- 23 hours ago
Mumbai: In this exclusive interview, actor Paresh Rawal, Zakir Hussain, and director Tushar Goel discussed their experience working on the film 'Taj Mahal', exploring themes of cultural heritage and historical interpretation. Paresh Rawal shared what drew him to the project, while Zakir Hussain delved into his character's value system. Tushar Goel addressed concerns about the film's historical accuracy and the blending of Indian and Mughal cultures. By the end of the conversation, they gave insight into their perspective on art, culture, and history.
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00:00So hello everyone, Tushar, Zakir sir, Parish sir, welcome to INS and congratulations
00:05to your film, Taaj The Undo Story. My first question sir, when you offered a film, what
00:13were the things that you told me to do a film? I listened to your previous interview and
00:19asked to question a good thing. Was it something related to that, to question an ongoing narrative,
00:25mainstream narrative? The first thing, Skip, I had a detailed research. It was not a
00:32hanky-panky thing. It was a joke. It was a joke. It was a joke. It was a joke. It was a joke.
00:38The historian who had published the history of Thodmurud's history. He has tried it.
00:46If history is good enough, the generations also have a benefit. The psyche of the country
00:52has a benefit. It comes to understanding. These are all the things that I thought
00:56that this film should be done. And because I was so confident that this film is done by
01:01the research that is done by the way, it is authentic and proper. That's why I walked into it.
01:07Okay. And Zakir sir, how was it for you working on this film? If you can tell us about it,
01:13how is it for you working on this film? How is it for you working on this film?
01:16How is it for you working on this film?
01:18So, since the history of the film is yours. Thank you.
01:22How is it for you working on this film?
01:23See, I live in our book. It doesn't matter.
01:24It's something that you can do in the future,
01:25how is it for you working on this film?
01:26You are focused on this film,
01:27and that is to be with you working on this film.
01:28Donces are very specific.
01:29In this film, you are going to have to try to pull it out.
01:30In this film's film, you have to add a little bit of work.
01:31It's been working on this film.
01:32I'm definitely doing the film,
01:33I'm just thinking by myself.
01:34You haven't done that,
01:35but the film is quite as much as possible.
01:37I think I am a bit further.
01:39the details of the character of Parish.
01:43The story of Parish is that the person who thinks
01:47he survives on the stage of the time,
01:51and then the person who does not have to do a question.
01:55So the thing is that
01:59the truth of the truth is that
02:03the truth is that the truth is not that
02:07Yes, I think I'm going to read it in a minute.
02:11But yes, this is a question.
02:14I think that I think that if a person is a guide,
02:24and he knows that these things have happened,
02:29So, can you tell yourself that people will tell you that people will tell you that the historians have written one way or two ways?
02:43But the question that you have in mind is that you cannot tell yourself.
02:51So anyway, this is one thing that I have to deal with.
02:57There is no background behind it.
03:01It's okay.
03:02The background comes to say,
03:04yes, we know what is written in the book.
03:07We also know who has started,
03:10we also know what was written in the time of the time.
03:14What was written in the time of the book?
03:16Everyone knows what is written in the book.
03:17But what do we do?
03:18There are all things.
03:20If there is no history,
03:21then there is a lot of questions.
03:24Either people have written the history,
03:28or how it is written,
03:30or one thing is written,
03:32that it is a sign of love.
03:34The sign of love cannot even be written in the book.
03:42This is one way of writing.
03:45There are also many questions.
03:48Maybe they get questions in their own characters.
03:52So, I will say it here or not.
03:56Another thing is,
03:58which people will understand,
04:00they will understand where they are.
04:02Where they are.
04:03So,
04:05one-sided is like this.
04:09And then it happens,
04:10when you are in your hands,
04:14then the story goes from your hand.
04:17What about it?
04:19The captain of the ship.
04:22Both of them are the artists.
04:24What will they do in the finished product,
04:26in the form of the source material?
04:28This is a very important part of your work.
04:30It seems to be a full research for the finished product,
04:32which will be able to connect to the camera.
04:34But that is the research process.
04:36Like Sakir said,
04:38it seems to be one way.
04:40In history, globally,
04:42that if you claim something that it has to be peer-reviewed.
04:48All of your peers,
04:50fellow historians across the world,
04:51they review all your studies.
04:52Then we get to a common consensus,
04:54that in the past,
04:56in the past,
04:57something like this will happen.
04:59You talked about an American archaeologist,
05:01Professor Marvin Mills.
05:04He is the only one,
05:06Professor Oak,
05:07who has claimed that this could not be an Islamic structure,
05:12but a Hindu monument.
05:13But again, that has not been peer-reviewed,
05:16if I talk about citations or journals.
05:20There is no support for fellow historians,
05:22not just in India,
05:23but across the world.
05:24When you were creating a film,
05:26when you were writing a story,
05:27in your mind,
05:29there is no backing for evidence.
