there's two types of men and they're both useless

At the beginning of the film a toy plane turns into a real one, dream becoming reality. But love is neither a dream nor reality, it can't just be forced or forgotten....
Who ever said this was a love story? More like a horror film, 4 hours worth of it. Full of people who are to blind to see the truth, to shy to say the truth or to loyal to accept the truth. Either way it only leads to suffering and pain, so much pain.

Would it be absolutely psychotic for me to say that Raj Kapoor is super hot in this movie? Or should I delete this. Please advise.

But also, how come so many classic Bollywood movies are pretty good for the majority, then the last half hour is always the best shit you’ve ever seen?!

And you can totally tell that RK and Vyjayanthimala were fucking during this. I mean, the chemistry...

Raj kapoor and Vyjayanthimala runnning around Europe was just pure vibes.

The movie honestly reminded me of later works of yash chopra like kabhi kabhie, and Silsila, it definitely overdoes some of its moments, but I honestly love how epic and grand it was able to make the love triangle feel. Love how it also calls out the males involved in the complicated ass mess in the end,  who were constantly treating this woman like an item, and giving her to each other as a symbol of their friendship and relationship, never really caring about what she wants. The camerawork And visuals are also just really creative and dazzling.

The first hour is typical Raj Kapoor melo-dramedy. The last hour is near melodramatic paragon. Everything in between is alright although it started the tradition of foreign location shooting.

From what little I've seen from Raj Kapoor's filmography I can't help but find myself always impressed by how much he manages to bring so much within the massive lengths of his work - and in the case with Sangam, it isn't always felt. I'm not entirely sure that I can see why this film needed to be anywhere near as long as it is, but the way Raj Kapoor takes what seems to be a simple enough premise and transforms this supposed love triangle into an epic tale that's only growing in scope the more it goes on is just astonishing to me.

Yet with how much work he's put into allowing these stories to unfold, both onscreen and behind the camera, it's only something I feel like I'll need to see again at some point. Nevertheless, Mera Naam Joker remains my favourite of his films - though I'm always excited to see more from him.

my tender sapphic heart just cannot handle vyjanthimala looking absolutely breathtaking in every single frame for four WHOLE hours

In love with this movie's reds and pinks (the beating heart of desire always present even if unspoken)

The plot of this is identical to Michael Bay's Pearl Harbour

This review may contain spoilers. I can handle the truth.

I think what made this so successful, other than Vyjayanthimala, of course, who is outrageously glamorous and sensual here, is the plot’s complex subtext matched with overt melodrama. The story couldn’t be more typical, but Kapoor uses his characters’ motivations and honestly absurd behavior - which is essential to making the plot function - to speak to more realistic and nuanced choices we can all recognize. The film also rests and dwells in the moment for many of its most wonderful sequences, most notably the hugely influential European vacation, which had a huge impact on the industry. I can’t say I didn’t feel the four hour length, but it also never bores and certainly feels like an event at the theater despite the fact that there are really only three characters with any meat on their bones.

Dost dost naa rahaa...

The Bollywood version of Jules and Jim.

This review may contain spoilers. I can handle the truth.

Every character needs therapy!

I wish I could play the guitar, accordion, and bagpipes and also fly a plane.

I think what made this so successful, other than Vyjayanthimala, of course, who is outrageously glamorous and sensual here, is the plot’s complex subtext matched with overt melodrama. The story couldn’t be more typical, but Kapoor uses his characters’ motivations and honestly absurd behavior - which is essential to making the plot function - to speak to more realistic and nuanced choices we can all recognize. The film also rests and dwells in the moment for many of its most wonderful sequences, most notably the hugely influential European vacation, which had a huge impact on the industry. I can’t say I didn’t feel the four hour length, but it also never bores and certainly feels like an event at the theater despite the fact that there are really only three characters with any meat on their bones.

I’m so frustrated. Nearly 4 hours of melodrama.

Raj Kapoor’s epic on two friends in love with the same girl. Introduced the beautiful Vyjayanthimala to Bollywood. This is more melodrama than musical but is still a long endeavor at nearly 4 hours.

Every year I try to take on a few “projects”, i.e. areas of cinema that I would like to be more complete. Last year was pre-features era silent cinema (mainly Alice Guy-Blache) and John Ford (of whom I managed over 40 films). This year, in addition to continuing my silent film grind, I’m focusing on classic Indian cinema; starting off with writer/actor/directors Guru Dutt and this film’s Raj Kapoor. Beyond being painfully underrepresented in world cinema discourse, these films have everything: movie stars, musical numbers, action, war, romance, religion, drama, comedy; often in the space of one film.

If you don't love someone, try to tell them before you find yourself trotting along next to a fighter jet softly complaining about it.

Almost four hours long, but he somehow makes the accordion sexy so it’s time well spent.

If my boy came back to life, won the Indian Medal of Honor, and stole my girl I’d kill myself too.

Can't stand Sunder but the emotions in this film are volcanic. That's before the ending completely blindsides you, just a truly tortured love triangle here.