00:00Welcome to INSR. Huge congratulations, film 44 years that's getting re-released.
00:07So, and also we heard that, you know, very soon you're coming up with a coffee table book.
00:13I mean, there cannot be one memory of the film because it's such a masterpiece, such a great movie.
00:21But if I ask you to begin,
00:23which you haven't shared before, do you have any memories that you can share with us?
00:32I feel like every thing is shared.
00:34There is no way to save a child.
00:37Now, when you think about everything,
00:43you feel like it's been mentioned for the first time.
00:46So, I mean, everything is new, everything is fresh.
00:52And this film has been through a very intense journey from the time it took the germ in my mind
01:07to the time it's come on stage.
01:10And now, after 44 years, it's again coming back to people.
01:15So, I think it's a very gratifying journey of doing this film.
01:22Why did you have to wait for 20 years?
01:25No. I mean, I mean,
01:27It's a very obvious thing.
01:28It's a very obvious thing.
01:29It's a very obvious thing.
01:30It's a very obvious thing.
01:31But I've never seen it before.
01:33Because when I was working with Clarins in Calcutta,
01:42I was working with Mr. Ray.
01:44At that time, I had a dream that as well as they keep the culture of the world and the culture of the world,
01:51the culture of the world should also keep us with the intensity and authenticity as well as they keep us.
01:58So I had a dream that I had a dream that the people of the world who are intelligent and creative,
02:07they come to Bombay and they tend to the world in the mountains. They don't say anything.
02:18We have to say that we need to understand. So I had a dream that I had a dream that I had
02:27There is also a story of the story of the abad,
02:31a dream of a person,
02:36a whole society, a whole culture,
02:39a musical world,
02:41a whole world of that time.
02:45So it was a subject which somehow,
02:48from the moment I heard the story,
02:52it began to open new shades of life,
02:56new ways of looking at life,
02:59new ways of telling a story.
03:02Sir, you said that when you were working with Satyajit Ray sir,
03:07you thought of bringing Awad's culture on screen,
03:10the way he brings Bengali culture.
03:13So what was your first thought?
03:15Was it a story of a girl Umraojaan,
03:18which came in your life,
03:19or it was a story that brings Awadhi culture?
03:24What was the first concept of these two elements?
03:27It's a pain of Awadhi culture.
03:28The culture doesn't have any shape or shape.
03:33It doesn't have any shape.
03:34It has a feeling inside.
03:37and although,
03:38in the past,
03:39they must be wrong.
03:40It has an impact,
03:41a whole thing is well as well.
03:46When you come to a drive,
03:47you become aware of the culture as well.
03:50It feels like a brokenness of the world.
03:55I felt that my first feeling was that our government, our government, our government,
04:01the government is broken, no one asked to me,
04:05the government is not in Bombay.
04:08Do you understand?
04:10It is a culture.
04:13Culture is a museum's thing to say.
04:16So it's a life, it's a life that you can keep in mind that you can keep in mind.
04:22So it's a culture that makes it feel like it's a culture.
04:29So it's a human being, it's a human being.
04:34It's a human being.
04:36It's a human being.
04:38It's a human being.
04:40It's a human being.
04:46So we understand this culture.
04:51This story of Umrao Jan is British era.
04:55And so many years have passed.
04:59Everywhere we see the dilution of the culture.
05:03So what do you mean by the culture of Avid?
05:07Obviously, many things have changed.
05:10So what is your perspective now?
05:12Is that culture or not?
05:15Yes, it is always a culture.
05:18You have to find culture in the color of the color.
05:23So when you look at the color of the color of the color of the color,
05:26and when you look at the color of the color of the color,
05:29the emotions and also the culture that you see,
05:32that is always a culture here.
05:34So through Avid,
05:35the most important thing that the culture of the color
05:38is surprising,
05:39it's not the art of the color,
05:40more and more of the colors.
05:42If you can't understand the color of the color,
05:45you know it.
05:46If you're not in a beauty,
05:48what are your culture?
05:49What does your culture mean?
05:50So why do you say that?
05:51The beauty of the color?
05:52The beauty of the color is a culture.
05:54Oh.
05:55You know it.
