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Shraddha Kapoor's cryptic post about 'loneliness' and 'sadness' goes viral, netizens say 'She's silently struggling and...'
One wrote- 'Lately, I've been noticing something different about Shraddha Kapoor. In her recent photos, her smile doesn't feel the same.' read more
Shraddha Kapoor's cryptic post about 'loneliness' and 'sadness' has gone viral and netizens are concerned. She shared the poem in Hindi that was later translated into English. This is what she read:
Jab tum akele ho, Main tumhare paas baith jaungi. Jab tum udaas ho, Main tumhe baahon main bhar loongi. Mujhe pata hai tum kho jaate ho. Mujhe pata hai tum bhaag jaate ho. Lekin main tumhe dhoond loongi, aur tumhe thaam loongi.
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Netizens react
One wrote- 'Lately, I've been noticing something different about Shraddha Kapoor. In her recent photos, her smile doesn't feel the same—it's like it's missing the spark we all used to see. There are faint dark circles under her eyes, and the glow she always carried seems a bit dimmer. Maybe I'm overthinking… but it feels like she's silently going through something.'
A second said, 'Life's complicated-even and especially for those in the public eye. They have the same insecurities as we do, but they live in a bubble so they don't always get to touch grass. The least we can do is practice kindness towards everyone - friends, families, neighbors, coworkers and strangers. We don;t know the load of the cross they are carrying.'
A third commented- 'Life is hard and 2025 has particularly been hard for a lot of people. Wishing her strength.'
On her father Shakti Kapoor
In an interview with Firstpost in 2023, Shraddha said, 'He gifted me the newspaper clipping that said Aashiqui 2 100 crore worldwide. He has seen my most stubborn side. I fight with him a lot and then go to my bedroom and ask myself, 'Listen, he's your father but do you know who he is?'
She added, 'He makes me more humble, and because I'm an over thinker, he tells me I don't have to complicate things. He streamlines a lot of things for me, and I feel my most real side comes in front of my father.'
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To further allegorise Umrao's losses as representative of the colonial stamping out of a cultural ecosystem of the court, where literature, arts, music, dance, and poetry thrived under royal patronage, was revolutionary. The English swiftly crushed the 1857 uprising, but the Empire's reprisals were brutal and long-lasting for the tawaif. As scholar Veena Talwar Oldenburg writes, these women 'were in the highest tax bracket, with the largest individual incomes of any in the city. The courtesans' names were also on lists of property: (houses, orchards, manufacturing and retail establishments for food and luxury items) confiscated by British officials for their proven involvement in the siege of Lucknow and the rebellion against British rule in 1857.' After independence, princely states were stripped of their power and asked to join our newly-formed republic. 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The rational, historical, humanistic outlook of my father, Raja Syed Sajid Husain of Kotwara, and the compassionate, culturally-oriented life of my mother, Rani Kaniz Hyder— both are mirrors to the timeless types that existed in Awadh. Through them, these types found their way to the outer world and to the inner world of the sensitive, feminine feudal culture of Umrao Jaan,' Ali writes. 'I was actually dealing with a certain kind of delicacy, of place, manners, customs, culture and it is very difficult to recreate it unless you have lived with it,' Ali said. He recalled recording the novel in the voice of Salma Siddiqui, a member of the Progressive Writers' Movement and an Urdu novelist, and hearing it repeatedly while driving down to work, for days on end. At the time, Ali was an employee of Air India and lived in what was then Bombay. '[Umrao] was in my head all the time. Along with the rain, the sea, the storm, the sunset, and everything else Bombay,' he said. Umrao's stature as icon grew exponentially following the film, not least because of the star power of Rekha, who to this date, is associated with the character. 'The myth of Rekha goes into the reading of who they've portrayed on screen. On social media and through memes that pop up making random connections, Rekha is never not in conversation. The noise around her — as the recluse, the woman who never married anyone else because her lover is married — gets pulled into the cultural discourse around Umrao too. Umrao is an icon because Rekha is an icon,' said Prathyush Parasuraman, author of On Beauty: The Cinema of Sanjay Leela Bhansali. Umrao also became a significant icon for members of the Lesbian, Gay, Bisexual, Transgender and Queer community (LGBTQ+), who saw her as not just as a symbol of an empowered sexuality that operated outside the boundaries of respectability, but also as a victim of the social opprobrium they could identify with. The film's songs and Rekha's performance, in particular, were hugely popular in underground gay parties and in the mujras that they would dress up for and perform in privacy of their living rooms. Rainbow Literature Festival director Sharif Rangnekar, who grew up in the 1990s-early 2000s in New Delhi, said, 'Two tracks from the film quietly entered the gay party scene. The whole idea of 'In aankhon ki masti mein' was the gaydar and eye contact that was all that many of us could fall back on to identify other gay men. 'Dil cheez hain aap meri jaan li jiye' conveyed the desperation for love, the idea of sacrifice to give up anything for real love, which felt real for us. So those two songs and the life of Umrao Jaan became ours!' 'I was a young gay boy with no vocabulary for myself… The world around me had no space for someone like me. But Umrao Jaan opened a portal. In Rekha's eyes, I saw dance in grace. In the character of Umrao, I saw a woman broken by fate and stitched back together by art, beauty, poetry and dignity. And, in her, I found the first version of myself that felt whole,' New York-based chef Suvir Saran, who grew up in New Delhi, writes in the book, 'Muzaffar Ali's Umrao Jaan'. Icons survive if they have an afterlife. Umrao Jan's story invokes a nostalgia for a pre-colonial past where arts and music were part of the social fabric, and sex work, while still prevalent within an exploitative context, also managed to accord the woman wealth and stature. It remains relevant in a post-colonial world where women's work, equal pay, and respectability continue to dog the cultural discourse on gender. 'Every now needs a then,' said Ali, when asked if Umrao will continue to remain an icon. 'Yes, without a doubt, she will.'
