke phool / ray of light moment when Meena becomes Paro!)

Naturally things could also have been disenchanted by Raju’s despair and diseased mind: he has been initiated to the intoxication of love and to women’s power, and this makes him a half-consenting victim. He falls into Meena’s ageless trap very easily; her charms operate on him only too easily! And Raj Kapoor delights at both showing them to us (it seems he’s saying: “look how adorable she was”), and denouncing them (“she’s like a devil, she’s impossible to resist”). RK possesses perhaps even more a Dr Jekyll & Mr Hyde ambiguity as Meena herself! Here’s Meena in all her glory:

Meena frightened and lonely

And here she is in her treachery:

Master Minoo and Dr Hyde

There’s even a picture where I fancy RK wanted her to appear almost snake-like, where she implores Raju with her tongue between her teeth:

Meena's snake-like charms

Do you remember this scene? It’s when she wanders after him, alone in her close-fitting sari through the strangely empty and misty streets and in which, it seems, by her very appearance, she causes that extraordinary storm to happen. She first wanders solitary, and finally she finds Raju brooding inside one of the concrete pipes lying around their unfinished neighbourhood: but what a brilliant piece of cinema! It’s both expressionistic and oneiric, reminiscent of the scene of the Fall (Genesis 3) where Adam and Eve, after their sin, are chased away from the garden of Eden by a wrathful God and must seek protection against new forces with no other help than their own, hampered by their guilt and misery, and watched by the frightening new power of their conscience (here in the shape of an enormous eye):

Meena the Eye 1

There’s a drama in this scene which doesn’t seem to correspond to the story. After all, what has happened? Only Raju discovering Meena was in fact a woman… Why does he disappear like that? What is he escaping from? From love? Yes, but isn’t it as much Raj Kapoor himself as his clownish double who is running away? And if this is so, isn’t he making an autobiographical and retrospective statement about the love he has given, perhaps unwisely? Raj Kapoor multiplies, mirror-like, all his warnings and curses against the dangers of excessive love:

Loving an idol

And at the same time, he underlines the various avatars in which Meena appears. Her transmutation from “uncut diamond” to priceless (media) jewel is used to warn his audience against the maya of feminine beauty for which he has, it seems, paid such a heavy price.

Meena looking askance

We are left, at the end of this long review, with the question: What’s a joker? Raj Kapoor fancied himself as a clown, a joker. He has his joker doll which he passes on to each of the feminine figures he meets in his life, but they all reject it. None of them will keep it. It’s difficult to say whether RK wants us to accept this as his destiny, or whether it’s a result of his unlucky starlit life. In one scene with David, Mary’s fiancé (1st episode), he suggests that “God is the greatest joker of all”. I don’t think we should take this assimilation to mean that RK seems himself as god on Earth (at one stage, he’s even “found guilty of being human”), but rather that what he has tried to do, luck and unluck put together, has been a divine mission, that of entertaining crowds through art and fun. Of course the difficulty of passing on this message about himself doesn’t quite merge with the actual entertainment. One doesn’t go to the cinema to have the director tell us, even through a namesake, what mission he thinks he has! So it’s logical MNJ didn’t have for the public the importance it had for RK himself. But being a joker carries also the sorry acknowledgment that RK might have been only that, nothing more… Women don’t want to become the partners of a clown, and perhaps Raj Kapoor’s disillusioned goodbye in the end is telling us that his star-studded path has in fact been more Hell than Heaven? Watch the film and decide for yourself.

Heaven and hell

Rédigé par yves

Publié dans #Film reviews

Pour être informé des derniers articles, inscrivez vous :
Commenter cet article

padminifan 20/10/2012 20:58

I completely disagree with anuradha warriar,I dont know why she is against padmini. In many blogs I read that she dont dont like 3rd chapter because of padmini. i think third chapter is the best
one.with a good twist and turns, and also there are lot of dances in the 3rd chapter.padmini is raj's leading lady after Nargis.He had given importance to dances in the films where padmini is
present.I mean both in jis desh mein ganga behti hai and MNJ. I am waiting for review of RK's jis desh mein ganga behti hai. Because my padmini is present there, Do it please. regards, padminifan

yves 21/10/2012 21:47

Hello padminifan,

Thanks for your visit and encouragement! The reason why certain people like (or don't like) certain other people is very much a personal thing, which isn't easy to tell, sometimes. I loved the
film's last part, I thought it was RK's most personal. But I can see why some might not like it: precisely, too personal, to raj-kapooresque.

