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Hindustan Times
29-06-2025
- Entertainment
- Hindustan Times
Empowerment to exploitation, the many lives of Umrao Jan Ada
The world first met Umrao Jan (spelt Jaan sometimes) Ada eavesdropping on an intimate gathering of poets. Enraptured by a particularly well-crafted couplet, she praises it and reveals herself to the group. Instantly, they invite her to join them, which she gracefully does. Umrao Jan, though not the first strongly etched female character in the late 19th century — Urdu literature at the time was influenced by reformist zeal that made a case for women to come out of the purdah and receive an education — was certainly unlike any other tawaif (courtesan) that the reader would have come across. The eponymously titled novel that came out in 1899, a little more than four decades into colonial rule under the British crown, told the story of an older, reflective, erudite and accomplished woman. Some believe it to be the first modern Indian novel. The author, Mirza Mohammed Hadi 'Ruswa' introduced her as the novel's second first-person narrator, and muted his voice when Umrao spoke. Indian filmmaker Muzaffar Ali (L) and actor Rekha pose for photographs as they attend the special screening and theatrical re-release of their iconic Indian film 'Umrao Jaan' in Mumbai on June 26, 2025. (AFP) On June 26, 2025, a plush theatre in Bandra Kurla Complex fell silent as Umrao spoke, this time, from a big screen. In a glittering event that saw the who's who of the Hindi film industry attend, Muzaffar Ali's 1981 film, Umrao Jaan, was re-released in 4k, restored from a release print, by the National Film Development Corporation-National Film Archive of India (NFDC-NFAI). To celebrate its return to the big screen, actor Rekha, who played Umrao in the film, singer Asha Bhonsle, who lent her voice to Umrao's ghazals, and the director spoke about the character and the film, as the audience comprising the likes of producers Anandji Virji Shah (one half of the duo Kalyanji Anandji), SK Jain, Ketan Mehta, actors Hema Malini, Raj Babbar, Aamir Khan, Tabu, and the younger crop including Aalia Bhatt, and Jhanvi Kapoor, listened in rapt attention. Rekha recited a few stanzas from the film's ever popular ghazals, and Bhonsle sang snatches of a song. The 90-year-old singer said, 'When Ali sahib approached me to sing for this film, I read the script and became Umrao Jan.' Unlike other famous courtesans of Hindi cinema and literature — in movies such as Pakeezah and Mughal-e-Azam — Umrao's story has been revisited time and again over the last 125 years, her iconic status reinforced with each re-telling. And there have been many, albeit with different aims: in SM Yusuf's 1958 film, Mehendi, Umrao marries her lover, Nawab Sultan, and gains respectability; a 1972 film made by Pakistani director Hasan Tariq, on the other hand, kills Umrao off; in 2006, J.P Dutta cast Aishwarya Rai Bachchan as Umrao, cast out by lover, family and friends. There have also been theatrical productions and a television series. In 2004, the Centre Pompidou in Paris held an exhibition on Bollywood, and selected Ali's film to be part of it. The 1981 film also travelled to international film festivals in Berlin, Moscow, Venice and Locarno. Ruswa's novel, written in Urdu, quickly became one of the most popular and multiple editions flooded the market. In it, Umrao talks about the mundane — buying bangles; losing her virginity much to the chagrin of her brothel madame — as well as the traumatic: she is kidnapped and sold to a brothel as a child; displaced by colonial vendetta following the 1857 uprising against the English East India company. We encounter themes of ageing, love, oblivion, and death throughout the novel. We also experience her joy and pleasure. Umrao recites couplets and banters with Ruswa and the other poets who bow before her superior craft. The form of the novel certainly helped cement her stature. Its arrival in the subcontinent signalled a modernity that would go on to transform literature in colonial India — the pithy, sometimes serialised, social commentary that aimed to reflect the world of the reader back to him had found great popularity in England and the West in the 19th century. For Ruswa to pick this form to narrate the quotidian story of a courtesan was nothing short of remarkable. 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. A decade before Muzaffar Ali made Umrao Jaan, India banned the princes' privy purses that were granted to them in return for their accession to India. Though Ruswa's novel is a chronicle of a death foretold, in the book, Umrao Jan survives. The way of her world remains in the memories of Awadhi and Lucknowi residents, in their styles of speaking and maintaining relationships, and love for exchanging couplets. Ali, whose ancestors were also members of Awadhi royalty, wrote about his impetus to depict the famous courtesan in the newly released photo book, 'Muzaffar Ali's Umrao Jaan' edited by Sathya Saran and Meera Ali, and published by Mapin which accompanied the re-release of his film. 'There are people beyond the screen who moulded my thoughts even before I made them. 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.'
