| 1 | '''Prithviraj Kapoor (1906-72)''' |
| 2 | |
| 3 | |
| 4 | Revered actor born in Peshawar (now Pakistan) |
| 5 | as Prithvinath Kapoor. Son of a police officer. |
| 6 | Earned a major reputation on the amateur stage |
| 7 | in Lyallpur and Peshawar. Interrupted law |
| 8 | studies to join Imperial (1929). Acted in |
| 9 | several B.P. Mishra adventure and love stories |
| 10 | (e.g. Cinema Girl, opposite Ermeline, India’s |
| 11 | version of Clara Bow). Starred in India’s first |
| 12 | sound film, Alam Ara. He impressed with a |
| 13 | perfect speaking voice (he never sang). Then |
| 14 | joined the Grant Anderson theatre company |
| 15 | and performed Shakespeare in English, with |
| 16 | special acclaim for his Laertes in Hamlet. |
| 17 | Worked in New Theatres (1933-9), playing the |
| 18 | hero in Hindi versions (Durgadas Bannerjee |
| 19 | often playing the same role in Bengali) of its hit |
| 20 | bilinguals. Broke through with Debaki Bose’s |
| 21 | Rajrani Meera and as Rama in Seeta opposite |
| 22 | Durga Khote. Vidyapati was his crowning |
| 23 | achievement in Calcutta. Chandulal Shah |
| 24 | hired him for the Ranjit Studio (1938-40) in |
| 25 | Bombay, where he acted in some remarkable |
| 26 | melodramas with Kardar (e.g. Pagal) and |
| 27 | Chaturbhuj Doshi (Adhuri Kahani). Bestknown |
| 28 | performance as freelance actor was in |
| 29 | the title role of Alexander the Great in Sohrab |
| 30 | Modi’s military epic Sikandar. The film |
| 31 | heightened his enduring reputation, enhanced |
| 32 | by the role of Emperor Akbar in Mughal-e- |
| 33 | Azam, as the embodiment of Mughal royalty in |
| 34 | Hindi-Urdu cinema (spoofed by K. Shankar’s |
| 35 | Rajkumar). Invested his earnings in the Hindi |
| 36 | theatre, setting up Prithvi Theatres (1944) |
| 37 | where he produced plays while shooting films |
| 38 | at night. Mounted a major play against |
| 39 | Partition, Inder Raj Anand’s Deewar (1945) |
| 40 | which earned him death threats from Islamic |
| 41 | fundamentalists. He persisted with antisectarian |
| 42 | politics, producing the technically |
| 43 | and artistically masterful plays Pathan (1947) |
| 44 | and Gaddar (1948). Launched many new |
| 45 | talents through Prithvi Theatres, including |
| 46 | Ramanand Sagar (Kalakaar, 1952), music |
| 47 | directors Shankar-Jaikishen and Ram |
| 48 | Ganguly (who scored Aag, 1948), all of whom |
| 49 | were later key members of Raj Kapoor film |
| 50 | units. Also launched his sons Raj, Shammi and |
| 51 | Shashi. His main performances of the 50s: in |
| 52 | Shantaram’s Dahej and in his son’s Awara, |
| 53 | which ended on a dramatic confrontation |
| 54 | between the fictional father and son played by |
| 55 | a real father and son. Kal Aaj Aur Kal featured |
| 56 | three generations of Kapoors in a celebration |
| 57 | of feudal patriarchy. While directing Paisa, |
| 58 | adapted from a Prithvi Theatres play of 1954, |
| 59 | he lost his voice, which never regained its full |
| 60 | sonorousness. Had to close his theatre and |
| 61 | reduce his film work. In the late 60s and 70s |
| 62 | acted in several Hindi and some Punjabi |
| 63 | mythologicals. Played the patriarchal lead in |
| 64 | the Saint film Nanak Naam Jahaaz Hai, |
| 65 | credited with the revival of the Punjabi film |
| 66 | industry. Died of cancer in 1972. |
| 67 | |
| 68 | |
| 69 | '''FILMOGRAPHY''' (* also d): 1930: Cinema |
| 70 | Girl; Prince Vijaykumar; Sher-e-Arab; 1931: |
| 71 | Namak Haram Kon; Bar Ke Pobar; Golibar; |
| 72 | Toofan (all St); Alam Ara; Draupadi; 1932: |
| 73 | Dagabaaz Ashiq; 1933: Rajrani Meera; |
| 74 | 1934: Daku Mansoor; Ramayan; Seeta; 1935: |
| 75 | Inquilab; Josh-e-Inteqam; Swarg Ki Seedhi; |
| 76 | 1936: Grihadah/Manzil; 1937: Milap; |
| 77 | President; Vidyapati; Jeevan Prabhat; |
| 78 | Anath Ashram; 1938: Abhagin; Dushman; |
| 79 | 1939: Adhuri Kahani; Sapera; 1940: Aaj Ka |
| 80 | Hindustan; Deepak; Chingari; Pagal; Sajani; |
| 81 | 1941: Raj Nartaki/Court Dancer; |
| 82 | Sikandar; 1942: Ujala; Ek Raat; 1943: Aankh |
| 83 | Ki Sharam; Bhalai; Gauri; Ishara; Vish Kanya; |
| 84 | 1944: Maharathi Karna; Phool; 1945: |
| 85 | Devadasi; Nala Damayanti; Shri Krishnarjun |
| 86 | Yuddha; Vikramaditya; 1946: Prithviraj |
| 87 | Samyukta; Valmiki; 1947: Parashuram; 1948: |
| 88 | Azadi Ki Raah Par; 1950: Dahej; Hindustan |
| 89 | Hamara; 1951: Awara; Deepak; 1952: |
| 90 | Anandmath; Chhatrapati Shivaji; Insaan; |
| 91 | 1953: Aag Ka Dariya; 1954: Ehsan; 1957: |
| 92 | Paisa*; Pardesi; 1958: Lajwanti; 1960: |
| 93 | Mughal-e-Azam; 1961: Senapati; 1963: |
| 94 | Harishchandra Taramati; Pyar Kiya To Darna |
| 95 | Kya; Rustom Sohrab; Gujree; 1964: Ghazal; |
| 96 | Jahan Ara; Rajkumar; Zindagi; 1965: |
| 97 | Aasmaan Mahal; Jaanwar; Jahan Sati |
| 98 | Wahan Bhagwan; Khakaan; Lutera; Shri Ram |
| 99 | Bharat Milap; Sikandar-e-Azam; 1966: Daku |
| 100 | Mangal Singh; Insaaf; Lal Bangla; Love And |
| 101 | Murder; Shankar Khan; Sher Afghan; Yeh Raat |
| 102 | Phir Na Aayegi; 1967: Shamsheer; 1968: |
| 103 | Balaram Shri Krishna; Teen Bahuraniyan; |
| 104 | 1969: Insaaf Ka Mandir; Nai Zindagi; Sati |
| 105 | Sulochana; Nanak Naam Jahaaz Hai; 1970: |
| 106 | Ek Nannhi Munni Ladki Thi; Gunah Aur |
| 107 | Kanoon; Heer Ranjha; 1971: Kal Aaj Aur Kal; |
| 108 | Padosi; Sakshatkara; Nanak Dukhiya Sab |
| 109 | Sansar; 1972: Mele Mitran De; Bankelal; Naag |
| 110 | Panchami; 1973: Naya Nasha; 1976: Bombay |
| 111 | By Nite. |
| 112 | |
| 113 | [[Actor]] |