RK’s “Awara” Barsaat still stirs the industry
In the Vintage of Bollywood, where destiny, identity, and morality often collided on screen.
Raj Kapoor fresh from the success of Barsaat, Raj Kapoor instantly recognised the brilliance of Awara and vowed to direct and produce it himself. Little did anyone know that this tale, echoing themes later seen in hits like Parvarish and Paap Ki Duniya, would turn out to be one of Hindi cinema’s most enduring classics.
One story dared to ask a deeper question: Is a person truly shaped by birth, by company, or by circumstance?
What began as a powerful idea by writers Khwaja Ahmed Abbas and BP Sathe travelled from Mehboob Khan’s doorstep to the heart of Raj Kapoor’s creative world.
Prithviraj Kapoor initially agreed to act in Awara with great reluctance, as he was not keen on Raj Kapoor directing the film. Interestingly, Raj Kapoor’s grandfather, Bashveswarnath Kapoor, also appeared in Awara, portraying a judge. Raj Kapoor cast Nargis as the leading lady, with Leela Chitnis and KN Singh in pivotal roles. A young Shashi Kapoor played Raj Kapoor’s childhood character. The film also marked the first time Raj Kapoor adopted the iconic ‘Little Tramp’ look inspired by Charlie Chaplin, one he later repeated in Shree 420.
Awara hit the cinema halls on December 14, 1951, under the RK banner. Raj Kapoor’s
on-screen mother, Leela Mishra played as the sister-in-law, Kukku as a bar dancer, and KN Singh as the feared bandit Jagga. The celebrated duo
Shankar-Jaikishan composed the soundtrack. Hasrat Jaipuri penned four songs, while Shailendra wrote eight. At the time, Shailendra was working in the Railways and nurturing his love for poetry.
Shailendra’s collaboration with Raj Kapoor has a fascinating backstory. Raj Kapoor first noticed him at a 1946 poetry conference. Although Raj Kapoor later invited him to write for films, Shailendra initially refused. However, amidst a difficult phase, he approached Raj Kapoor, who paid him Rs 500 to write two songs for Barsaat. When Raj Kapoor approached him again for Awara, Shailendra once more declined, until Raj Kapoor persuaded him to meet writer Khwaja Ahmad Abbas. Upon hearing the film’s premise, Shailendra immediately responded with the line: “He was a vagabond, yet a star in the sky.” Khwaja Ahmad Abbas was thrilled. A two-hour story had been distilled into a single poetic line. Shailendra’s film journey began here, and he would go on to create musical history with Shankar-Jaikishan.
The Shankar-Jaikishan duo, who catapulted to fame with Barsaat, reunited with Raj Kapoor for Awara. The screenplay and dialogue were written by Khwaja Ahmad Abbas, and the film’s art director MR Achrekar designed its iconic sets.
Awara also introduced Hindi cinema’s first dream-sequence song, shot on an elaborate set that took three months to construct. The nine-minute sequence consisted of three parts, two sung by Lata Mangeshkar.
One of the film’s most unforgettable songs, Ghar Aaya Mera Pardesi, was inspired by a 1935 Arabic composition, Ala Balady Al Mahboub, sung by Oum Kalthoum. Following the success of Barsaat, Raj Kapoor invested heavily in building RK Studios, and Awara further strengthened his reputation. Shamshad Begum lent her voice to Ek Do Teen, Aaja Mausam Hai Rangeen, written by Shailendra, a phrase later reused famously in Tezaab. Shailendra also wrote the timeless title track Awara Hoon, while Hasrat Jaipuri wrote Hum Tujhse Mohabbat Karke Sanam, sung by Mukesh, whose second stanza cleverly referenced Raj Kapoor’s films Aag, Barsaat, and Awara.
Awara turned out to be the highest-grossing film of 1951, grossing nearly Rs 2 crore, a collosal figure for the time. The film is now considered a landmark in Hindi cinema, with its songs still cherished across generations. Its box-office record was eventually surpassed by Mehboob Khan’s Aan in 1952.
News Edit KV Raman