05:56Maybe there is a culture.
05:58in music. So it's a organic milieu inside it's the best way to make it happen. If you
06:13take it out of the milieu, you can put it on the other side of it. So it's an ecosystem
06:25So as you said that Umrah Aujan is a story of a girl's story and also a great reflection
06:48of Aujan culture. Normally when we talk about language, they speak a mixed language, but
06:59there is a lot of Urdu's work. It was a conscious effort because it was a tale of Tawaiyaf.
07:07No, it was a tale of a tale of Tawaiyaf. It was a tale of a tale. It was a tale of a tale
07:14of a tale and it was a tale that was a tale of a true, true, true. How did others come at
07:23the true? How it came the true? How did it come out? How did it come out? How did it come out?
07:30How did it come out? It is a great joy of life. If you haven't come up with that, to
07:35You can't become a stone.
07:38Culture is a very difficult thing.
07:43It's a cold, a cold.
07:45It's a cold.
07:47It's a cold.
07:50It's a cold.
07:52It's a cold.
07:54It's a cold.
07:56It's a cold.
07:58It's a cold.
08:00It's a cold.
08:02It's a cold.
08:07It's a cold.
08:12It's a cold.
08:14It's a cold.
08:18It's cold.
08:27Apart from that,
08:29The costumes, which are the most important ones today,
08:34that the costumes and costumes,
08:38it would have been really difficult for you,
08:41to put together everything,
08:44that you can share anything with that.
08:47What you remember is that the whole frame is filled with it.
08:52The whole language in the film is textiles.
08:56The textiles are not textiles.
09:00Those are the things of the houses,
09:02and the craftsmen,
09:04which have been passed by the time,
09:08and people have been wearing it.
09:10You can see that every character of the costume is an important costume.
09:15It is possible that one person is wearing a costume,
09:20and the other person is saying something else.
09:23It is the language of the costumes,
09:26which you have to understand.
09:27Every person doesn't understand it.
09:29Every costume is selling from the stores.
09:32We are going to take the people,
09:35but the costume is our own.
09:40We can make it ourselves.
09:42We can make it ourselves,
09:43we can make it ourselves,
09:44we can make it ourselves,
09:45we can make it ourselves,
09:46we can make it ourselves.
09:47Now that's the time.
09:49So, you said that these were the costumes?
09:53Yes,
09:54I mean,
09:55it was the same.
09:56It was the same,
09:57but they all are archival clothes,
09:59all worn clothes,
10:00all created clothes.
10:02all created clothes.
10:03All,
10:04all,
10:05all,
10:06all natural dying,
10:07all natural dying,
10:09all chemical dying,
10:10all the chemical dying,
10:11all the weaving,
10:12all the weaving,
10:13all the nylon,
10:14all the stuff like that.
10:15all.
10:17All those are organic.
10:18He now has a lot of time to make it for a lot.
10:20He has a lot of time for making it for them.
10:22He has a lot of stuff.
10:23He has something that is fun.
10:24He has a lot of stuff.
10:26He has to Ilum,
10:27he has to put music on,
10:28a lot of stuff.
10:29He has to put a lot of time to give them.
10:31The things he finds out,
10:32he is not helping to do.
10:33He also has to put into the same work.
10:34See what he is doing,
10:35he has to put in the same place.
10:37He has to put together his work.
10:39Often he has to do it and everything.
10:40He has to get together.
10:42So,
10:43As an umrao jaan, did you always remember Rekha in your mind or whenever you thought of your protagonist?
10:52Did she also remember Rekha and Rekha?
10:57Before that, there was no Rekha.
11:02It was only a picture, but it was better than that.
11:13In today's language, when the process of casting started?
11:17In casting, I'm saying that it was only a picture.
11:21After that, it was only a picture.
11:24Because the character's demands, the need for the character,
11:33it was the only thing that a woman is falling down.
11:36She should have power in her eyes, she should have power in her eyes.
11:41She should have a feeling and have a feeling.
11:43So when I saw Rekha and Rekha, I said,
11:47this is the only thing I can do.
11:51We have just few more minutes left.
11:53But Faruk Shaikh, sir, he is no more with us.
