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Review: Rekha is the life and soul of Muzaffar's Ali's classic ‘Umrao Jaan'
To watch the restored Umrao Jaan is to open an old chest stuffed with barely creased clothing and baubles that are still shiny. Muzaffar Ali's movie from 1981 has been re-released in cinemas by the PVR Inox multiplex chain following a beautiful restoration by the National Film Archive of India. The classic film about a bygone era looks as good as new. The eye can barely drink in Subhashini's Ali's magnificent costumes, the fashion-forward jewellery, the interior sets that evoke the cloistered world of a courtesan in Lucknow in the mid-nineteenth century. Rekha – resplendent, incandescent, one with her character – is the brightest jewel in a film about an age of beauty, refinement and Urdu poetry. Ali's adaptation of Mirza Hadi Ruswa's historical fiction novel Umrao Jaan Adaa, written along with Javed Siddiqui and Shama Zaidi, is set in the 1840s. The main setting is Lucknow, which is steeped in tawaif culture but is also on the verge of losing this unique ethos. In Satyajit Ray's Shatranj Ke Khilari (1977), two noblemen represent the bridge between the indolent present and the uncertain future. In Umrao Jaan, that role is played by Umrao. She is one of Lucknow's prized tawaifs, renowned for her sensual dancing and original poetry. By writing the ghazals that she performs for her clients, Umrao is in control of her career, if not quite her fate. Umrao's heavy-lidded gaze and modest air conceal the pain of being kidnapped as a child and sold to a brothel run by Khanum (Shaukat Kaifi) with a big smile and a tough hand. Khanum has trained Umrao and her own daughter Bismillah (Prema Narayan) in the skills they need to entice customers. The goal might be money nd gifts of jewellery, but the ensnaring is exquisite. Sensitive, intelligent and with a touch of melancholy, Umrao gets involved with the wealthy Nawab Sultan (Farooque Shaikh). Umrao's other suitors include the brothel hanger-on Gohar (Naseeruddin Shah) and the dacoit Faiz (Raj Babbar). Judiciously placed and haunting songs, composed by Khayyam, written by Shahryar and performed for Rekha by Asha Bhosle, accompany Umrao's journey from successful courtesan to questing daughter. Like its tawaifs, the 145-minute film is imbued with a sense of majesty and poise. Perfumed men, with all the time in the world for the pursuit of pleasure, watch the dancers seduce through words and minimal bodily movements (the choreography is by Kumudini Lakhia and Gopi Krishna). Muzaffar Ali's evocation of a lost age of grace unfolds through slow camera movements and tight close-ups. Rekha's visage has rarely been more alluring, or enigmatic. The sweet lilt of Urdu and the predominantly Muslim characters point to another kind of loss – of an Islamicate heritage of sophistication and wealth. Some of the film's scenes are clunky, with the later portions rushing to pack in Umrao's connections with other characters. The brothel is where Umrao feels the safest, and it is within this gilded cage that the 145-minute film is most compelling. Ali fills Umrao's refuge with a host of memorable actors, from the redoubtable Shaukat Kaifi to a delightfully slippery Naseeruddin Shah. Prema Narayan, Dina Pathak and Gajanan Jagirdar complete Umrao's world. The women are not helpless victims but drivers of their destinies, especially Narayan's Bismillah. On a continuum of tawaif films, Umrao Jaan is between Kamal Amrohi's Pakeezah (1972) and contemporary efforts by Sanjay Leela Bhansali. Umrao Jaan initially has a documentary feel, with Ali drawing explicit connection between actual tawaifs and his fictional characters. One of Umrao Jaan 's most poignant songs, Yeh Kya Jagah Hai Doston, is performed for commoners rather than aristocrats. In this moment, Umrao stands between what was and what is to come, the dream that was Lucknow and a future that has all the rudeness of reality. Play
Indian Express
13-06-2025
- Entertainment
- Indian Express
Dharmendra recalls helping Amitabh Bachchan bag Jai's role in Sholay: ‘Ramesh Sippy ji ko kaha yeh naya ladka hai…'
