END OF AN ERA
WITH THE FINAL CURTAINS DOWN ON THE ICONIC RK STUDIOS, THOSE WHO HAVE BEEN ASSOCIATED WITH IT TAKE A TRIP DOWN MEMORY LANE
After the commercial failure of his first directorial film Aag, the legendary filmmaker, Raj Kapoor, acted in and directed Barsaat that was shot in RK Studios. The film and his pairing with Nargis became such a box- office hit that it prompted him to use Barsaat's poster image as RK films' logo. The poster had Kapoor holding a violin in one hand, and Nargis in another. The legendary pose is also carved out at the entrance of the studio that for more than 70 years, has witnessed many iconic moments that have been etched in the history of Indian cinema. From Awaara to Ram Teri Ganga Maili,
Raj Kapoor’s last film, the hallowed hallways of the studio have been privy to many memorable events.
But a massive fire at the property last year brought an end to an era. Having endured the legacy for over seven decades, the Kapoors’ have collectively decided to sell the studio sprawling over twoacres. “Yes, we have taken the decision to sell RK Studio. It is already up for sale. After the fire that broke at the studio, it was not economically viable to build the studio again,” Randhir Kapoor had told the media. The fire not only gutted one of the largest shooting floors in Asia, but also the irrecoverable memorabilia such as the mask that Raj Kapoor wore in Mera Naam Joker, costume and jewellery of RK’s leading ladies Nargis and Vyajayanthimala, and the grand piano from Awara, Sangam and Bobby.
“A studio can be built again but the loss of the irreplaceable memorabilia and costumes of all RK Films, is tragic for all. The fire took it away ( sic),” an emotional Rishi Kapoor had tweeted expressing his sorrow after the incident. LEGENDARY SHOWMAN
A friend first and filmmaker later, Raj Kapoor was an epitome of humanity, say the ones who had the opportunity of working with him. A humble, gentle and soft- spoken person, the filmmaker had the utmost respect for his technicians and treated everyone equally. Yesteryear actress Padmini Kolhapure was nine when she first worked with Raj Kapoor as a child artist in Satyam
Shivam Sundaram. The actress calls RK Studios her second home and herself a complete product of the showman. “The premieres of RK Films were much awaited. For the premiere of
Satyam Shivam Sundaram in Delhi, he got me a tailor- made white lehenga by designer Bhanu Athaiya, as white was his favourite colour and he wanted everyone around him to dress in white. But I lost the lehenga on my way back home,” recalls Padmini.
Though he came across as a taskmaster, the actress reveals that he adored his actors and literally put them on a pedestal. “He made them feel comfortable and special. When I was shooting for Prem Rog in Mysore and Bangalore, every day he would send a huge basket of gajras just to make me feel special. He made every actress feel like a queen,” she shares with a smile. From an actor to a producer and director, Raj Kapoor juggled many roles and even played a make- up artist. Vidyadhar D Kamat, a still photographer, who worked with the showman on Satyam
Shivam Sundaram and Ram Teri Ganga Maili remembers how the director was particular about each shot. “He used to sit behind the viewfinder and guide me to see my contents in the frame carefully before locking it,” says Vidyadhar whose father Damodar Kamat shot portfolios of Raj Kapoor, Clockwise from left: Raj Kapoor does Zeenat Aman’s make- up for Satyam Shivam Sundaram; On the sets of Mera Naam Joker; Kapoor brothers during Ganpati at the studio
Nargis, Madhubala, and Dharmendra among others.
Recalling an incident from Satyam Shivam
Sundaram, the photographer shares how Raj Kapoor even enacted a scene for Zeenat Aman.
“He walked up to her and showed her how to play coy and even did makeup,” smiles Vidyadhar.
The photographer cites him as a man, way ahead of his times having made movies like Kal Aaj Aur Kal, Bobby or
Sangam that depicted reality, criticised the society and portrayed the emotion of true love. “He had a great vision of sketching his scenes with precision. In
Sangam, whenever Raj Kapoor, Rajendra and Vyjayanthimala appeared together in a frame they stood in a triangle, interpreting the love triangle between the characters,” he says remembering how he called him ‘ betaji’. “I have never seen him shouting or scolding anyone on the sets, he even respected the spot boy,” he adds. The photographer’s face lights up, as he recalls Raj Kapoor’s birthday feasts that would be relished by the whole unit like a family.
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When I was shooting for Prem Rog, every day he would send a huge basket of gajras just to make me feel special — PADMINI KOLHAPURE