11:56But in that film, which is his presence,
11:59and the way that he has been in the field,
12:02I mean, obviously, people remember for years.
12:06They are still doing it.
12:08Tell me about their casting.
12:10I was also with them.
12:12I was also with them.
12:14I couldn't think about them.
12:17Because he was such a simple man,
12:23that is the same thing,
12:24and that is the same thing.
12:28And he had such a talent.
12:30He was a new man.
12:32That's a good man.
12:33Everybody is too hard, you know what I mean?
12:38You have the softness of being my protagonist, you know what I mean?
12:43Music, if we talk about music, the timeless music of Umar Aujan,
12:49sometimes people are going to make something different,
12:53which is in your mind that I am different, I am different, I am different,
12:58so I will try different voices.
13:01Do you think that I don't have any lead singers,
13:05but I will try different voices?
13:11No, when you fall, you look at yourself,
13:17when you fall, you will become a new one,
13:21and you will become a new one,
13:23and you will become a new one,
13:26and you will become a new one.
13:28So, you think that this is so strong and intense work,
13:32and you will become a new one,
13:34and you will become a new one,
13:36and you will become a new one,
13:38and you will become a new one.
13:40That's not obvious.
13:41But not, the house of court is.
13:43Yeah, it's always one.
13:44The passion.
13:45uh...hemiesha se passion raha ke samaj ko kiasse impar kiya jahe,
13:54logon kome kiasse rozegar phuncha jahe, unke kam mein eek khusn pahda ho,
14:00joh meinne jab mroojaan banai ya gaman banai ke loge gao chhodke shaheho mein kyun jah rhe
14:06he? To meinne dastkari ka eek eek pura process yu kiya,
14:11meri wife Meera hamne milke aur kadaai, silai aur bunai in cheezon ko leke,
14:17to house of kutwara is really a is a language of textiles,
14:22it's a language of beauty, it's language of clothing which is organic,
14:26it's not obvious designer brand, it's a brand of the helpless, talented craftspeople of Awad,
14:39and one last question came to my mind before I wrap up, I just want to know,
14:46your lead heroine Rekha, was there any instance when she was an effortless actor,
14:57but aisa kuch instance aya ki kabhi unne koji particular scene ya kisi expression ya kisi particular
15:03moment pe kuch aisa nahi ho pa raha ho, aur aap ne us wakt unko,
15:07kai bar hoota na director, dat lagata ya actors ko, so,
15:11yeh aisa hua hai kabhi unrao jaan ke shoot ke dauran?
15:16nahin
15:18kuch or, agar daant nahi lagai ho, ta ko aisa scene jis me ki woh na karpa raha hao and ap...
15:24I just want to take them into the river, you know, and then they flow with the river.
15:42So you, it was all, according to you, I mean, I can understand, it was a little effortless,
15:49effortless process.
15:50It was not effortless, it was inspirational.
15:54And if you share something with Rekhaji, do you share something with someone?
15:59In any one scene, especially when he left his house,
16:06do you share something with him?
16:09Yes, all of them are coming to the pardes.
16:12Those who don't come to the pardes, who don't want to come to the pardes.
16:18Now, when we were doing dubbing,
16:21he thought that we will do it in 2-3 days.
16:27So, it took a month.
16:29It took a month in dubbing?
16:31That it took a month to the pardes, to the pardes, to the pardes and to the pardes.
16:39It was really quite a special effort.
16:41So, the film, I think, was brought to life with that effort in the studio.
16:49It was a great work.
16:51While you were making the film,
16:53did you ever imagine that this film will become a masterpiece, a cult piece?
16:57You see, it's coming from a question.
16:59It's time.
17:01I mean, it's time.
17:03It's either time-bounded or time-bounded.
17:09This is lucky, you know?
17:11Actually, in my heart,
17:13it's growing up in my heart.
17:15I had to do what I had to do.
17:19I had to do what I had to do.
17:21We'll be there one last week.
17:23Oh, no.
17:25No, no.
17:27No, no, no.
17:29No, no.
17:31No.
17:33No, no.
17:35No.
17:37No, no, no.
17:39No, no, no.
17:41No, no, no.
17:45No, no, no.
17:47No.
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