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Shree 420 (1955)
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Overview
User Rating:
Release Date:
6 September 1955 (India) morePlot:
Wearing torn Japanese shoes, English trousers, a red Russian cap, and a Hindustani heart, orphaned Ranbir Raj comes to Bombay to make his fortune... more | add synopsisAwards:
2 wins moreUser Comments:
Kapoor's technique moreCast
(Cast overview, first billed only) | Nargis | ... | Vidya Omkarnath Shastri |
 | Nadira | ... | Maya |
 | Raj Kapoor | ... | Ranbir Raj / Raj Kumar of Pipli |
| Nemo | ... | Seth Sonachand Dharmanand |
| Lalita Pawar | ... | Ganga Mai |
| M. Kumar | ||
| Hari Shivdasani | ... | Philachand |
| Nana Palsikar | ... | Gambler with goatee |
| Bhudo Advani | ... | Gambler |
| Pesi Patel | (as Pessi Patel) | |
| Ramesh Sinha | ||
| Rashid Khan | ... | Radiwala |
| Sheelavaz | (as Sheila Vaaz) | |
| S.P. Berry | ||
| Kathana |
Additional Details
Parents Guide:
Add content advisory for parentsRuntime:
168 minCountry:
IndiaLanguage:
HindiColor:
Black and WhiteSound Mix:
Mono (RCA Sound System)Filming Locations:
R.K. Studios, Chembur, Mumbai, Maharashtra, IndiaFun Stuff
Soundtrack:
Mera Joota Hai Japani (part II) moreFAQ
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Shree 420 is a classic Bollywood "social" of the 1950s. Its romanticized populism deserves comparison to Frank Capra's films. As in Kapoor's earlier Awara, the hero is a Chaplinesque tramp, another vagabond (as in Awara). Poor but honest (and happy), he falls in love with Vidya (Nargis), but is soon tempted to partner with a fat millionaire who makes money through fraud. Raj soon becomes rich but just as quickly regrets his choice, with Vidya serving throughout as the voice of his conscience. Songs in Kapoor's films are classics, but beyond their quality, the way Kapoor uses them is an important aspect of his directorial technique. In a pivotal scene, Raj (Kapoor's hero shares his first name) staggers drunk from a nightclub to encounter a stone-faced Vidya outside her poor home. The narrative problem here is that she – and the viewer – must condemn Raj but, at the same time, the movie has to communicate that she still loves him. Kapoor deftly solves this problem by showing Vidya staring coldly while a white-robed specter of Vidya sings a love song to the departing Raj: two Vidyas, one who censures him, another who reaffirms her love for him. And a good song. Imagine how a Hollywood film might resolve this. How many words would it take? How many tears? Kapor allows the stone-faced Vidya to image our disapproval while the spectral Vidya's song reveals what is going on in her mind.