I'll definitely do a review of Jis desh mein ganga behti hai: the only question is, when? I've got so many things lined up, that I'm struggling for time and the blog is suffering from
this state of affairs, I'm afraid!

vidya 11/09/2012 19:32

these are what that i read in a famous film the article itis given that mera naam joker is his biographical film.raj considerd nargis as his teacher .he studied lot from her .this is
what he depicted in first chspter- simi represents nargis. raj kapoor and padmini were frnds from 1954 onwards.but it go deeply when both of them meet at moscow ,russia.and raj kapoir asked padmini
to act in his next film jis desh mein ganga behti hai,from a hotel in russia.and thus in second chapter kshiena ( a russian artist ) represents padmini. in the third chapter,padmini represents
vyjayanthimala. The article has about 5 pages regarding raj's relation with nargis, padmini and vyjayanthimala. It also tells that padmini is raj 's fav actress after nargis. I could mail u the
pages if u want.

yves 29/01/2016 12:33

Hi, I don't mind sharing the link to this article, although it's accessible to everyone, but it would be nice if you gave me your name... Thanks!

Anonymous 24/01/2016 04:25

Can You please please share the link of the article here???

yves 11/09/2012 20:33

Thanks very much Vidya for this information, yes I would quite like to have the article if you can send it! Here's my address:

Thanks again!


vidya 10/09/2012 12:09

simi represents rajkpoors first lady nargis kshiena represents second lovelady padmini and padmini represents vyjayanthimala

yves 10/09/2012 14:35

Hello Vidya,

Thanks for the message, but, may I ask: do you know these interpretations from a certain source (which one?) or are they your intuitions?

vineet kumar 14/04/2012 16:24

hi yves,

contrary to popular likes, i loved  THIRD part  the most.

the third part is more mature than the previous 2 parts. especially when raj kapoor fights with padmini over selling off moti (the dog) reveals the widest spectrum of RK's humanism. raju even
considers the dog as a partner of their footpath circus earning's. raju's heart is so big (like the big heart shown in the beginning of the movie), that even animals come into it's ambit.

                                         raj kapoor was one director who potrayed animals
(esp. dogs) very humanistically. be it his caressing and comparing his vagabond life with the dog in AAWARA, or feeding the dog so kindly in JAGTE RAHO, and yet again in MERA NAAM JOKER.

                                             Raj kapoor should be called the
JACK LONDON of hindi cinema for his great potrayals of dogs.


what do u think!!!!!!!!!!!!!!!!!!!!!!




yves 14/04/2012 19:39

Hello Vineet Kumar,

Yes, I'm like you, I think this third part is the best part of the film.

I had never thought of Raj Kapoor as a friend and portrayer of animals, but now that you mention it, I'd say you're right. I'm not sure, but I don't think that anuimals egt a lot of attention in
mainstream Indian cinema. I remember the friendly attitude towards them noticeable in Pather Panchali, by Satyajit Ray, but I believe this is rather an exception.

Zarina 06/02/2012 02:20

Yves, merci pour Votre response. Yes, RK is not so famous in today's Russia but is still generally considered a "great man" by those who know who and what he was (and surely not only by the old
ladies who were 15 to 30 in 1954, like my mother-in-law, now 80 years old, who says that she watched Awaara not dozens but "hundred times" on a big screen). But Bollywood is usually a priori
rejected by the youth and by chauvinistic snobs and by everybody who recognize themselves as intellectuals and think of a Bollywood movie as of a very silly cinema produced "for very simple and
primitive crowds" and are happy to be now, in the post-Soviet era, under strong Western (mostly American) influence and have turned down all the connections with the East. Including India, which
is now only Goa for them. A very few of Bollywood stars and ex-stars (mainly SRK, Aamir, Hrithik, Shahid, Mithun (who is still popular among the generation of 1980s) and Amitabh have a thin but
steady fan following in present Russia. Ranbir, Kareena and Karisma are absolutely unknown here, especially if compared with their granddad. 

