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‘Rekha considered herself married': Amitabh Bachchan's connection to Umrao Jaan movie revealed by director

‘Rekha considered herself married': Amitabh Bachchan's connection to Umrao Jaan movie revealed by director

Time of India2 days ago

Rekha's evergreen film '
Umrao Jaan
' re-hit the big screens on Friday. Helmed by
Muzaffar Ali
, this cult classic is considered a shining crown in the diva's career and one of her most memorable performances. However, as with a lot of things with
Rekha
, 'Umrao Jaan,' too, had a Big B connection.
'Umrao Jaan' Had An Amitabh Connection
In a candid chat with Rekha's biographer Yasser Usman, Ali revealed that the star's personal brush with doomed romance made her deliver a tour-de-force performance as a heartbroken courtesan. He also revealed that
Amitabh Bachchan
, who was rumoured to have had a tumultuous relationship with her, used to visit the sets often. He also stated that the actress behaved like a wife around the superstar.
"Rekha is a very sensitive woman... Amitabh 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,' he told Usman.
A Complicated Shoot Behind Umrao Jaan
During the filming of the 1981 cinematic gem Umrao Jaan, director Muzaffar Ali faced significant hurdles, largely due to lead actress Rekha's sporadic absences from the set. Industry murmurs suggested that the celebrated actress was often preoccupied with personal meetings, notably with a popular superstar, which impacted the shooting schedule. Rekha's disappearing acts during critical moments of filming became a recurring challenge for the production team, forcing the director to adapt and navigate disruptions amidst growing public curiosity.
Silsila And A Mirror to Real Life
Coincidentally, Umrao Jaan was released in the same year as Silsila—another iconic film that starred Rekha alongside Amitabh Bachchan and Jaya Bachchan. Directed by Yash Chopra, Silsila explored delicate themes such as extra-marital relationships and forbidden romance. What intensified public intrigue was the film's uncanny resemblance to what was believed to be a real-life romantic entanglement between the three stars.
Speculation about Rekha and Amitabh's relationship reportedly began during the shoot of Do Anjaane. Their off-screen rapport had already become a hot topic, and Silsila seemed to mirror that dynamic, making it one of
Bollywood
's most controversial castings. Chopra faced considerable resistance in getting Amitabh, Rekha, and Jaya to work together on a script that paralleled their personal lives. Jaya Bachchan was initially hesitant to commit to the project. According to sources close to the production, it was the emotionally redemptive ending—where the husband ultimately chooses to return to his wife—that convinced Jaya to join the film.
Rekha's Resurgence At The 4K Re-release
Years after the turbulence of those early 1980s productions, Rekha reclaimed the spotlight during the grand
4K re-release
of Umrao Jaan. The film, now digitally restored, was celebrated with an elaborate screening that brought together many of the industry's eminent figures. From her poised entrance to her magnetic presence throughout the evening, Rekha's grace and charisma left an indelible mark.
The event featured a star-studded guest list, including Mira Rajput, AR Rahman, Anil Kapoor, Hema Malini, Muzaffar Ali, Talat Aziz, Ila Arun, Mahima Chaudhry, and Raj Babbar. The celebration, buzzing with nostalgia and admiration, marked a significant moment for Indian cinema as a beloved classic returned to theatres in enhanced visual glory.
Rekha's Enduring Charisma
Rekha, dressed in a regal gold and ivory ensemble that echoed her Umrao Jaan persona, effortlessly commanded attention. She greeted guests with both a graceful "Namaste" and "
Salaam
," blending warmth with gravitas. In a particularly touching moment, she kissed AR Rahman as he captured a selfie with her. Later, she delighted everyone by sharing a joyful dance with Anil Kapoor during the evening's proceedings.
From past controversies to present-day reverence, Rekha remains a symbol of timeless beauty and complex brilliance—both on and off the screen.
About Umrao Jaan
Adapted from Umrao Jaan Ada, the 1899 Urdu literary classic authored by Mirza Hadi Ruswa, the film traces the poignant journey of a courtesan and poet from Lucknow. This narrative follows her transformation from a young abducted girl to a celebrated performer and intellectual icon in the cultural heart of 19th-century Awadh.
With its delicate portrayal of the protagonist's emotional struggles and artistic growth, the film not only highlights the beauty and tragedy of her existence but also captures the fading glory of a bygone era. Set against a rich historical backdrop, the story sheds light on themes of love, betrayal, longing, and social isolation, revealing the complexities of a woman striving for dignity in a society that romanticizes and condemns her in equal measure.
Upon its theatrical release, the film was embraced by critics across the country. It drew immense praise, particularly for the sensitive and layered direction by Muzaffar Ali, whose vision brought a lyrical and immersive atmosphere to the screen. At the heart of the film was Rekha's unforgettable performance, which critics lauded as deeply moving and intensely nuanced. Her portrayal of the titular character was a blend of restrained elegance and raw vulnerability, which deeply resonated with audiences.

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Empowerment to exploitation, the many lives of Umrao Jan Ada
Empowerment to exploitation, the many lives of Umrao Jan Ada

Hindustan Times

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  • 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.'

My son Abhishek is worthy of praise: Amitabh Bachchan
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My son Abhishek is worthy of praise: Amitabh Bachchan

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Proud dad Amitabh Bachchan blesses Abhishek Bachchan as he begins first day of Shah Rukh Khan's ‘King' shoot: ‘Ek aur nayi film ki shuruaat..'
Proud dad Amitabh Bachchan blesses Abhishek Bachchan as he begins first day of Shah Rukh Khan's ‘King' shoot: ‘Ek aur nayi film ki shuruaat..'

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  • Time of India

Proud dad Amitabh Bachchan blesses Abhishek Bachchan as he begins first day of Shah Rukh Khan's ‘King' shoot: ‘Ek aur nayi film ki shuruaat..'

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