Rodevra Republic

A different lens — how Awara was seen beyond India Today’s song is “Awara Hoon” from the Raj Kapoor film Awara (1951). What is remarkable is the film’s immense popularity outside India, particularly in regions such as Azerbaijan, Turkmenistan, Armenia, and Turkey. In Turkey, the film was released in 1955 and went on to become a major success. It was screened and re-released several times until 1962. The song itself was played on national radio on important occasions — a measure of how deeply it had entered public memory. Raj Kapoor, the showman, had an instinctive ability to connect with audiences across class, language, and geography. Whether through his style or his themes, he found a way to reach people. The Turkish poster (see above) is an interesting example — it presents a more rugged, almost macho Raj Kapoor, and a more sensuous Nargis, both looking outward, perhaps toward a different horizon. What made the song so widely loved? Was it the chemistry between Raj Kapoor and Nar...

  Vanity (1889), by Auguste Toulmouche — a study in quiet self-regard A painting that fits its title, Vanity , almost perfectly. The pose of the woman — hands on her hips, head held high, as she leans forward to kiss her own reflection — leaves little doubt about the theme. There is a quiet self-absorption in the gesture, almost complete. The artist has kept the setting deliberately restrained. The room is understated, almost muted. Apart from the full-length mirror, there is only a console table, holding a vase, a folding fan, and what appear to be small jewel boxes. Nothing here distracts from the central act. Her attire, at first glance, appears simple — perhaps even informal. The bodice is not tightly structured in the manner of formal wear. And yet, the dress reflects the style of the period, with its emphasis on the back — long trains, layered fabric, and carefully arranged flounces. The painting also reveals the artist’s academic realism. There is careful attention to detai...

Rimjhim Gire Sawan No other song brings out the magic of monsoon in Mumbai better than this song. More than the male version, the female version by Lata is the one that evokes the monsoon mood. Not many would know the filming of this romantic rain song was done in unsupervised locations. Amitabh and Moushumi were left to improvise, and the crew went from location to location filming the song in some of the most well-known landmarks of South Mumbai. It was Amitabh's brother Ajitabh who drove the actors from one location to the next. The torrential rains meant that Moushumi's makeup was running colour throughout the filming. For me the male version filmed on Amitabh is exceptional in terms of picturization. The camera work is brilliant with its silky smooth panning shots.  Not much is going on except Amitabh's singing on the harmonium, but the way the camera pans, it engages and involves us in the intensity of the song. It is apparent in the first minute of the song itself. K...