05:32How did you counter that?
05:36So,
05:37when I did research on this,
05:39I saw Marvin Mills's interviews,
05:41there were many,
05:43we looked at his interviews,
05:44then there should experience
05:45ă˝ ă
05:45Then,
05:46there was a big twist.
05:47But previously,
05:48you said the mostÎżŮnext viewedissac ins
05:58a strange thing is
05:58that,
06:00Nth So it's an Hindu architecture,
06:02So, this is what the authentic writer has written, Abdul Hamid Lahori has already written.
06:08So, I can't deny it.
06:10It's a very strong fact.
06:12It's a very strong fact that I support the backing.
06:15Obviously, definitely a Mughal architecture.
06:18I've seen it from my childhood.
06:20I've heard so many stories and narratives.
06:22So, it's another alternative narrative.
06:24So, it's very difficult to get out of mind.
06:27When I thoroughly studied the material,
06:30I was able to get a counter-question,
06:34I was convinced by this research.
06:36And if I was convinced, I have also made a film.
06:39I don't think I'm convinced by one narrative,
06:41but the other narrative,
06:42which I'm convinced by the Zakir Sir in the courtroom.
06:45So, this is what we're talking about.
06:47The peer-driven research,
06:49many historians have already done this work.
06:52It's a theory of Marvin Mills,
06:54because they were an American archaeologist.
06:56And the most important evidence is
06:58E.B. Hewell Indian Architecture.
07:00E.B. Hewell has written a book.
07:02It's a very big architecture.
07:04He wrote it on the page number 21.
07:08That Taj Mahal does not belong to Islam.
07:10It belongs to India.
07:12This is an Indian architecture.
07:13Not a Mughal architecture.
07:15But if I have to take it further,
07:18Mughals when they arrived in India,
07:20they became a part of the Indian culture.
07:21So, if they are saying that it's not an Indian structure,
07:25it's an Indian structure, not a Mughal structure,
07:26this thing is wrong.
07:28Do you feel like this?
07:29That is a fact.
07:30No, it's the wrong thing.
07:32It's not the same thing.
07:33It's the same thing.
07:34The same thing about the Indian structure here.
07:35It should be written about the Indian culture.
07:37In India, there are also the Indian figures.
07:38It has to be written about the Indian culture.
07:39It was written about the Indian ě§ë.
07:40In India, there are also rights to the Indian elders who were out there.
07:41And when we read the Bible,
07:42where the literature came from as the Indian elders,
07:43In India, there have been written for the whole century,
07:44So, that the people who have spoken from the Indian that we have spoken to Indian culture,
07:45in Delhi, when he killed a million people in Delhi,
07:48after that, he took some people from here,
07:51to make some people from here.
07:53So, Sir, he also said,
07:55that the people who came here
07:57were creating a structure,
07:59so this could not be possible.
08:01If the credit is given to us,
08:03our film is this.
08:05Shahaja made this,
08:07we read it in history,
08:09but it didn't read it,
08:11that Shahaja had taken a place to someone,
08:13who had converted into a mezolium.
08:17So, that is also a need to know people.
08:19And my next question,
08:21both actors are here.
08:23Zakir Sir, in the last interview,
08:25if someone wants to leave a character,
08:27he wants to leave a different way,
08:29he can also interpret it in a different way.
08:31I'll quote an example.
08:33Suppose I'm a student,
08:35I've left a school, college,
08:37and I've left a character
08:39and left a character.
08:41In Hindustan, there are a lot of historical monuments,
08:43there are a lot of public spaces,
08:45where people write something,
08:47objectionable things.
08:49After that, when they say,
08:51there is an anthropological study,
08:53that can also be interpreted in a different way.
08:55Do you believe this?
08:57Yes, absolutely.
08:59When you write something,
09:01when you write something in the school,
09:03people forget to study this,
09:05that there are such a badmash students.
09:09What is written?
09:11If you write something in the school,
09:13if you write something in a school,
09:15we have to do a big,
09:17and be very sacred,
09:19we start to research.
09:21We don't do this,
09:23because the king has written something.
09:25There are tablets,
09:27five thousand years old,
09:29we have to come to understand,
09:31thousands of people are living,
09:33we have to spend so much money,
09:35we have to get no solution,
09:37but what is this time,
09:39is that you don't think.
09:42When you think about today,
09:44during the day,
09:46what you can do,
09:48you think,
09:49that will no,
09:50that will be.
09:51The whole universe changed,
09:52what was everything,
09:53what was not,
09:54why was it?
09:55The human people think,
09:56this pyramid has becomegiven,
09:58a lot of bricks,
10:00and a lot of ellos that are different.
10:02How can they get pulled?
10:04There will not be any technology,
10:05that's not something
10:07You know Leonardo da Vinci was an architect, painter, sculptor, doctor. Why?
10:20Today is doctor doctor, painter painter, sculptor sculptor. Why was that?
