Bollywood royalty. The Kapoor khandan has inherited the label along with the legacy. From silent movies to booming blockbusters, the contribution of the Kapoors to entertainment has been immense. Indisputably, the family shines as a bright constellation in the cinematic galaxy. Viewed as India's crucial cultural ambassadors to the world, as actors/filmmakers their work remains relevant even as the current generation has taken centre-stage. Patriarch Prithviraj Kapoor was the pioneer of Indian theatre and film and founded the travelling theatre company Prithvi Theatres in 1944. His passion was taken forward by sons Raj Kapoor, Shammi Kapoor and Shashi Kapoor forming the second generation of Kapoors. If Raj's films combined utopian socialism with soft erotica, 'Yahoo' Shammi's 'jazz, jive and jumps' made wooing a high-impact expression. Avant-garde Shashi, who strode both commercial and parallel cinema, also furthered his father's Prithvi Theatre. Their exceptional trajectories could not have been possible without their supportive wives. Raj's wife, the late Krishna Kapoor's grace won her the title of 'First Lady' of the fraternity. It was Neila Devi's devotion that helped a shattered Shammi Kapoor piece together the fragments of his life after losing first wife, Geeta Bali. Shashi was distraught after losing wife Jennifer Kendal, who anchored his life and lifestyle.
Entrepreneur Aditya Raj Kapoor, son of the late Shammi Kapoor, shares insights about the three brothers - Raj, Shammi and Shashi - whom he observed in close proximity. "Only a Prithviraj Kapoor could have sired such a bloodline. By choice, I have stayed far from the 'life and breath' of the industry. Though at one point I did nurture dreams of celluloid greatness," smiles 69-year-old Aditya, who's just completed his Masters in Philosophy. "What we have inherited from these legends is our zest for life and the movies. Rajji wove music and message into cinema, Shammiji celebrated the rhythm of life and Shashiji its layered possibilities. I wonder if destiny planned this package of performers/filmmakers all in one family just to create a cinematic heirloom. I guess it did," he asserts. In Aditya Raj Kapoor's own words:SHOWMAN RAJ KAPOORThe persona of my Dadaji Prithvirajji (Kapoor) was gigantic. The three sons, who succeeded their legendary father, my eldest uncle Raj Kapoor, my dad Shammi Kapoor and youngest uncle Shashi Kapoor, also left an indelible stamp given their individual style, sensibilities and star power. Rajji was seven years older than Shammiji, who was older to Shashiji by seven years. Actually, two sons born after Rajji to my Dadi Ramsarni Devi Kapoor had passed away. Hence the difference of years. Rajji was like a father figure to his two brothers and their sister Urmila Sialji. Shammiji and Shashiji looked up to Rajji to lead the way forward and so did their children. These include Rajji's children Randhir (Kapoor), Ritu (Nanda), Rishi (Kapoor), Rima (Jain), Rajiv (Kapoor), Shammiji's children including my sister Kanchan (Desai) and me and Shashiji's children Kunal (Kapoor), Karan (Kapoor) and Sanjana (Kapoor). Rajji was protective towards all.I remember my father Shammiji telling me that when he wanted to buy his first car he asked Rajji for a loan. Instead, Rajji signed a blank cheque and told him to buy one. When my mother Geeta Bali passed away in 1965, Rajji insisted that my dad Shammiji, a grieving widower, stay in his house for three-four months. This was at the height of Shammiji's career. I am told that Randhir had to give up his room for dad. Rajji's wife, Krishnaji (Kapoor) nursed dad back to fighting fit or rather 'dancing fit'! Shammiji went on to complete Teesri Manzil (1966), which awaited his return from mourning.
Rajji earned early success as an actor and at the age of 24 founded R. K. Films. He made his directorial debut with Aag in 1948. Making socially relevant and conscience-stirring films including Andaz, Barsaat, Awaara, Aah, Shree 420, Chori Chori, Jagte Raho and Prem Rog, Ram Teri Ganga Maili in the '80s, Rajji packaged his message with commercial craftsmanship.
Rajji sought self-identity through his films, through his characters. He's also referred to as the 'Charlie Chaplin of Indian cinema'. Charlie Chaplin as the 'Little Tramp' inspired Rajji. Chaplin represented hope against hopelessness, something Rajji also personified in his black and white films. When black and white turned into colour, the 1964 Sangam being Rajji's first colour film, the 'tramp' became the Showman. Rajji realised his eminence in the artistic and commercial platform of cinema. His persona and projects were considered larger-than-life. The annual R.K. Holi celebration at R.K. Studio was an event to watch out for. It started with a prayer to his late parents and then the sprinkling of colour on all present, followed by a dip in the tank near his cottage. The event was attended by A-listers. They came to the party in white and went back