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NDTV
16 hours ago
- Entertainment
- NDTV
The Making Of Umrao Jaan: How Rekha's Most Iconic Role Was Shaped By Personal Loss And Amitabh Bachchan
"Umrao Jaan ki taareef karna toh suraj ko chiraagh dikhana hai. Aisi haseen ke paristaan ki paree zehar kha le. Shaaira aisi ke ustaad kaan pakde. Aur aawaaz... aah, shola sa lapak jaaye hai, awaaz toh dekho." ("To praise Umrao Jaan is akin to lighting a lamp in the face of the blazing sun. So beautiful that fairies die of envy. A poetess so skilled that the greatest admit defeat. And a voice like a flame ablaze") With these words, Gauhar Mirza (played by Naseeruddin Shah) painted a portrait of Umrao (Rekha) for Nawab Sultan (Farooq Sheikh) in the classic film Umrao Jaan. And thus Rekha slipped, seamlessly, from mainstream Bollywood glamour, romance and comedy into a parallel universe of grace, elegance and intensity. Rekha's crown jewel and Muzaffar Ali's elegiac masterpiece, Umrao Jaan (1981), returns to theatres on June 27, restored in 4K by NFAI and NFDC. Having chronicled Rekha's life in her biography Rekha The Untold Story, I've always believed Umrao Jaan to be her most hauntingly resonant performance. Director Muzaffar Ali agreed that it was a role that seemed to draw not just on her craft, but on something deeper, more private. A role that demanded everything she had, emotionally and artistically. But how did this classic come into being? Umrao Jaan wasn't planned as just another film riding on Rekha's stardom; it was a labour of love crafted by a passionate group of artists who believed they were making something timeless. And they did. It began not with spectacle but stillness, with director Muzaffar Ali's deep reverence for poetry, music, and mood. Muzaffar Ali, a designer, painter and poet- an aesthete - apart from being a film director, recreated the melancholy of and nostalgia for Awadh of the mid-nineteenth century, a time when Lucknawi tehzeeb, music, poetry and dance flourished, when Courtesans were an intrinsic part of that cultural milieu. Drawn to Mirza Hadi Ruswa's 19th-century novel Umrao Jaan Ada that was set during the decadent period of the 1840s, Ali envisioned a film that would unfold like a melancholic ghazal, graceful and unhurried. But trouble surfaced early on. A lawyer raised doubts, questioning whether the film could authentically capture the elegance of 19th-century Lucknow. "When I was making 'Umrao Jaan', a lawyer was against the film, and it was not just any lawyer, but the lawyer who contested the Babri Masjid case - Zafaryab Jilani. Unka mudda ye tha ki-Mirza Hadi Ruswa (the author of 'Umrao Jaan Ada' novel) ki rooh ko taqleef ho jayegi," recalled Muzaffar Ali, who then found out that the rights of the film were given by Mirza Hadi Ruswa to Banaras Hindu University. Ali said, "My father was a friend of the then VC of BHU, and the VC gave those rights to me. As I had rights to the book, now I was free to make 'Umrao Jaan'." With the rights secured, it was time for the casting of Umrao Jaan. The lead role demanded a seasoned, deeply nuanced performer. The genre already had a towering benchmark in Kamal Amrohi's Pakeezah (1972), a cult classic about a courtesan's life. Anyone stepping into this role had to match that depth and intensity. "Rekha ki aankhon mei ek gir kar uthne waali kaifiyat thi" I asked Muzaffar Ali, having already worked with the brilliant Smita Patil in Gaman, why he chose Rekha to play Umrao? "Smita's eyes were captivating, but her manner of talking, I felt, would not fit," Muzaffar Ali told me, adding that he was at Hotel Taj in Bombay when he saw the photo of Rekha in a magazine, " Unki aankhon mei ek gir kar uthne waali kaifiyat thi, ek tevar tha. It was Umrao's gaze. This is a striking feature of Rekha, which draws from her past. Her eyes conveyed the experience of having been broken and then having pulled herself together ... Life shakes up people, and if they have an artist within them, then she gets more polished in the process. Rekha is a living example of this." Muzaffar decided to sign Rekha on the basis of this photograph alone. He went to meet Rekha with then wife Subhashini Ali and screenwriter Shama Zaidi. There wasn't a formal script narration. He simply told Rekha about the character graph and that the film wasn't backed by other stars. Rekha listened and connected deeply with the character and said yes instantly. Her nod