The film is based on travelogues of XV century Russian traveler Afanasy Nikitin called “A journey beyond the three seas”

Pardesi.1957.Hindi.576p.JC.WEB-DL.x264.AAC.2.0.MSubs-Rea.mkv

General
Container:	Matroska
Runtime:	1h 37mn
Size:	1.61 GiB
DXVA:	Compatible
Minimum settings:	Not met
Video
Codec:	x264
Resolution:	720x576
Aspect ratio:	5:4
Frame rate:	25.000 fps
Bit rate:	2 300 kb/s
Audio
Hindi 2.0ch AAC LC @ 64.0 kb/s

https://nitro.download/view/FE43FD171CF71FE/Pardesi.1957.Hindi.576p.JC.WEB-DL.x264.AAC.2.0.MSubs-Rea.mkv

Language(s):Hindi, Russian
Subtitles:English, Arabic

The post Khwaja Ahmad Abbas and Vasili Pronin – Pardesi (1957) first appeared on Cinema of the World.

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

Awaara.1951.1080p.WEB-DL.DD+2.0.H.264-SbR.mkv

General
Container:  	Matroska
Runtime: 	2 h 47 min
Size: 	7.55 GiB
Video
Codec: 	h264
Resolution: 	1920x1080 
Aspect ratio:  	16:9
Frame rate: 	25.000 fps
Bit rate: 	6 232 kb/s
BPP: 	0.120
Audio
#1:  	Hindi 2.0ch E-AC-3 @ 224 kb/s

https://nitro.download/view/C655188FEFDF183/Awaara.1951.1080p.WEB-DL.DD+2.0.H.264-SbR.mkv

Language(s):Hindi
Subtitles:English

The post Raj Kapoor – Awaara AKA The Vagabond (1951) (HD) first appeared on Cinema of the World.

Plot summary:
Two friends from the city with contrasting beliefs about love take their annual holiday in the country. One is a “love ’em and leave ’em” philanderer, the other is waiting for Miss Right. Whilst Gopal (Premnath) callously uses and then discards Neela (Nimmi), the sensitive Pran (Raj Kapoor) finds the love of his life when he meets Reshma (Nargis). But for neither man will the the consequences of these meetings be without anguish.

Barsaat.1949.576p.AMZN.WeB.DL.AVC.DDP.2.0.Dus.mkv

General
Container:	Matroska
Runtime:	2h 43mn
Size:	1.90 GiB
Video
Codec:	h264
Resolution:	768x576
Aspect ratio:	4:3
Frame rate:	24.000 fps
Bit rate:	1 438 kb/s
Audio
Hindi 2.0ch E-AC-3 @ 224 kb/s

https://nitro.download/view/C2E32B41672D5D4/Barsaat.1949.576p.AMZN.WeB.DL.AVC.DDP.2.0.Dus.mkv

Language(s):Hindi
Subtitles:English

The post Raj Kapoor – Barsaat aka Rain (1949) first appeared on Cinema of the World.

Quote:
In Raj Kapoor’s own words, Aag is “the story of youth consumed by the desire for a brighter and more intense life.” Kewal and Nimmi are childhood sweethearts who share a passion for theatre. They promise each other that when they grow up, they will together start their own theatre company, an unfulfilled dream as Nimmi and her parents move to another town. Years later, two young men Rajan (Prem Nath) and Kewal (Raj Kapoor) revive an old theatre that closed down. One day, a young destitute girl (Nargis) comes to the theatre and begins to act in Kewal’s plays. Fascinated by her, Kewal names her Nimmi. But when he discovers that Rajan is also in love with her, he steps aside only to realize that Nimmi loves him….Aag was the debut of Raj Kapoor’s astounding career as one of Indian cinema’s most illustrious directors and was the first time Nargis and Raj Kapoor came together as a romantic on-screen couple.

Until his death in 1988, Raj Kapoor was a Hindi megastar whose popularity in his native land has perhaps only been equalled by Amitabh Bachchan. Aag (Fire) was 23-year-old Kapoor’s debut as a director and producer, and marked the beginning of a successful movie partnership with the actress, Nargis (they would go on to appear in a further 14 movies together through the late forties and fifties). Although he was already an established actor, Kapoor still had difficulty finding a distributor for this film, which was the first to be produced under his RK Films banner, and vividly remembered (perhaps with a little romantic hindsight) carrying the cans of film from office to office in his search for distribution. Considering his age, and the fact that many of the cast and crew were still in their twenties, the film stands as both a remarkable achievement and testimony to the talent of a man working in a country whose cinema is often overlooked and under-rated by western audiences.

Aag tells the story of Kewal, an intense and passionate young man, haunted by memories of Nimmi, his childhood love, from whom he was parted when Nimmi’s parents moved to Bombay. Kewal and Nimmi shared a love of theatre that remains with him, and to which he turns when he fails academically. Teaming up with Rejan (Prem Nath) a wealthy young man with artistic aspirations, Kewal begins a theatre troupe in an old theatre owned by Rejan, and hires a destitute girl (Nargis) as his leading lady. As the opening night draws near, a romantic triangle forms that leads to tragedy…

In Kewal, writer Inder Raj Anand has created a typically romanticised version of Indian youth, infused with an improbable and highly idealised view of love and noble intentions. Kewal suffers an angst derived not so much from the rejection of social values typified by the western anti-hero that would become something of a stereotype after James Dean in the fifties, but from a desire to conform, to win the approval of his parents, and to present his view of love to the public through his plays. But there is also a darker side to Kewal, sparked by his search for his childhood love. This is something of a half-hearted search, it has to be said; Kewal doesn’t so much look for the real Nimmi as search for traces of her in every woman that he meets. The juxtaposition between such an intensely romantic story within the dark and brooding framework in which it is set is tangible, and works extremely well. We watch the ten-year-old Kewal, from the POV of the bus that is taking Nimmi from him, growing smaller at the end of a rutted, dusty road, and it is this theme of loss and unfeeling fate that overshadows both the film and Kewal’s life.