As for my own evaluation of his works.  I've seen about 30 films in which he starred and all his directorial ventures. I consider him to be a better film-maker than an actor but sometimes
(and i wonder why not always?) his acting is absolutely mind-blowing. I like his acting in Teesri Kasam, Jagte Raho, Awaara, Shree 420, Aag, Barsaat, Chori Chori, Anari, Phir Subha Hogi, JDMGBH,
Sangam and  - the last but not the least -  MNJ.  So you can see that  i am very fond of his tramp persona, I like it and i have no problems with his so-called mannerisms.
 Among his directorial works i love the 4 great black-and-whites, especially Awaara and Shree 420. The former is of a special significance for me, too personal may be, which is bad for the
real analysis of why is it really so good and why has it such an astonishing and lasting - everlasting -  impact on me and on so many others.  The latter is simply flawless as a movie
(10 of 10) and the must see for the young generations because it possesses the depth of a tale you want to tell your children to raise them good human beings. And i appreciate your review in it,
it was warm, thank you. Of his last works my favourite is the brilliant SSS. And in between lies MNJ which is strange, painful and meaningful, and i really think it was (or is) his greatest.
I use to think of RK as of an underrated or better to say unrecognised artiste, philosopher and poet whose destiny was to end up as a "great showman" which was and is an insult. And he had tried
to defend himself, to explain himself, to save himsef, to reveal himself and to hide himself in the depths of this film, It was a different task compared to all his other films. And he did it -
explained and saved. In fact it was not a commercial film in a commercal world, so its commercial failure did matter only for RK as a producer. But he suffered as an artiste too - because not
everybody wanted to listen to and to understand his explanations. As you have said - the audience were like children. So it was the greatest work, very very important fo him personally and for
those who really want to understand his comlexities. And that Fellini connection. When I saw Amarcord for the 1st time in the mid 70-s, i knew the connection with Raj - esp with the 1st episode
of MNJ. Sorry fo my long speech.


yves 07/02/2012 22:49

Hello Zarina,

Thanks very much for the long and very interesting message! I enjoyed reading it and discover a little what a Russian person today can say about Indian movies! You seem indeed to know a lot about
Raj Kapoor. I join you in your appreciation of the 4 great black and whites as you call them. I see you decern a maximum mark to Shree 420, and I totally concur: it is a classic! I still have to
watch SSS, which is waiting for me to put it in the DVD player!

So thanks for the opportunity to exchange with such savvy people as you, I'm very pleased I am not the only one to be unabashedly fan of the "Great Showman". So many people on blogs deride him
because in fact they don't understand him.

regards, yves

Zarina 05/02/2012 16:43

Yves, thank you very much for this deep analysis of RK' s greatest work. I agree with the bulk of it. If you don't mind, I'll do a Russian translation for the (nowadays alas not so numerous as 5
decades ago) RK admireres here - in the former USSR - who are not able to read in English. 

yves 05/02/2012 21:36

Hello Zarina,

Please, feel free to do whatever you want with the contributions here, you're most welcome. I realise now that Russia being under Western influence much more than in the 60s (cold war permitting
India got all the "exotic" appeal) indeed RK wouldn't be as famous today. Besides, there are other more dashing young things in Indian cinema anyway! RK today is for the seniors reminiscing about
their youth and oldies fans like us!

BTW, I noticed that you said "RK's greatest work": is that the result of a careful evaluation of his works, or is it a cursory appraisal?

thanks for visiting. May I ask what are you involved in?

bawa 24/01/2012 13:19

I think one of the problems was the build-up. The songs were so popular (they were good), and because the keywords were circus, joker, and a trailer photo os Simi with kids, a trapeze
was expected to be a family film. A quality entertainment to take your kids along with you to enjoy the clowns and the acrobats. 

I can perhaps illustrate this with an anecdote. I was 8 at the time, telephones in my small Indian city were not that common and still went through an operator, and I got a telephone call in the
afternoon. From my school. With the nun wanting to talk to me. I went to answer it in wonder (and dread - because what had I done for such strange step) and my parents hovering around to watch me
answer. And it was the Principal wanting me to ask my Dad to ferry them to see "Mera Naam Joker" as he had a car. And he made 2-3 trips to get them all to the cinema. They usually avoided the
cinema totally. I think it was the school scenes which attracted them - and now as a grown up I often wonder what they made of the film!

We were taken to the see the film too (along the same lines) and I think the parenst found it an embarrassment whereas we were just too young to pick up anything other than it was quite boring
once you had seen the clowns and the trapeze artists!

yves 24/01/2012 16:05

Hello Bawa,

Yes, your story makes one wonder about the relationship that used to exist between the film-industry and the public: such mistakes come from the fact that the cinema hadn't yet lost its
"innocence" - something which Raj Kapoor was precisely making it do, in a way.

vineet kumar 22/01/2012 06:23

an interesting write-up at

yves 22/01/2012 16:53

Yes, Very interesting: thanks once again. I've left an evaluation of the comparison between Fellini and Raj Kapoor on the page you indicated.

vineet kumar 12/01/2012 12:01

waiting for your review on remaining RK films, chiefly SSS.

yves 13/01/2012 00:20

Hello Vineet Kumar,

SSS is in the wings, it won't be too long now. I've also bought Bobby recently, which I'm told was an important film in Raj Kapoor's career!

harvey 11/01/2012 17:46

The parallels between Kaagaz Ke Phool and this are amazing, aren't they? They don't resemble in the story and plot but they do resemble in their interpretations by their directors. Both have this
autobiographical touch and teh self-pity of the main protagonist. Both see themselves as the victim. This I think didn't go in well with the audience.