not only sealed the role, but it also made the film commercially viable, as she was the reigning star of the time. The tragic story of Umrao Jaan begins in the year 1840. In an act of vengeance, the young Ameeran is abducted from her father's house and sold to Khanam Jaan, the owner of a brothel in Lucknow. Renamed Umrao, she is trained to become a courtesan and started to captivate men of wealth and nobility. Umrao falls in love with Nawab Sultan (Farooq Sheikh), but he marries another woman. She then meets and elopes with the dashing bandit chieftain, Faiz Ali, who is subsequently killed by the police. Umrao unsuccessfully tries to flee the life of a courtesan. All around her, the old cultural environment of Awadh is crumbling and fast disappearing. Broken and disillusioned, solitude and poetry remain her only companions. The Sound of Umrao Music was as vital a character in the film as Umrao herself. Initially, Muzaffar Ali approached Jaidev, who had composed for his debut Gaman, but felt his music lacked the spark to capture Awadh's intricate spirit. A conversation with veteran composer Naushad followed, but their working styles didn't align. Then came Khayyam, the third choice, who delivered the unforgettable songs that would forever define the film's musical soul. The Awadh tradition of Ghazals was beautifully incorporated in his music by Khayyam. Ordinarily, one would think of Lata Mangeshkar's name when it came to Ghazals in Indian cinema. In this film, however, Muzaffar Ali and Khayyam experimented and chose Asha Bhosle. "Asha Bhosle was completely involved since the beginning. I gave her the Umrao Jaan novel to read. She read and understood the character. She completely went into that zone," remembers Muzaffar Ali. The timeless songs like In aankhon ki masti ke, Zindagi jab bhi teri bazm mein, Justuju jiski thi and Y eh kya jagah hai doston were penned by Shahryar, who was a professor in the acclaimed Aligarh Muslim University. He was an old acquaintance of Muzaffar Ali. His son, journalist Faridoon Shahryar, told me, "Abba's contribution was not only in the songs, but also in Umrao Jaan's dialogues, and the poetry used in the film. Even the couplets recited by the characters in the film were actually written by him. Abba had been teaching Ruswa's novel since years to his students. So the entire culture that was created in the film, Muzaffar sahib and my father were well aware of that culture." The shooting The film was primarily shot in Lucknow, the city of Nawabs, and its surrounding areas, including Malihabad and Faizabad, areas Ali knew intimately. They shot it for a year in two seasons in 1980. A set was also built in Mehboob Studio in Bombay (Mumbai), where a kotha was created with many original elements like antique doors and artefacts. Everyone on the sets of Umrao Jaan had heard about Rekha's erratic behaviour while filming. She was said to be "difficult to work with" and "moody", but according to the late Farooq Sheikh, her conduct was a pleasant surprise. In an earlier interview, Farooq Sheikh had revealed how he, along with Rekha and Dina Pathak, had to take a train from Delhi to Lucknow for the shoot. It was a fourteen-hour overnight journey in winter. They had been promised bedding and breakfast, but once the train started, they realised that the man in charge of production had forgotten to load the bedding. "Dinaji had a shawl, but Rekha ji had only a dupatta to ward off the biting cold. It was freezing, and forget about sleeping, we couldn't even sit without our teeth chattering. Yet, not a word of complaint passed through Rekha ji's lips," he recalled. Muzaffar Ali's face still lights up with a smile as he reminisces on the film's shooting. The entire unit moved from Mumbai to Lucknow for the shooting. "Rekha was a big star. So, how would she disembark the train and go to the car? It would've been difficult to control the crowds at the station. I would tell her to walk exactly behind me. My height is such that if she walks exactly behind me, no one would be able to see her." Entire Lucknow was abuzz with the news of Rekha shooting there. Muzaffar Ali teamed up with his then-wife, Subhashin,i who crafted Umrao Jaan's costumes with obsessive care. They sifted through family heirlooms and studied 1850s weaving, dyes, and crafts, ensuring every detail felt authentic, never modern. Subhashini also sought help from actress Jennifer Kendell-Kapoor since she had recently