The reason for Kapoor’s enduring popularity in his homeland was his keen understanding of what a commercial audience was looking for and, despite the dark nature of the film – and there is a wonderfully expressionistic use of shadows and light throughout that will please those with a deeper understanding of film – he manages to include a number of popular songs, and that brand of overwrought acting, so popular with Indian audiences, that veers dangerously close to histrionics. The result is that there is an occasional inconsistency in tone that grates a little, and a lengthy running time in which the basic plot could have been told twice over by a western director. Despite this, Aag is a fine example of the heights Bollywood can reach, and acts as an antidote to the kind of lightweight, dance-filled pap so often churned out these days by the Indian studios. ~ IMDb

1.37GB | 2h 37m | 640×480 | avi

https://nitro.download/view/CFBC23F34CE7699/Aag.1948.Raj.Kapoor.avi
https://nitro.download/view/F1D7BB67B8EFF73/Aag.1948.Raj.Kapoor.srt

Language(s):Hindi
Subtitles:English

The post Raj Kapoor – Aag aka Fire (1948) first appeared on Cinema of the World.

This much-discussed film was Kapoor’s first to feature his trademark Chaplinesque character “Raj/Raju” (“little Raj,” though the homage to Chaplin is less pronounced than in the sunnier SHRI 420), here a hapless “vagabond” (avaaraa) who, as the film opens, is on trial for the attempted murder of a pillar of society, Judge Raghunath (brilliantly played by Prithviraj Kapoor, R. K.’s real-life father). He is defended by a beautiful young lawyer, Rita (Nargis), an orphan who also happens to be the Judge’s ward. Her interrogation of the latter leads to a long flashback that occupies most of the film. Its opening segment evokes the Ramayana, with Judge Raghunath (an epithet of Rama) abandoning his pregnant wife Leela (Leela Chitnis) because he wrongly believes she has been raped during a brief abduction by the robber Jagga (K. N. Singh), and the Judge’s conviction that the “seed” of a criminal necessarily seals the fate of his offspring (ironically, we learn that Jagga only became an outlaw after being wrongly convicted of rape by the same Judge). Leela raises her son in the Bombay slums, slaving to send him to school so that he may become a lawyer and judge like his father, but with Jagga always hovering in the background, intent on luring him into a life of crime. As a schoolboy, Raj falls in love with the carefree Rita, despite the class gulf between them, but Judge Raghunath (a friend of Rita’s father who takes an instinctive dislike to the “wayward” boy) contrives to separate them. Jagga and the Judge’s struggle for Raj’s soul – a variation on the nature-vs.-nurture debate, with resonances of caste ideology – continues when Raj and Rita reconnect after twelve years.

The film, generally considered one of Kapoor’s finest, is notable for its darkly surreal sets, especially the Judge’s baroque-deco mansion, and for its remarkable dream sequence, which echoes this architecture in an evocation of heaven and hell. Despite its ultimate vindication of patriarchy and capitalism, the film became an enormous hit in the U.S.S.R. and, thanks to Chairman Mao’s reputed fondness for it, in China (to this day, millions of middle-aged Chinese can hum its title song).

2.01GB | 2h 48m | 640×480 | avi

https://nitro.download/view/C27A054687EC23F/Awaara_aka_The_Vagabond.avi
https://nitro.download/view/D9D0EAFE34BD47A/Awaara_aka_The_Vagabond.idx
https://nitro.download/view/3B672F5C14ABF96/Awaara_aka_The_Vagabond.sub

Language:Hindi
Subtitles:English sub+idx

The post Raj Kapoor – Awaara aka The Vagabond (1951) first appeared on Cinema of the World.

BACKGROUND
Yaadein (“Memories”) is a 1964 B&W Hindi film directed and produced by Sunil Dutt also starring himself. The only other actor in the film is Nargis Dutt, that too as a silhouette in the final scene.

This film is the first of its kind as it features only a single actor and hence has found an entry in the Guinness Book of World Records in the category of “Fewest actors in a narrative film”.

Film narrative progresses through dialogues and background music composed by Vasant Desai, who also gave the song, Dekha hai sapna koi.. (sung by Lata Mangeshkar.)

SYNOPSIS
The film is soliloquy of a man who comes home to find that his wife and son are not at home, he assumes that they have left him and reminiscences his life with them, and scared of his life without them, he regrets his past indiscretions. The suspense is only revealed in the end.

https://nitro.download/view/DCA89F5C3BB06C5/Yaadein_(1964).avi
http://nitroflare.com/view/F5BA39BE1ACD4BE/Yaadein.Eng3.srt

Language:Hindi
Subtitles:English

The post Sunil Dutt – Yaadein AKA Memories (1964) first appeared on Cinema of the World.