yves 11/01/2012 21:47

You're right, I don't think the audience would have appreciated (in the two senses of the word) this introspective stance where the codes are shifted. And anyway I think cinema that reflects on
cinema is a somewhat sickly enterprise.

vineet kumar 26/12/2011 13:39

great post, yves

u have indeed analyzed the film with a remarkable insight. i find myself lucky as there is a post like yours where i could understand RK's  cinema more clearly. 


looking forward for your review on RK's SATYAM SHIVAM SUNDARAM'(1978).

yves 26/12/2011 19:16

Thanks Vineet Kumar, I will definitely do SSS one of these days.

Have a nice day!

Suja 23/12/2011 07:08

Very well written Yves! I remember the hype before the film was released, it was to be a classic, a magnum-opus, all the magazines said. The songs used to be on the radio well before the
start of the film; I liked many of the songs and could sing along with all of them. So when I finally went to see the film as a pre-teen, the built up excitement was great. On seeing it, I
remember not a feeling of disappointment but a feeling of bewilderment - I did not understand the film at all! I took section 1 as a prologue, waiting eagerly for a happy story to start up, but
of course it didn't! I was still a child and it was outside my cinematic experiences of that time.

I see in your comments section that Padmini's presence was not appreciated. For me it was different - I loved Padmini from the Tamil films I saw. I saw her as a model of good womanhood, a virtous
woman of the hearth, beautiful and talented (she was a great dancer). To see her in this role was very distressing to me, even as a child. It was taking someone beautiful and perfect and somehow
making them ...dirty, sullied...I cant find the right word. But it spoilt the film for me. And I have not forgiven RK for that.

These childhood experiences mark us - though I have listened to the songs every now and then, I never went back to the film. I hope one day to see it again, with an adult's eyes and perhaps I
will appreciate the film for what  it is.

yves 24/12/2011 17:59

Hello Suja,

Hm, thanks for that interesting comment: indeed, MNJ isn't a child's fim, but very much an adut's one, because RK is expecting his audience to understand and forgive him for what he is, what the
industry has made him do. It isn't a feel-good movie intended to satisfy his audience's simple plans - enjoy a good movie and go back home refreshed - perhaps RK had already started suffering
from his sleazy reputation? Padmini in this respect is a perfect character who is presented in a very moral light - we witness her rise and fall as a punishment of her ambition - but Raju is
disturbingly innocented in the process! There is this overall pro domo plea which makes the movie into a rather difficult cinematographical object.

Anu Warrier 20/12/2011 16:59

Yves, then you might be interested in this. I am, and have been a great fan of RK for the longest of time. I know how you feel - about others who slam him. Most people
cannot see beyond his tramp persona, and so dislike everything else about him.

yves 21/12/2011 01:12

Thanks Anu, I had seen this selection of yours some time ago now, but was very plesed to read it again. And I read all the comments: I really miss having had a long life of exposure to Indian
Movies. For me this is still very new. 5 years ago I hardly knew they existed... I've had to catch up, and miss out on much of the trivia, which aren't trivial, they're what has made the history
of films and actors.

Anu Warrier 20/12/2011 16:50

Yves, I liked both Part 1 and 2. Part 3 was spoilt (for me) because of Padmini. However, I did like the story itself.

(I'm not sure whether this will publish twice, the other one disappeared into ether, so feel free to delete the duplicate one. Thanks.)

yves 20/12/2011 16:56

Well, I did get one at least so everything's fine. I also wanted to say I'm pleased that you appreciated MNJ as a movie: so many people hold something against RK that it's nice to talk to people
who aren't up in arms against him.

Anu Warrier 20/12/2011 15:02

Yves, Mera Naam Joker was the film closest to RK's heart, and he was devastated when it failed. Undoubtedly, its immense length had a lot to do with its failure. Seen in hindsight, it's a far
better movie than it first appeared to be, and like Kaagaz ke Phool, made more money in its re-runs than when originally released.

The third part is hard to swallow, because of the point you mention. Padmini was too old and too well-endowed to play the role of a young girl disguised as a boy. The finest part was definitely
the first - Rishi Kapoor received a well-deserved National Award for his role as the young Raju.

Despite its flaws, and it has many, it is still one of my favourite RK movies.



yves 20/12/2011 16:37

Hello Anu,

Thanks for your visit: it's interesting that you chose the first part for your preferred; I would have chosen the second one, or perhaps even the third, even if it's the most painful. But there's
so much of RK's heart there, in spite of the pain. The second part is for me the brightest, where Raju is made to contemplate love at its purest.

cheers, yves