Actor Dharmendra portrayed Veeru alongside his close friend and superstar Amitabh Bachchan, who played Jai, in the 1975 cult classic Sholay. According to reports, Amitabh's role in Ramesh Sippy's Sholay was initially offered to Shatrughan Sinha, but eventually went to Amitabh. In a recent interview, Dharmendra opened up about helping Big B bag the iconic role. During a conversation with ANI, the veteran actor said, 'It has already been mentioned. Yes, I recommended him. Mai to kehta nahi maine unko (Amitabh Bachchan) role dilaya. Ye mujhe milne aate the Amitabh sahab (He used to come to meet me. Mr. Amitabh). He used to sit next to me. To maine Ramesh Sippy ji ko kaha yeh naya ladka hai usko awaaz se to lagta hai bahut acha kaam karega. Unki jo andar se chahna thi. Jo khud se pyar karne ki khoobsurati thi vo achi kaha inko lelo (So I told Ramesh Sippy that this is a new boy. Judging by his voice, he will do a great job. I liked the desire he had from within. The beauty of loving oneself. I said take him).' Dharmendra added that he enjoyed working in Sholay. 'Yeh film mere khyayal se sadiyun ke liye ban gayi hai (this film will be there for centuries).' ALSO READ | Sholay's mausi insisted on finishing work despite getting paralytic attack that left half her body immobile, asked, 'Who is Satyajit Ray' after being offered Shatranj Ke Khilari Speaking about his upcoming project in the same interview, Dharmendra said, 'Now my film is coming, Ikkis. Sriram Raghavan director hai (Sriram Raghavan is the director). Very good director. And very good subject. I won't talk about it 2 October ko release ho rahi hai (Film will releases on October 2).' Besides his upcoming film Ikkis, the actor is also set to reunite with actor Arbaaz Khan after 27 years in the film Maine Pyaar Kiya Phir Se. The shoot of the movie will start soon and is expected to hit the big screen in November 2025.
Economic Times
17-05-2025
- Entertainment
- Economic Times
Amitabh Bachchan co-star kept shooting despite being paralyzed, died soon after her last shot
Agencies Leela Mishra played the role of Hema Malini's mausi in the cult classic 'Sholay' Sai Paranjpye, a formidable force in Indian cinema, carved her name into the annals of history by entering the largely male-dominated world of Bollywood filmmaking. As both a director and screenwriter, she stood tall as a rare woman in a space overwhelmingly occupied by men. Throughout her illustrious career, she worked with many renowned names, but one unsung gem stood out in her memory—a name not often echoed in mainstream conversations about cinema's legends. In a heartfelt conversation with Filmfare, Paranjpye reflected on her 1983 film Katha and was reminded of the extraordinary Leela Mishra. Known to most as the aunt in Sholay, Mishra was, in Paranjpye's words, a symbol of unmatched professionalism and commitment. 'She was the embodiment of punctuality and perfection. I've never come across anyone quite like her,' Sai recalled warmly. She added that despite Mishra's lack of formal education, her understanding of filmmaking was instinctive and profound. Recalling her work in Chashme Budoor, Sai noted that Leela instinctively added her own creative touch to a scene—effortlessly climbing the stairs to the boys' home, improvising in the moment with grace and ease. One particular story that Sai shared painted a deeply moving picture of Leela Mishra's indomitable spirit. During the filming of what would be her final movie, Leela reportedly suffered a paralytic stroke. With half of her body immobilized, the set was thrown into confusion. People began discussing how to rush her back to Mumbai for treatment. But Leela, unshaken by her condition, insisted on completing the scene. 'We still have one shot to do,' she said firmly. She requested the camera crew to frame her from her unaffected side. Only after delivering her final performance did she return to Mumbai, where she sadly passed away shortly also shared another striking insight into Leela's no-nonsense attitude when it came to work compensation. Mishra was firm about being fairly paid, always demanding her standard rate of ₹1000 per day, regardless of the part's size. When she was approached to act in Satyajit Ray's Shatranj Ke Khilari, she reportedly didn't recognize his name. Her only question was whether she would receive her usual Mishra's legacy, as told through Sai Paranjpye's eyes, is not only of a seasoned actress but also of a woman with unwavering dignity, self-respect, and love for her craft. Her story is a quiet anthem of resilience, often overshadowed, but never forgotten.
