Raju lives as a derelict as a result of being estranged from his bitter father, a district judge, who threw Raju's mother out of the house years ago. Raju shacks up with a Dacoit (... See full summary »

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(dialogue) (as K.A. Abbas), (screenplay) (as K.A. Abbas) | 2 more credits »
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1 nomination. See more awards »

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Cast

Cast overview, first billed only:
Prithviraj Kapoor ...
Justice Raghunath (as Prithviraj)
...
Rita
...
Raj Raghunath
K.N. Singh ...
Jagga
...
Young Raj (as Shashiraj)
Cuckoo ...
Bar Dancer
B.M. Vyas ...
Dubey (Rita's Father)
Leela Mishra ...
Mr. Raghunath's Sister-In-Law (as Leela Misra)
Baby Zubeida ...
Young Rita
...
Leela Raghunath
Honey O'Brien
Om Prakash Mehra ...
(as Om Parkash)
Raju ...
(as Rajoo)
Mansaram
Rajan
Edit

Storyline

Raju lives as a derelict as a result of being estranged from his bitter father, a district judge, who threw Raju's mother out of the house years ago. Raju shacks up with a Dacoit (pickpocket bandit) as his surrogate father only to realize that the man is actually responsible for the original misunderstanding between his parents. Raju kills him, and then tries killing his father, but fails, is arrested, and is taken to court right before his very own father, who presides there as the Judge. Raju has his childhood girlfriend as his legal representative, and the onus is now on his father, who must pass judgment without showing any personal sentiment. Written by rAjOo (gunwanti@hotmail.com)

Plot Summary | Add Synopsis

Genres:

Drama | Musical | Romance

Certificate:

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Details

Country:

Language:

Release Date:

7 April 1956 (USA)  »

Also Known As:

The Tramp  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Awaara was the first film to be shot at the R.K. Studios. See more »

Connections

Referenced in Izzat Ki Roti (1993) See more »

Soundtracks

Awara Hoon
Sung by Mukesh
Music composed by Shankarsingh Raghuwanshi and Jaikishan Dayabhai Panchal (as Shankar-Jaikishan)
Lyrics by Shailendra
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User Reviews

 
Simplistic but entertaining.
11 August 2008 | by (Denver, CO) – See all my reviews

Ah, the Indian film industry. The only place where it's acceptable to burst out into song regardless of the depressing, dire straights of turmoil you may find yourself in. While it wasn't as jarring as having characters belt out jaunty numbers in the middle of their family crises in Mother India, Raj Kapoor's Awara is most definitely melodramatic enough to have the singing seem both out-of-place and completely appropriate.

The film is a bit of a social plea to LOOSEN UP, depicting a harsh but respected judge (Prithviraj Kapoor, the director's own father) who sentences an innocent man on the conviction that a criminal's son would end up on a criminal. His blind belief is put to the test when he is estranged from his wife and son, Raj (director Raj Kapoor), who in turn grows up to become a petty thief.

The film's plot, criticism and metaphor are fairly obvious, and the film is of course WAY too long (at a whopping 168 minutes), but more fascinating to examine is the relationship between Raj Kapoor and his father Prithviraj. Is it just a matter of both being actors so playing father-son helps the resemblance, or is there some sense of offspring rebellion, that his father expected his son to synthesize his steps incrementally, and that the son, despite the fact that it DID come true, still resents the father for pushing so hard? This is all speculation, but it's intriguing stuff.

As for the film, the leads are what keep this bloated ship afloat. Both Kapoof men, as well as the coincidental female love interest Nargis (who he keeps seeming to run into AND was adopted by his dad, who has a kind of creepy subtextual desire in his eyes about her). There's an extended dream sequence packed into the middle of the film brought to mind the finale of the same year's An American in Paris, in that it is impressive and beautiful, but ruins the flow of the film and serves no bearing to the plot at large. Every subtext of the sequence has already been spelled out, and it proves an unwelcome impediment to the resolvement of the plot.

The film's last reels involve a genius bit of setting, as some of the most nakedly emotional moments in the film are set on an extremely windy beach, getting around the criticism of the 'wind in the hair' cliché by positing its characters in a place where that sort of wind could be expected. It gets that sort of grandiose, but never falls apart, and despite its length and simplistic plot, it never lost me for good, and although it didn't knock me out like the greatest of Indian cinema, it was definitely a worthwhile marathon jaunt.

{Grade: 7.75/10 (B/B-) / #12 (of 16) of 1951}


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