Hindustan Times
28-06-2025
- Entertainment
- Hindustan Times
The dignified 'other woman': How Rekha's styling in Silsila attempted to redefine the taboo trope
Alia Bhatt turned into Silsila's lovelorn Chandni as she arrived at the celebratory screening of 1981 classic, Umrao Jaan, now restored by the National Film Development Corporation-National Film Archive of India under the National Film Heritage Mission, and also momentously re-released in theatres on June 27. How Rekha's styling in Silsila attempted to redefine the taboo trope of the 'other woman'(Photos: X) 1981, mind you, was a big year for Rekha on the career front, what with the musical drama winning her, her only National Film Award for the grace and gravity with which she portrayed the titular role. Also having graced the movies that year, was Yash Chopra's Silsila. A morally-grounded yet emotionally evocative love triangle, it was quite the controversial film at the time — the kind of controversy that follows the film's legacy across decades, given the public conjecture surrounding the reel perceptively imitating the 'real'. Amitabh Bachchan starred front and centre as Amit, the object of desire, bound by duty and torn by love with Jaya Bachchan playing his demure wife, Shobha. That left Rekha to embody the crushing aura of unrequited love as she slipped into the shoes of Chandni, the 'other woman'. Rekha, Amitabh Bachchan and Jaya Bachchan in a still from Silsila (1981)(Photo: IMDb) Chandni's trajectory in Silsila followed a winding road of misery and misfortune as she found love, lost it to fate, found the courage to reclaim it for a few fleeting moments, only for it to be taken away, the only thing left in her possession at the end of it all being her grace. And that is where the masterstroke lies. The history of cinema, homegrown and foreign, has for decades on end painted the other woman in rather convenient hues. Sultry, seductive and immoral, her selfishness only stood to represent temptation and wreckage, themes amply embodied in how she presented herself. Now in the language of cinema, the immorality that the other woman tends to represent is as sacred as the morality the wife reigns on. And that's where the iconoclastic nature of Rekha's Chandni wins. Well, Chandni doesn't really 'win', but her presentation to the audience — much of it incidentally curated by Rekha herself — goes a big little way in highlighting the complexities of the other woman. Bold reds, rani pinks, luxurious satin and subtle bling may not seem like a big deal now, but in context of Silsila's Chandni, it very potentially represented the audacity of a woman to prioritise her own heart over that of society's, though the context of it was and continues to be uncontestably abysmal. The reams of tulle, the short-cropped blouse sleeves and the halter necklines, gave hints of skin without really allowing the character to descend into the demeaning trappings of the trope. The nearly-constant wine-stained lips and crisply kohl-lined eyes further pushed the very same boundaries — all beautifully framed by Rekha's signature gaze of defiant love. This isn't a justification of the rationale of the other woman — but an observation on sartoria being used to ever-so-subtly imprint her gall in the minds of the audience. It's an early, and seemingly very intentional case study of fashion rebellion. Silsila, with all its grace and contradictions, is available for streaming on OTT.
Hindustan Times
27-06-2025
- Entertainment
- Hindustan Times
Rekha recreates ‘Umrao Jaan' look at film's re-release premiere, Aamir Khan, Alia Bhatt attend
Mumbai, Veteran movie star Rekha recreated her look from the 1981 film "Umrao Jaan" at the theatrical re-release premiere of the film that brought out the who's who of Bollywood in attendance, including Aamir Khan, Alia Bhatt, Tabu, and Hema Malini. Rekha recreates 'Umrao Jaan' look at film's re-release premiere, Aamir Khan, Alia Bhatt attend Directed by Muzaffar Ali, the period drama has been restored and re-released in cinemas on June 27. The film has been restored by the National Film Development Corporation-National Film Archive of India under the National Film Heritage Mission. Rekha turned heads as she appeared in a stunning white and gold anarkali by Manish Malhotra. She accentuated the look with intricate jewellery at the star-studded event last night. The 70-year-old actor posed with celebrity guests like Simi Garewal, Nushrratt Bharuccha, gave a heartfelt hug to Tabu, danced with Anil Kapoor and clicked a selfie with AR Rahman. In the videos circulating online, Asha Bhosle is seen performing the film's song "Dil Cheez Kya Hai". She was also joined by Muzaffar and Rekha on the stage. Among the attendees, Bhatt took inspiration from Rekha's cinematic legacy by donning a pastel pink saree reminiscent of her character, Chandni, from Yash Chopra's romantic classic 'Silsila.' She posted a heartfelt tribute to Rekha on Instagram, expressing her admiration. 'An ode to a living legend… There never was, is or will ever be another like you, ReMaa,' Bhatt wrote alongside a series of pictures with Rekha from last night. Some of the other celebrities who were present at the screening are Asha Bhosle, filmmaker Ramesh Sippy, Vijay Krishna Acharya, actors Hema Malini, Raj Babbar, Rakesh Roshan, Jeetendra, Tusshar Kapoor, Tanuja came with her daughter Tanisha, Vijay Varma, Janhvi Kapoor, Khushi Kapoor, Fatima Sana Shaikh, Nimrat Kaur, Jackie Shroff, Sunny Kaushal, action director Sham Kaushal, singer Adnan Sami, Talat Aziz, Sunil Grover, and Manish Malhotra were seen at the screening of the movie. Set in the 19th century, 'Umrao Jaan' traces Amiran's arrival in a brothel in Lucknow and her relationships with three key characters played by Farooque Shaikh, Raj Babbar and Naseeruddin Shah. Upon its release in 1981, 'Umrao Jaan' garnered wide acclaim for its nuanced storytelling and performance by Rekha, and she earned her first National Award. Besides, the film won the National Award for Best Music Direction, Best Art Direction, and Best Female Playback Singer, and three Filmfare awards too. The timeless soundtrack of 'Umrao Jaan', composed by Khayyam with lyrics by Shahryar, is integral to the film's storytelling. Songs like 'Dil Cheez Kya Hai' and 'In Aankhon Ki Masti' became instant hits. This article was generated from an automated news agency feed without modifications to text.
