Remembering Yusuf Arakkal
Long before Yusuf Arakkal's canvases found their place in galleries across the globe, his life began with loss, escape, and an unrelenting hunger to express. Orphaned at the age of seven and sent away to a boarding school, he 'fled' from Kozhikode to Bengaluru as a teenager, not in search of fame — but emancipation.
On a quiet weekday afternoon, the Durbar Hall Art Gallery in Kochi breathes with the soul of this man who saw the world not as it appeared, but as it truly felt. Yusuf, the late master of brooding canvases and silent cries, returns to Kochi — not in person, but through an overwhelming retrospective that feels more like a homecoming than an exhibition.
That journey — marked by struggle, survival, and the solitude of being unseen — etched itself permanently into his art. Yusuf's figures were rarely whole. Often bald, genderless, hunched or expressionless, they stood like echoes of those society forgets.
'He always said that figure was himself,' says Sara Arakkal, his wife, lifelong collaborator and curator of his legacy. 'He was not bald. He was not a woman. But he saw himself in all the disregarded.'
Over the next five decades, Yusuf would become one of India's most compelling modern artists, not only for his technical brilliance but for his insistence on portraying the invisible. His subjects were migrants, daily-wage workers, refugees, crying children...They spoke not in slogans but in sighs. 'He gave dignity to those who have none,' Sara says. 'He painted their silences.'
Though his artistic core was forged in solitude, his career blossomed with recognition. After receiving his diploma in painting from Karnataka Chitrakala Parishath in 1973, Yusuf's work would go on to be exhibited in New York, Paris, London, and Singapore. Among his many accolades are the National Award (1983), the Karnataka Lalit Kala Akademi Award, and the Lorenzo de Medici Gold Medal at the Florence Biennale.
Yet to Sara, his greatest masterpiece wasn't a particular painting, but the spirit behind them.
'His life was art. His breath was art,' she says. 'He never did it for success. Even when we had nothing, he would still paint.'
He worked as a technician in Hindustan Aeronautics Limited (HAL), but later quit the job to pursuit the creative calling. He was a sculptor, poet, and a thinker — a man who carried within him both machinery and mysticism. 'There was something divine in him,' Sara reflects.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Time of India
10 hours ago
- Time of India
Umrao Jaan set for 4K revival as Rekha-starrer cult classic re-releases in theatres on June 27
The courtesan of Lucknow is poised for her grand return. On June 27, Muzaffar Ali 's celebrated 1981 masterpiece Umrao Jaan will be re-released in theatres in a digitally restored avatar, promising audiences a cinematic journey steeped in poetry, pain, and poignancy. Backed by the National Film Development Corporation and the National Film Archive of India , the film has been revived under the National Film Heritage Mission, marking a significant moment for Indian cinephiles. Rekha's Finest Hour At the heart of Umrao Jaan lies an iconic performance by Rekha, whose portrayal of the 19th-century tawaif earned her the National Award for Best Actress. Director Muzaffar Ali, speaking to SCREEN, reflected on her layered preparation: 'She had to prepare on many levels—language, singing, dancing. Yes, there were people to guide her, but she performed beyond expectations.' He added, 'Working with her was a gift because this film is woven from quiet emotions. And it takes an actor like her to absorb those feelings and translate them onto the screen.' For many, Rekha did more than just play Umrao—she became her. Her haunting eyes, graceful dance, and restrained agony turned the film into one of Indian cinema 's most soul-stirring experiences. View this post on Instagram A post shared by PVR Cinemas (@pvrcinemas_official) Guns, Grit, and Gharanas Ali also recounted a fascinating moment from the shoot, revealing how a group of fans in Malihabad—some armed—eagerly stormed the set to catch a glimpse of Rekha. 'It wasn't as scary as it sounds,' he said with a smile. 