AwāraRaj Kapoor S Awara, Released Over Half A Century Ago, Is Widely Regarded As A Classic Of Indian Cinema. With Its Socialist Message, The Unprecedented Intensity Of Its Central Romance, The Memorable Songs And The Hugely Popular Character Of The Vagabond The Tramp As The Quintessential Common Man The Film Captured The Imagination Of A Young, Independent Nation. It Also Made Raj Kapoor Perhaps The Most Famous Indian In The Erstwhile Soviet Union, China And The Middle East. In This Award-Winning Book, First Published In 1992, Gayatri Chatterjee Examines Every Aspect Of Awara To Try And Understand Not Just Its Popular And Enduring Appeal But Also Its Intrinsic Merits As Pure Cinema. By Situating It In A Historical, Social And Political Context, And Decoding Key Shots, Sequences And Songs, She Analyses The Different Levels At Which The Film Works. Containing Over 100 Photographs, This Exhaustive Study Brilliantly Uses A Single Landmark Film To Investigate The Complex And Often Fascinating Phenomenon Of Popular Cinema In India. |
Contents
The Naming of Characters | 1 |
The Father and the Other Generations | 12 |
the Women | 31 |
Copyright | |
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Abbas actor ambivalence Andaaz asks audience Awara awarapan Barsaat becomes belong Bombay camera Chaplinesque chapter chorus close-up comes composition conflict courtroom sequence create dance Devdas dialogues Dilip Kumar director discussed entire established face fact father feminist criticism filmmaker frame genre gift girl heart hero heroine Hollywood ideal Indian cinema Indian film Jugga Karmakar Kewal kitsch Leela look male melodrama Mera Naam Joker mode Mother India motifs Nargis narrative once patriarchal Photograph piece played popular cinema Prithviraj Kapoor Pyaasa question Raj Kapoor Raj's Randhir Kapoor reason relationship representation Rita and Raghunath Rita's romantic says scene scopophilia seen Shashi Kapoor shot shown singing social society star story style talk theatre thematic theme things title cards tradition Trimurti turn V.P. Sathe Vaishnav vice-den Vilwamangal violence visual voice Western woman women words