wrapped up work on her husband's home production, Junoon, as well as received helpful inputs from Umrao Jaan's co-writer, theatre personality, art-director and scholar Shama Zaidi. But Rekha and Muzaffar also had their share of conflict on certain aspects of the film. "A film is made at many levels. On the level of music, the level of lifestyle, of clothing. We faced many difficulties on the level of clothing. She carried a whole tribe of people for make-up and costume, and I did not like this," said Muzaffar. Rekha was very conscious about her clothes and look. Before each scene, her costume team would present options in front of Muzaffar, all of which would be shot down. This was the cause of a daily argument. "They wanted to turn Rekha into a Bollywood doll. But our character was not only Umrao Jaan. It was also Lucknow, and its culture. Her designer would always be standing with costumes on a hanger. That was a very big issue. I was adamant that this was not Lucknow, that she had taken the character elsewhere. They were occupied with making it Muqaddar Ka Sikandar," Muzaffar Ali laughed. As shooting progressed, the conflicts abated. Rekha realised that the film and her character's trajectory were different from all her earlier films. There would be creative discussions and critical engagement on the sets. Rekha shared her thoughts on scenes and tried to infuse the pathos of her own life into Umrao's character. "She had realised that if she didn't listen to what we were trying to do with her, she would end up in a disaster zone," says Muzaffar. He started involving Rekha in analyses of dialogues and music. They had regular discussions on Umrao's character and on the delicate nuances of Urdu. Rekha meticulously honed her Urdu, the rhythm and intonation. "She went into that zone. It was a different world [of] Urdu, shayari (poetry), tehzeeb (culture); a huge challenge for a person from South India. In a way, it was a total transformation for Rekha." The highlight of Umrao Jaan was the mujra or courtesan dance. For the choreography, director Muzaffar Ali had hired the legendary Kathak dance guru, Gopi Krishna, who choreographed the magnum opus Mughal-E-Azam (1960), and Kumudini Lakhia, a pioneer of contemporary Kathak. According to Muzaffar, "Rekha was comfortable with both [choreographers], but Gopi Krishna's moves came naturally to her since he was more commercial. Kumudini had nothing to do with Bollywood and brought a certain realism into the dances." Watching the film, it is surprising to note that Rekha has no formal training in Kathak, the backbone of the movie. The courtesans of that era were all trained Kathak dancers, and according to Muzaffar, Rekha, though untrained, had the body language and "bhav" of a Kathak dancer. Rekha had revealed in an interview, "Muzaffar Ali had also invited many nawabs of the bygone era, who were acquainted with the mujras. These nawabs were exclusively called to closely monitor my Kathak steps, and many a time they guided me and came up with valuable suggestions, thus making my dance stand out. The most ambitious sequence of the film was the climactic mujra- Ye kya jagah hai doston, describing Umrao's sheer hopelessness and disillusionment when she realises she will never be free of the exigencies of a courtesan's life. Had-e-nigah tak jahaan ghubaar he ghubaar hai. While researching Rekha: The Untold Story, I sensed that perhaps the same loneliness had quietly shadowed her life all along. Justuju jiski thi usko toh na paya humne The making of Umrao Jaan was also a time when headlines buzzed with reports of Rekha's alleged association with superstar Amitabh Bachchan. While making the film, Muzaffar Ali got a close peek into Rekha's life. I asked him how he would express Rekha's personality. He answered with a smile, "The song, 'justuju jiski thi usko toh na paya humne' - it completely fits Rekha. She is a very sensitive Bachchan used to come and sit on our sets during the Delhi shooting of Umrao Jaan. That's a fact. Whenever referring to Amitabh, she always spoke using 'inko, inhone', like women do who consider themselves married. I think she considered herself married. She is and she was in love with him." Muzaffar Ali added that Rekha channelled her personal emotions and pain while playing the role: "I think Rekha became more than what I had expected of Umrao. She rose beyond the script." Despite financial and personal struggles, the shooting was