“I hope the new rules will encourage directors to make more logical love stories,” Mr. Kapoor told The New York Times for an article about the kiss. “Also, with realistic treatment of the romantic theme, perhaps we can get away from having so much violence in our films.”
Balbir Raj Kapoor was born on March 18, 1938, in what was then Calcutta (now Kolkata). He had no trouble breaking into the movie business: His father was Prithviraj Kapoor, a famous actor. His mother was the former Ramsarni Mehra.
Shashi, as he became known, was still a child when he appeared in his first films, in the 1940s and ’50s. By the 1960s, though, he was being cast in major roles in romantic dramas like “Char Diwari” and “Dharmputra” (both 1961).
In 1963 he played a teacher in the domestic comedy “The Householder,” directed by James Ivory and produced by Ismail Merchant, the first of a series of films Mr. Kapoor made for that production team.
Bosley Crowther, reviewing the movie in The Times, found it sluggish and called Mr. Kapoor “colorless and clumsy in what is really a disagreeable role.” But Mr. Kapoor’s notices got better. In “Shakespeare Wallah” (1965), also directed by Mr. Ivory, he was half of the central couple, playing opposite Felicity Kendal. Mr. Crowther said the characters’ romance was “warmly, vitally played.”
“Shakespeare Wallah,” the story of an English Shakespeare troupe performing its way across India, contained an art-imitates-life element. Ms. Kendal was part of an English theatrical family in India. Mr. Kapoor had married her sister, the actress Jennifer Kendal, in 1958.
In 1970 the real-life couple played the leads in another Merchant Ivory film, the musical romance “Bombay Talkie.” Jennifer Kendal died at 50 in 1984.
Mr. Kapoor was among the busiest actors anywhere in the 1970s and ’80s, appearing in numerous movies as India’s film industry fed a voracious public appetite. He was often shooting multiple movies at the same time, spending his days hopping between sets.
“Of course, a lot of these films look silly,” he told The Times for an article about how movies had become a sort of balm for India’s poor. “But this is exactly what people want, pure escapism….