Raj Kapoor was an influential filmmaker in Indian cinema who produced, wrote, directed and starred in 18 films that highlighted social issues through a romantic and optimistic lens. His 1955 film Shree 420 criticized an unjust social order that respected thieves over honest working people. Kapoor played a homeless vagrant who wins over people in Bombay with his charm and dreams, representing the marginalized in society. Though facing injustice, Kapoor's characters fight for balance with a mood of awareness and hope that the situation can change. Ultimately, Kapoor's message was one of love and that young people deserve a chance if given economic opportunity and freedom from limiting social influences. This romanticism, innocence and optimism characterized Kapoor's four decades of film

1. RAJ KAPOOR. El patriarca del cine indio.
A true creator: producer, screenwriter,
director, actor, and above all a great
idealist. 18 films, many of them involving
him, is the legacy that left us this showman
fun and human, one of the most important
links in a series dedicated to the cinema.
One of the greatest Raj Kapoor's distresses
was unjust social order. For him, the real
world is a place away from the utopia with
a dark moral code, a climate
disadvantaged in that the common man is
almost like the stray dog that kick gives
every time that dares to walk on a prohibited ground. Shree 420 (1955) Raj
shouts against a society giving respectability to thieves and pickpockets
scammers at the expense of the poor working class: "this is the flaw in our
current society, those thieves and scammers treated as respectable people
and despises lowly workers as if they were thieves" said Kapoor. "What
strange, thou art a tramp, I also have bad reputation, I also." You have no
home, I do not. You are hungry as I love. The only difference between the
two is that you are an animal and I human. Human, ja!, we can listen to the
protagonist of Shree 420 lips. In this film, Raj Kapoor is situated at the level
of the dehumanizing pariahs living under the brightness of the lights of
Bombay. With their broken shoes, his patched trousers and a handful of
dreams for meet in the Pocket, immediately wins the affection of the poor. A
selling banana becomes her adoptive mother, and a humble teacher in his
fiancée. Chaplinesque characterization shares this helpless against injustice.
The tramp Kapoor's fight against the imbalance of wealth with mood, slowly
and aware that has to change their situation but for this to be Bertarelli were

2. so far. When it is neither the opportunity to climb the social ladder and
become a bourgeois, a respectable man before others, no doubt nor an
instant and abandons his comrade’s alley. Kapoor likes to restore the
balance before closing their films. End conflicts are resolved, the righteous
triumph, and God is good. On the social question, the accusation of Kapoor
not lies with Nehruvian socialism. He keeps optimism and a romantic
idealism for which there is still hope. Ultimately, Raj Kapoor's policy is love: "I
saw my environment and the social impact that had on the people and tried
to weave the scripts for those years with influences of the environment and
present it with romanticism and a sense of belonging, of humanism which
made the times of love". The tramp Kapoor's not to be a marginal but be
respected and belong to the
community. It is the young who only
need a chance. According to the
director, "the youth of our country
have it all: are honest, knowledgeable,
can be wonderful citizens if they are
given a chance, but have always been
truncated by certain social influences
for scarce economic resources." They
have a flower in his hand and walk
towards a different horizon. This
romanticism, innocence and optimism
is the constant in the work of Kapoor
over four decades of production.