finally over. Rekha was known for her rapid pace of dubbing in the industry. She would usually finish an entire film's dubbing in a mere three or four hours. But Umrao Jaan's formidable Urdu was a challenge even for her. Muzaffar shares, "Rekha said that she'll dub it in six hours, but I wanted to get each word right, each breath right. It was not easy to dub it. She got nervous about what was happening. Dubbing went on for a week; it took us thirty-six hours, but see her dialogue delivery in the film." In her autobiography, Zikr: In the Light and Shade of Tim e, Muzaffar Ali writes, "Rekha took her role to another level, working with Shaukat Kaifi as Khanum Jaan, who opened the world of the courtesan to Dina Pathak as Bua Husaini, who gave Umrao motherly comfort. The veteran Jagirdar, as Maulvi Sahab, opened a spiritual world for her, while Naseeruddin Shah, as Gowher Mirza, introduced her to the sensual world. Farouque Shaikh was her world of love, and Raj Babbar, as dacoit Faiz Ali, her spirit of adventure. But finally, it was her own mother in the film, Farrukh Jafar, who helped her tear into the hearts of people like a searing hot blade, leaving them scarred forever. The film won four National Awards: Rekha for Best Actress, Manzur for Art Direction, Khayyam for Music, and Asha Bhosle for Playback Singing. Especially given its modest budget and offbeat subject, the film performed reasonably well at the box office. An attempt to recreate the magic came with a remake by director J.P. Dutta in 2006. Featuring the stunning Aishwarya Rai in the lead, the film proved to be a resounding flop. More than three decades later, the image of Rekha's Umrao Jaan still lingers. Her helplessness and disillusionment, quiet longing and the emptiness in her eyes, trapped by the loveless fate of a tawaif. Umrao and Rekha seemed to blur into one, feeding into each other until they became inseparable. Today, in popular memory, Umrao Jaan is Rekha.
Time of India
a day ago
- Business
- Time of India
IIT-BHU secures 566th spot in QS World Univ Rankings
Varanasi: The Indian Institute of Technology (IIT), BHU achieved a significant milestone by securing 566th position in the QS World University Rankings-2026. Among the 54 Indian institutes featured in the global rankings, IIT-BHU stands at 14th position nationally. Tired of too many ads? go ad free now One of the most remarkable accomplishments is the institute's performance in Citations per Faculty indicator, where it secured 47th rank globally, improving from 48th in the previous year. In the country, IIT-BHU ranks third in CPF metric, reflecting the global impact and quality of research produced by its faculty. The QS WUR 2026 evaluated institutions based on nine core indicators: academic reputation, employer reputation, faculty-student ratio, international faculty and students, international research network, citations per faculty, sustainability, and employment outcomes. IIT (BHU) showed visible progress not just in CPF but also in parameters like employer reputation and academic standing within the national context. IIT-BHU director Prof Amit Patra said, "This achievement is a reflection of our consistent focus on research excellence and academic rigour. We are pursuing partnerships with leading global universities and industries to foster innovation and interdisciplinary collaboration. I congratulate all faculty, researchers, students, and staff for their dedication. We are optimistic that with continued efforts and teamwork, IIT-BHU) will achieve even greater heights in the global academic landscape. " he said.
Time of India
a day ago
- Politics
- Time of India
BHU students rank 2nd in nat'l essay contest
Varanasi: Two students from Banaras Hindu University (BHU) received awards from Union education minister Dharmendra Pradhan for securing second position in the All India Essay Competition in PhD and Postgraduate categories. Tired of too many ads? go ad free now The awardees are Shubham Kumar Mishra, a research scholar, and Jhinuk Barman, a postgraduate student. The competition was organised in New Delhi by the Indian Council of Philosophical Research. The theme of the competition was 'Role of Indian Philosophy in National Integration'. The award distribution ceremony was attended by Vineet Joshi, secretary of the Ministry of Education, Prof Deepak Kumar Srivastava, chairman of ICPR, and Prof Sachhidananda Mishra, member secretary of ICPR. among others.