Time of India
17-05-2025
- Entertainment
- Time of India
This Amitabh Bachchan co-star kept shooting despite being paralyzed, died soon after her last shot
Sai Paranjpye , a formidable force in Indian cinema , carved her name into the annals of history by entering the largely male-dominated world of Bollywood filmmaking . As both a director and screenwriter, she stood tall as a rare woman in a space overwhelmingly occupied by men. Throughout her illustrious career, she worked with many renowned names, but one unsung gem stood out in her memory—a name not often echoed in mainstream conversations about cinema's legends. In a heartfelt conversation with Filmfare, Paranjpye reflected on her 1983 film Katha and was reminded of the extraordinary Leela Mishra . Known to most as the aunt in Sholay, Mishra was, in Paranjpye's words, a symbol of unmatched professionalism and commitment. 'She was the embodiment of punctuality and perfection. I've never come across anyone quite like her,' Sai recalled warmly. She added that despite Mishra's lack of formal education, her understanding of filmmaking was instinctive and profound. Recalling her work in Chashme Budoor, Sai noted that Leela instinctively added her own creative touch to a scene—effortlessly climbing the stairs to the boys' home, improvising in the moment with grace and ease. One particular story that Sai shared painted a deeply moving picture of Leela Mishra's indomitable spirit. During the filming of what would be her final movie, Leela reportedly suffered a paralytic stroke. With half of her body immobilized, the set was thrown into confusion. People began discussing how to rush her back to Mumbai for treatment. But Leela, unshaken by her condition, insisted on completing the scene. 'We still have one shot to do,' she said firmly. She requested the camera crew to frame her from her unaffected side. Only after delivering her final performance did she return to Mumbai, where she sadly passed away shortly after. Sai also shared another striking insight into Leela's no-nonsense attitude when it came to work compensation. Mishra was firm about being fairly paid, always demanding her standard rate of ₹1000 per day, regardless of the part's size. When she was approached to act in Satyajit Ray's Shatranj Ke Khilari, she reportedly didn't recognize his name. Her only question was whether she would receive her usual fee. Leela Mishra's legacy, as told through Sai Paranjpye's eyes, is not only of a seasoned actress but also of a woman with unwavering dignity, self-respect, and love for her craft. Her story is a quiet anthem of resilience, often overshadowed, but never forgotten.
Indian Express
17-05-2025
- Entertainment
- Indian Express
Sholay's mausi insisted on finishing work despite getting paralytic attack that left half her body immobile, asked, ‘Who is Satyajit Ray' after being offered Shatranj Ke Khilari
Sai Paranjpye is a trailblazer in every sense of the word. She broke into Bollywood as a director and screenwriter, which, like many other disciplines, was a male-dominated field. Among the many stars that she directed in her career, she highlighted one actor who often flies under the radar when people talk about impactful personalities on the screen. In a recent interview, Sai shared how actor Leela Mishra, who played the Hema Malini's mausi in Sholay, was one of a kind, and the most professional actor she had ever met. While talking to Filmfare, Sai was sharing anecdotes from her 1983 movie Katha, which reminded her of Leela. Describing her as a precise and punctual actor, she said, 'She was professionalism personified; I had never met anyone like her. I hope I am not doing her wrong, but she wasn't educated, but she knew every aspect and nuance of filmmaking. While shooting Chashme Budoor, she improvised the scene where she is climbing up the stairs to get to the house of the boys.' ALSO READ: 'Grumpy and disinterested' Sanjeev Kumar told Sai Paranjpye that he could spare just 15 minutes for narration and backed out of the film because he had beef with Basu Bhattacharya. The director gave a heart-wrenching example of Mishra's professionalism and shared that while shooting her last film, Leela suffered a paralytic attack but continued shooting until the scene was over. 'I heard a story that when she was doing her very last film, she got a paralytic attack while shooting. Half of her body became paralysed, and the shooting stopped. People got in a frenzy and were making plans to send her back to Mumbai, but she said, 'No, we still have one shot left.' She told the crew to shoot her from the side that was still mobile, and she finished that scene. She went to Mumbai after finishing that film, and she died soon after.' Sai said that Leela was very particular about getting compensated for her work and that payment was high on her priority list. 'She was very particular about her payments, and she was always paid Rs 1000 per day, no matter the length of the role. When people offered her a role in Satyajit Ray's Shatranj Ke Khilari, she didn't even know who Ray was. All she enquired about was her payment and whether she will be paid her usual amount or not.'
