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
Shashi Kapoor ...
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
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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

Raj ('Raj Kapoor') is given prisoner number 308 which is the same as article number of Indian Penal Code for which he was charged and tried. Article 308 of Indian Penal Code is about the charge of 'Attempt to commit culpable homicide'. See more »

Connections

Referenced in Khoya Khoya Chand (2007) See more »

Soundtracks

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

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User Reviews

 
A Dog's Life
5 October 2013 | by (Derby, UK) – See all my reviews

This is a classic Bollywood movie and seminal Raj Kapoor - Nargis vehicle, forcing home to the audience all manner of stereotypes, prejudices and assumptions before systematically dismantling them all with a sledgehammer. It was another of RK's successful and respectful attempts at mass entertainment mixed with mass education, generations later it's all so obvious that unfortunately we can lose sight of how much good it did at the time and just how well-intentioned it was.

I was watching the colourful Suraj a while ago and was reminded of old black and white Awara which I hadn't seen in decades – it's another take on once a bandit's son always a bandit's son; or, Blood vs Destiny. Delinquent wastrel and felon Raj is the kicked about son of a strict old-fashioned judge (played by Prithviraj) which neither of them realise, he and childhood friend Nargis who is now the judge's ward fall in love and, well, it spirals out of control for everyone. Is it Nature or is it Nurture that has made him a proud tramp? Some lovely noirish photography and atmospheric flashback scenes complement a melodramatic storyline, and there's even time for an admirable dream/nightmare sequence. It's a marvellous, if very contrived film with plenty of ideas, some tremendous images and great music by Shankar

  • Jaikishan as it is but as usual for me whenever the incomparable Lata


sings it's turned into something even more special. Favourite bits: Nargis never looked lovelier or more iconic throughout but Aa Jao Tadapte Hain Arman with RK stroking her hair takes top prize; the literally dreamy and fascinating Tere Bina Aag Yeh Chandni; and RK does his anthem Awara Hoon too. According to Lata it took a whole night to record the music for the dream sequence.

So many sincere films made over the last 50 years have no morality, at the most charitable most don't even know the meaning of the word; so what's so bad about a film having too much? Nothing wrong at all with Good beating Evil! Imho, even though poverty still breeds crime while Our Betters still deny it, Raj Kapoor's finest film.


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