Time of India
a day ago
- Health
- Time of India
‘Efforts on to achieve goal of malaria eradication by 2030'
Varanasi: The health department organised a training workshop on the treatment and management of dengue, chikungunya, and malaria patients on Thursday. Chief Medical Officer Dr Sandeep Chaudhary along with BHU professors Dr Nilesh Kumar and Dr Gopal Nath trained private and govt doctors and nursing home operators on the treatment and management of the deseases. The CMO said that platelet deficiency is not the cause of death in dengue patients. According to international standards, a patient does not require a platelet transfusion unless their platelet count is below 10,000 and there is active bleeding. Platelet transfusion is not the primary treatment for dengue. He explained that dengue fever is a mosquito-borne disease caused by one of four types of dengue viruses, spread by the bite of an infected female Aedes aegypti or Aedes albopictus mosquito. Common symptoms of dengue include high fever, runny nose, mild red rashes on the skin, cough, and pain behind the eyes and in the joints. Some individuals may develop red and white spotted rashes, followed by loss of appetite, nausea, vomiting, etc. Patients with dengue should seek medical advice, rest, and drink plenty of fluids. Paracetamol can be taken to reduce fever and joint pain, but aspirin or ibuprofen should be avoided as they can increase the risk of bleeding. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Investire è più facile che mai BG SAXO Scopri di più Undo Prof Nilesh Kumar said that there were no malaria-related deaths in the state in 2024. Efforts are being made to achieve the goal of malaria eradication by 2030. He highlighted the measures taken by the govt to prevent malaria transmission and its management. Prof Gopal Nath explained that only certain species of Anopheles mosquitoes spread malaria. When a female Anopheles mosquito feeds on the blood of a malaria patient, the malaria parasite enters its stomach. This mosquito then infects a person with malaria. Fever occurs within 14 to 21 days of the malaria parasite entering the human body. Information was provided on the symptoms, identification, and treatment of malaria patients. State-level PATH-CHRI senior technical officer for Malaria, Dr Amrit Shukla, emphasised the need for immediate malaria testing of fever patients and prompt comprehensive treatment if found positive.
Time of India
2 days ago
- Automotive
- Time of India
IIT-BHU selected as nodal centre for nat'l EV battery research
Varanasi: The Indian Institute of Technology (IIT), BHU has been selected as one of the seven key nodal centres under the govt of India's Mission for Advancement of High Impact Areas in Electric Vehicles (MAHA-EV), initiated by the Anusandhan National Research Foundation. Chosen from among 227 proposals submitted nationwide, IIT-BHU will lead a national facility focused on battery degradation diagnostics and the development of safe, sustainable, and efficient battery systems under the project name Te-MobiX (Tropical e-Mobility Excellence). The institute has been awarded a research grant of Rs55 crore to establish the National Facility for Battery Research on its campus. The proposal was led by IIT-BHU director and battery diagnostics expert Prof Amit Patra, with participation from faculty members of IIT-BHU, IIT Kharagpur, Banaras Hindu University (BHU), and ICT Mumbai. "This facility will span the entire spectrum of battery research—from raw materials to next-generation solutions for land, water, and air mobility," Prof Patra said. He added that the initiative aligns with India's National Mission on Transformative Mobility, the SDGs, and the EV30@2030 vision. Project investigator Prof. R.K. Singh noted that Te-MobiX will address challenges specific to India's tropical climate, focusing on improving battery safety, lifespan, and performance. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Buy Brass Idols - Handmade Brass Statues for Home & Gifting Luxeartisanship Buy Now Undo Co-investigator Abir Ghosh emphasized the mission's collaborative model, with strong industrial partnerships including Tata Motors, TVS Motors, Urjawatt Technologies, OPAL-RT, and ThoughtSpot India Pvt. Ltd., who will contribute 10% of the total project cost and assist in real-world testing and commercialisation. The project team at IIT-BHU includes experts from electrical, chemical, mechanical, biochemical, civil engineering, chemistry, and materials science departments, while collaborators from IIT Kharagpur, BHU, and ICT Mumbai are also playing key roles. ANRF's MAHA-EV Mission has identified seven e-nodes in total. In the TV-I category for tropical battery and cell technologies, IIT-BHU and ARCI Hyderabad were selected. TV-II (power electronics and drives) includes IIT Bombay, NIT Surathkal, and CSIR-CEERI Pilani. TV-III (charging infrastructure) includes IIT Kanpur and IIT Kharagpur. Each e-node will function in a consortium mode, integrating academia, research labs, and industry to accelerate innovation and establish a robust ecosystem for electric mobility in India.
