Education :  Matric from New Era School and studied at Ruia College for a very short period
Languages :  Hindi, English
Hobbies :  Internet surfing

Family Background
Father's Name :  Prithviraj Kapoor
Brother(s) :  Raj Kapoor, Shashi Kapoor
Sister(s) :  Urmila Sial
Spouse :  Neila Devi (In 1969 he married Neila)
Ex-Spouse :  Geeta Bali ( died in 1965 )

Shammi Kapoor, is one of a kind. An "original". He blended youthful freshness with his unique style and his own talents. Shammi Kapoor revolutionised the concept of romance in Hindi films and he expanded the scope and function of the filmi song sequence. He brought to both, the love scenes and the songs. More important and less appreciated, is the fact that Shammi Kapoor’s contribution (like Dilip Kumar’s) has been absorbed into the mainstream of popular cinema in India. In his early films (Tumsa Nahin Dekha was followed by Dil Deke Dekho, Singapore, Junglee) Shammi Kapoor established a very strong physical presence on screen. He wouldn’t sit still or walk straight. He jumped, bounced, swayed, and cavorted. To watch him tease the heroine was much like observing an overgrown pup romping and frolicking in a bed of prized roses.

This spirit, even hyperactivity, was carried into the song renditions. Songs became Shammi Kapoor’s forte, and his special way with them was and is his most readily identifiable trademark. In the most memorable of them, his body language becomes the new third dimension to the tune and the lyrics Love is courted with outstretched arms and a rougish glint in the eyes; love is promised with broad shoulders thrown back and arms spread out to encompass the heavens; love is supplicated on bended knee, shoulders hunched forward, and with eyes that plead and burn at the same time.

There are many classic Shammi Kapoor poses. The head snaps sideways as he glares over a turned shoulder; it is thrown back as he exults in his emotions; it snaps straight as he asserts his proud masculinity. The hand can point the index finger to his heart where he has hidden her. Each part of the body is orchestrated to the music as he swings, lurches and undulates. He made of the Hindi film song tradition a primitive courtship ritual, which often included a - Me-Tarzan-You-Jane message, tapped out in rhythmic code. He exuded a macho charm. His rendition of the song Hum aur yeh samah in Dil Deke Dekho exemplified his control of a delicate balance. He brings to the fog-draped early morning atmosphere, an erotic quality quite rare in Hindi films. He is seductive in his bearing and his eyes, but any hint of passion is toned down by the virginal white of his outfit and an uncommon tenderness of manner. This early Shammi Kapoor (upto about 1964 or so) was, in style and screen image, distinctly westernised.

The one most powerful influence on Shammi aside from Western music was Elvis Presley. In the way he moved, in the suggestiveness of his song-dance routines, in the curl of his lip and the veiled invitation in his eyes in all of these.

Shammi Kapoor brought the American king of rock-and roll to Indian cinema. Like Presley, Shammi also developed very early an unerring instinct for the kind of music "right" for him. He took an unprecedented interest in the details of his films’ music, personally selecting tunes, attending song recordings and even alerting playback singers to his special needs (it is well-known that Mohd. Rafi developed a singing style to suit Shammi Kapoor). Thus a lot of credit for the music of the films he starred in goes to the actor himself.

The Shammi Kapoor he has left behind in less than a dozen films was a tradition in himself. The jaunty ladykiller with bedroom eyes, the flamboyant hero with explosive energy, the inimitable song-and-dance man with a unique way with music these are images powerful enough to defy time, to court a new generation of moviegoers, and to inspire a new era of stars.