'They were thrilled. And later, I even cast them in the film. You see, I made them all decoys, using the very same guns they'd brought.' The anecdote captures the fevered fandom the actress commanded even in the early '80s. A Story Both Historic and Haunting Adapted from Mirza Hadi Ruswa's 1899 Urdu novel Umrao Jaan Ada, the film tells the tale of Amiran, abducted and sold into a Lucknow kotha, who later reinvents herself as the poetess and courtesan Umrao Jaan. Her entanglements with three men—portrayed by Farooque Shaikh, Raj Babbar, and Naseeruddin Shah—form the emotional skeleton of a film that meditates on longing, identity, and the impossible pursuit of love. You Might Also Like: Rekha's co-star reveals how she transformed into a 'white swan from ugly duckling', says she was an enigma Muzaffar Ali noted that the inspiration to adapt the novel came from its timeless resonance. 'The idea was always about this girl, set a hundred years ago, yet facing something timeless,' he said. Songs that Echo Through Time No tribute to Umrao Jaan is complete without its music. Composed by the maestro Khayyam with lyrics by Shahryar and soulfully rendered by Asha Bhosle , the soundtrack has attained immortal status. 'Dil Cheez Kya Hai,' 'In Ankhon Ki Masti Ke,' and 'Yeh Kya Jagah Hai Doston' remain cultural touchstones, instantly evoking the film's melancholic grandeur. — nfdcindia (@nfdcindia) In an era dominated by loud visuals and quick-paced edits, Umrao Jaan is a gentle reminder of cinema as an art of stillness and silence. Its return to theatres is not just nostalgia—it's a statement. It invites newer generations to witness a kind of storytelling where poetry meets performance, and silence often says more than words. You Might Also Like: When Rekha's new look made Jaya Bachchan cry at a famous Bollywood wedding, biographer reveals
India.com
a day ago
- India.com
'Maine dekha ki...' This star once make SHOCKING revelations about Sushant Singh Rajput's death, felt it was only..., his name is...
In the glitzy yet sensitive world of Indian cinema, some names are known not just for their creative genius but also for the storms they occasionally stir. One such celebrated filmmaker, who once collaborated with the late Sushant Singh Rajput on a project that still resonates with fans, found himself in the eye of a public outrage. His words, intended or misinterpreted, sparked widespread backlash, opening old wounds and raising questions about respect, timing, and empathy. Bollywood Director… Here we are talking about director Dibakar Banerjee, who is a well-known Indian director, producer, and screenwriter. Before entering the film industry, he worked in advertising for a long time as a copywriter, creating commercials for major brands. In 2006, he made his directorial debut with the film 'Khosla Ka Ghosla,' featuring powerful actors like Anupam Kher and Boman Irani. With this film, Dibakar demonstrated his ability to convey significant themes with simplicity. It was well-received by audiences and won the National Award for Best Hindi Film in 2007. However, Dibakar's name has also been associated with controversy. He drew media attention for his film 'LSD 2,' but an even bigger uproar occurred when he commented on the death of Sushant Singh Rajput. His remarks angered many, leading to social media backlash and trolling. The Time When Dibakar Gave His Opinion On Sushant Singh Rajput In a YouTube interview with Siddharth Kannan, Dibakar expressed his views on Sushant's death, stating that people were more interested in sensational gossip rather than genuinely mourning the loss. He noted, 'When Sushant died, there was a lot of speculation in the news regarding the cause of his death. I needed to distance myself from it all. I was listening to everything, lekin tab maine dekha ki log bas masaledar gossip hi dhundh rahe the, maine kisi ko bhi nahi dekha shok ya uske liye gham manaate hue. There was no conversation about how a young actor had passed away. Everyone was more focused on conspiracy theories—who provided drugs to Sushant, who was responsible for his death. Where were the tributes? Where were the discussions about the impact of his films? Those who genuinely loved him should have held screenings of his movies and talked about them.'