Hindustan Times
27-06-2025
- Entertainment
- Hindustan Times
At 91, Asha Bhosle struggles to sing during Umrao Jaan screening, Rekha cheers for her: ‘Mera gala daba rahi hai'
At 91, veteran singer Asha Bhosle left the audience in awe as she took the stage at the screening of classic film Umrao Jaan, where she sang the song, Yeh Kya Jagah Hai Dosto, and got special support from actor Rekha. Also read: Rekha twirls, gets Anil Kapoor to dance, enjoys selfie moment with AR Rahman at Umrao Jaan screening. Watch Asha Bhosle and Rekha showed off their camaraderie during the screening of Umrao Jaan in Mumbai.(AFP) Ahead of its re-release, the makers of Umrao Jaan hosted a special screening in Mumbai on Thursday. The event drew in several big-name stars and captured plenty of candid moments. A video from the event shows Asha Bhosle taking the stage alongside Rekha and director Muzaffar Ali, where she sings a classic song from the iconic film. In the video, Asha Bhosle, 91, is seen struggling to sing. Rekha is seen hugging her from behind and supporting her. At one point, Asha Bhosle quipped, 'Mera gala dabba rahi hai (She is choking me),' which made Rekha break into a laugh. She continues to enchant the audience with her singing, as they shower her with cheers and applause. The video is getting a lot of attention on social media, with social media users praising Asha Bhosle's dedication to her craft, marvelling at her talent and energy despite being 91. 'Still winning hearts,' one wrote, with another mentioning, 'She is 92! Bow down'. 'Her Voice doesn't old,' said one, with another gushing, 'Touchwood'. 'Pure magic,' read one comment. Another social media user shared, 'Time may steal the strength in her voice, but not the soul behind it'. More about the screening and the film The screening was a star-studded affair, with celebrities such as Anil Kapoor, Janhvi Kapoor, Alia Bhatt and Khushi Kapoor in attendance. Rekha's classic film Umrao Jaan is all set to re-release in theatres on June 27. Umrao Jaan was restored by the National Film Development Corporation-National Film Archive of India under the National Film Heritage Mission. Set in the 19th century, the film traces Amiran's (Rekha) arrival in a brothel in Lucknow and her relationships with three key characters played by Farooque Shaikh, Raj Babbar, and Naseeruddin Shah. It is considered by many as one of the best films in Rekha's career.
India Today
27-06-2025
- Entertainment
- India Today
Alia Bhatt revives Rekha's stunning Silsila look in pink saree at Umrao Jaan event
Alia Bhatt is clearly a die-hard Rekha fan! She attended the Umrao Jaan screening in a stunning pink saree, styled by Rhea Kapoor as a tribute to one of Rekha's iconic looks from 'Silsila'.The actor attended the star-studded screening of the timesless classic in a light-pink saree, accessorised with feather earrings, a clear nod to Rekha's iconic look from the 1981 film 'Silsila'. She looked radiant in the ensemble, enhanced by dewy makeup and loose hair. The actor smiled and posed gracefully for the paparazzi at the the video here: View this post on Instagram A post shared by Varinder Chawla (@varindertchawla) Stylist Rhea Kapoor shared pictures of Rekha in the same look in her Instagram Stories as a reference point for the look on Alia. Fashion commentator Diet Sabya also shared a post on the look, while giving a shout-out to Alia Bhatt's efforst to recreate that by Yash Chopra, 'Silsila' also featured Amitabh Bachchan and Jaya the restored version of Muzzafar Ali's 'Umrao Jaan' is set to re-release in theatres on June 27. The movie was restored by the National Film Development Corporation-National Film Archive of India under the National Film Heritage Mission. Set in the 19th century, the film traces Amiran's (Rekha) arrival in a brothel in Lucknow and her relationships with three key characters played by Farooque Shaikh, Raj Babbar, and Naseeruddin Shah.- Ends
