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‘I am a worshipper of nudity’: controversy over Raj Kapoor’s films continues

Published : Wednesday, 2 September, 2026 at 5:00 PM

Observer Online Report

Collected Photo

The controversy surrounding legendary Hindi filmmaker and actor Raj Kapoor has not faded. Once hailed as the “Great Showman” of Indian cinema, Kapoor’s later films continue to draw debate, particularly over the portrayal of women and the use of sensual imagery.

The controversy resurfaced with renewed interest in his 1985 film Ram Teri Ganga Maili, especially the way newcomer Mandakini was presented on screen. The film, starring Mandakini opposite Kapoor’s younger son Rajiv Kapoor, was a commercial success but attracted criticism for its depiction of the female protagonist.

Kapoor himself once said, “I am a worshipper of nudity.” The remark was cited in his daughter Ritu Nanda’s book Raj Kapoor: The One and Only Showman, in which Kapoor discussed his views on nudity and cinematic expression.

In Ram Teri Ganga Maili, Mandakini played Ganga, a simple young woman from the mountains who falls in love with Naren, a man from the city. After becoming pregnant, she travels to the city in search of him and faces a series of exploitation, deception and abuse.

Critics have argued that Ganga is portrayed throughout the film as a helpless woman with little control over her own fate. Despite being subjected to repeated hardships, she is rarely shown finding a path toward independence or liberation.

Another major criticism has been directed at the film’s visual treatment of Ganga. While Kapoor sought to portray her as a symbol of purity, critics argue that the camera repeatedly sexualised her appearance. Some have also questioned the way scenes involving motherhood were filmed, suggesting that intimate and natural moments were turned into visual attractions for the audience.

Mandakini, however, later said in an interview that she had no regrets about the controversial scenes.

Following the film’s release, Kapoor defended his artistic approach. According to his remarks reproduced in Ritu Nanda’s book, he argued that despite criticism over Ganga’s revealing appearance, the audience’s faith in the purity of the Ganges helped preserve the character’s innocence. He compared the character to the river itself, saying that despite all the criticism, “Ganga flows on.”

Kapoor’s argument was that, like the Ganges, the fictional Ganga remained pure at heart despite suffering exploitation and abuse. However, contemporary critics have maintained that the symbolic explanation does not fully resolve questions surrounding the film’s portrayal of women.

Kapoor’s later works including Satyam Shivam Sundaram, Prem Rog and Ram Teri Ganga Maili are increasingly being reassessed today. While they are regarded by many as important milestones in the history of Indian popular cinema, they have also come under renewed scrutiny over the portrayal of the female body, the male gaze and the use of sexual imagery in the name of art.

As a result, two contrasting assessments of Raj Kapoor continue to coexist. On one hand, he remains one of the most influential filmmakers in the history of Indian cinema. On the other, several of his later films have prompted modern audiences to question his treatment of female characters.

For admirers, Kapoor’s idea of “sacred nudity” represented an artistic philosophy. For critics, however, it remains inseparable from the debate over the sexualisation of women on screen.

Adapted from a report by The Indian Express.

-HIS