Indian Express
a day ago
- Indian Express
Rekha's gun-wielding fans turned up on Umrao Jaan sets, Muzaffar Ali recalls how he made them a part of shoot: Umrao Jaan re-release
For those who have seen Muzaffar Ali's melancholic opus Umrao Jaan, with Rekha inhabiting the titular role like a faded dream, it is nearly impossible to move beyond its spell. The film simmers, its frames soaked in poetry, its sorrow rendered with grace. Rekha's performance aches tacitly, Asha Bhosle's voice weaves through Shahryar's verses like silk through smoke, and the Urdu… it breathes. And now, for those who have only heard of its legend, scratches of its songs, the verses of ghazals played late into the night, it is a moment to look forward to. Umrao Jaan returns to the screen on June 27th, inviting both the old lovers and the curious new to lose themselves once again. In a conversation with SCREEN, at his equally sumptuous villa in Juhu, Ali reflected on what first inspired him to adapt Umrao Jaan Ada, the novel on which his film is based. 'My passion has always been Awadh, Lucknow, its people, its culture,' he said. 'That's what I carried with me, even when I was in Calcutta watching Satyajit Ray at work. He was deeply devoted to Bengal, to its spirit. And I knew then, I wanted to do something about Awadh, to tell one of its stories. The idea was always about this girl, set a hundred years ago, yet facing something timeless. Torn from her roots, raised and sold into a kotha. And from there, becoming a creative force in her own right, shaping her own story. That moved me.' He found that story in Mirza Hadi Ruswa's Umrao Jaan Ada, 'a book,' he said, 'that truly inspired me.' Responding to Rekha's remark in an old BBC Urdu interview, where she humbly claimed she did nothing to deserve the National Award for Umrao Jaan, crediting instead the film's triumph to the craftsmen and technicians behind it, Ali agreed with her sentiment, yet offered a deeper view. 'Of course,' he said, 'she had to prepare on many levels. Language, singing, dancing. Yes, there were people to guide her, but she performed beyond expectations.' Expanding on this, Ali reflected, 'You see, Rekha understood from the very beginning that this film would matter. She sensed that it would give her a chance to express something deep within her. She honoured that instinct from the first frame. Working with her was a gift, because this film is woven from quiet emotions. And it takes an actor like her to absorb those feelings and translate them onto the screen.' Also Read | Rekha and Umrao Jaan: The story of women who learn to live with broken hearts Recalling another moment from the shoot, Ali spoke about an incident Farooq Sheikh once recounted, when a group of Rekha's fans reportedly turned up with guns, eager to catch a glimpse of the shoot in progress. Laughing, Ali said, 'It wasn't as scary as it sounds. But yes, there was a little episode. We were shooting in Malihabad, and some locals, clearly excited, showed up wanting to watch. So I let them in.' 'They were thrilled,' he smiled. 'And later, I even cast them in the film. You see, I made them all decoys, using the very same guns they'd brought.' Speaking about Sheikh, whom Ali had earlier directed in his debut film Gaman, he said, 'Farooq was a remarkably natural actor. He brought a sense of realism to his roles. He wasn't like anyone else I could have imagined.' 'There was a softness in him,' Ali continued, 'an aristocratic grace paired with a subtle sophistication. And yet, nothing about him felt 'filmy.' Even in Gaman, he carried a different kind of rawness, windblown, a little lost. In Bombay, people often grow hard. But Farooq held on to his gentleness, that innocence. That's what I needed in my characters, and he brought it beautifully.' While talking about Sheikh and Rekha, it is impossible not to mention the legendary song 'In Aankhon Ki Masti Ke', which was shot in long takes, as if the camera were soaking in all the grief and romance that hung in the air. Explaining this visual choice, he said, 'You have to bring out the meaning of the words, you have to bring out the language of the face, or the story on the face. So I think the face became a very important element; the stories are in the eyes. You have to dwell on that to be able to tell the story. You couldn't have had a quick, fast-paced film or too many movements. The movements are any way happening within the frame.' There is also a certain perception among audiences that Umrao Jaan was, even if subconsciously, inspired by Kamal Amrohi's Pakeezah. However, Ali denied any such influence, saying, 'I don't think Pakeezah had anything to do with this film. Because, you see, the character has a different look and feel. The film also has a different style. I don't think you'll find any frame where you feel it's inspired by Pakeezah. Except for the fact that this is a courtesan, and that was a courtesan. But that was a very commercial kind of treatment of the subject. In this, the treatment is very individualistic and abstract.' As the film gears up for a re-release, he shared how the entire cast and crew are planning to come together to watch the film with the audience, to live it all over again and witness its reception now. He also mentioned that the film might be best suited for OTT, as it's a reflective, mood-driven piece, ideal for personal, intimate viewing. But for now, he's glad it isn't on any platform, as that absence has created a thirst among audiences to see it again on the big screen. And as a filmmaker, what more could he ask for, 44 years after its release?
