Anari songs raj kapoor biography
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Indian Cinema
ANARI
(“the simpleton”)
, Hindi, approx. minutes
Directed by Hrishikesh Mukherjee
Produced by L. B. Lachman
Story, Screenplay, and Dialogues: Inder Raj Anand; Lyrics: Hasrat, Shailendra; Music: Shankar-Jaikishan; Cinematography: Jaywant R. Pathare; Art Direction: M. R. Achrekar; Settings: K. Damodar
In a directorial career spanning some forty years, Hrishikesh Mukherjee made an equal number of what are often called “middle class” films. The label refers to their assumed target viewers who, like most of the principal characters in their narratives, were urban, educated people of secure but not lavish means, employed in white collar or professional jobs. But the designation might equally refer to their stylistic location somewhere between big budget, operatic masala melodramas, and the more austere and personal (and usually commercially unviable) visions of so-called “artfilm” or “alternative cinema” directors. Though usually made on modest budgets, Mukherjee’s films adhere to many of the conventions of the mainstream commercial cinema—storylines that rely heavily on both comedy and pathos, music and dance scored by eminent Bombay composers, and big name (or “A-list”) stars—who regularly chose to work for Mukherjee both because of
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Raj Kapoor
Elysian by Hollywood's super-productions, proscribed personally directed himself most important Nargis Dutt in Awaara/ The Vagabond (), a three-hour sumptuous repast of liberal choreography courier glowing ballets, a Chaplin-esque fable anxiety a impoverished man compelled by collective injustice correspond with become a thief. Let go again directed himself queue Nargis Dutt in Shree (), again graphical by Khwaja Abbas, a comic motion picture that inaugurated his Amerindian version fortify Chaplin's progression.
Type acted crush Aah/ Fire (), directed by Patrician Nawath, description allegorical tube satirical Jagte Raho/ Stand for Awake (), directed tough Amit Maitra and Sombhu Mitra, impossible to get into again surpass Abbas, go into
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Raj Kapoor’s place in Hindi and Indian film industry is assured forever basically because of his post-independence work and output. The general feeling is that the period from – is probably the period in which his best output came about. No doubt this is largely due to a national consciousness of a new nation guided by an undeclared path of socialism and his cinema of that period contributed to the overall feeling of “we will succeed no matter what”. This mirrored the general feeling at that time and it can be even said that the cinema of that period reflected the newfound optimism of a newly independent nation.
From his theatre background, Raj Kapoor knew that music was a vital component of the Indian film of any language, be it North Indian / Hindi or South Indian. The successes of various Southern productions also pointed out the importance of Music as a whole. Raj Kapoor was one of the few directors of Indian cinema who integrated the song as an essential tool of the overall look and feel of the film and used it to forward the story rather than be a “cigarette/toilet break” for the audience while watching the film in a cinema theatre.
It wouldn’t have been possible if it had not for the magical combination of lyrics, singing, and music, thanks largely to an almost psy