10:28There was a simple answer. There was a lot of research. There were four subjects. There were three subjects. There were three subjects. There were three subjects.
10:39There was a lot of research. There was a lot of research. Today the doctor was 50-30.
10:44The skin, the neck, the eye, the skin, the skin.
10:48Why? Because we know about it.
10:53So the simplicity is vast.
10:59At that time, I was reading a research.
11:03I said that these people were also spiritual.
11:07Now, there were a lot of drugs.
11:09But the spiritual is a lot of knowledge.
11:12So, with those drugs, when you were healing with them, people would be fine.
11:20Today, the knowledge of the knowledge is finished.
11:23Today, people think that no one is fine.
11:27I can prove it later.
11:31This is not a place in debate.
11:34But you think that it will be wrong.
11:39It will not be wrong.
11:41What is this?
11:42What is this?
11:43What is this?
11:44I don't have a specific number.
11:45I don't have a specific number.
11:47But I don't want to see.
11:48So, I don't want to see it.
12:01I don't want to see it.
12:09How do you research them?
12:13So, what happens?
12:15First, we will spread our culture.
12:19We are going to shoot all the guns.
12:21Now we are going to research.
12:24We are going to the airport,
12:27and we have a lot of wildlife
12:31who are standing there.
12:33We need to save the tiger.
12:35I am going to save the tiger.
12:37I am going to kill a little.
12:39Neither my father is going to kill.
12:41You are going to kill the king of the king.
12:45He will take the tiger.
12:47He will take the tiger.
12:49He will also take the tiger.
12:51It is not a very serious thing.
12:53So, I am going to the airport so many times.
12:57There is a river that is standing there.
12:59I am going to the airport in the airport.
13:01There is a river that is so much.
13:03I am going to the airport.
13:05When I am gonna kill the tiger,
13:07I am going to kill the tiger.
13:09That is so much.
13:13What are the stories of the tiger?
13:17About the time of the tiger?
13:19If you have done the damage, we will save you.
13:23That's okay.
13:25You have to ask questions.
13:27Tiger will save you, tiger will save you, tiger will save you.
13:31If you killed him, he will save you.
13:34There will be such a lot of things.
13:36He will not ask questions.
13:38You are very inhuman.
13:40We are inhuman.
13:42We will eat inhuman.
13:44But you have to ask questions.
13:47The cat catches us and turns out of 14 injections.
13:50So it has not to ask questions.
13:52So the question is,
13:54It is not to ask animal lovers...
13:57No.
13:58It is to ask animal lovers all of us.
14:00But there are two ways to ask questions.
14:03And we want to ask questions.
14:05This is not to say that,
14:07it is so inhuman,
14:09what does he love to do?
14:11It doesn't make.
14:13The death of it is.
14:14No, what happens in my bed?
14:18He's a very animal lover.
14:20He's a girl in the hospital.
14:24She's a girl in the hospital.
14:26She's a girl in the hospital.
14:28She's crying.
14:30She's crying.
14:32See, you have to be practical.
14:35Practicality is the world's understanding and the truth.
14:39Practical is the way to think about it.
14:42He said,
14:44I don't know.
14:47Why don't you know?
14:49Debate and talk about it.
14:51We're doing debate.
14:53We're saying,
14:55we're going to make it a little bit.
14:59It's the history that people have asked for time to time
15:06and they can't deny it.
15:10So they're saying,
15:12Parish bhai,
15:13that's not true.
15:15Yeah.
15:16It's the thing that's not true.
15:18So when he doesn't believe,
15:20what a person said,
15:22he took his path to death and put him on the path.
15:25You don't believe it.
15:26That's it.
15:27And taking from that, sir, because when the film came, teaser, trailer, poster, publicity material,
15:34the internet has dug out some of your tweets.
15:37There is a tweet from your previous.
15:392007.
15:40Yes.
15:41The sanctity of Taj Mahal cannot be questioned.
15:44In the eight years, what are your thoughts?
15:47No.
15:48What did I tweet you?
15:49Do you know the context?
15:50No.
15:51I don't know.
15:52I am against any kind of a crazy controversy.
15:59The controversy is not against anyone's benefit.
16:04I am going to take it.
16:07There is no controversy.
16:10There is no controversy.
16:12There is no controversy.
16:13Zakir Bhai said,
16:14if you ask questions, you can be communal,
16:16if you answer, you will be propagandists.
16:18Where is it?
16:19Where is it?
16:20There is no controversy before we talk about history.
16:23The education board and the historian have been dropped.
16:28They told us why it was shown and taught us and taught us,
16:33These are all issues.
16:34Then, what will happen in 2017,
16:37there will be such a point.
16:40That is me and this is me.
16:42I wouldn't deny it.
16:44OK.
16:45Perfect. So that we have reached the end of this conversation.
16:47Kuch ase baat jo mucze kuchni rahi gai ho.
16:48Yaab apni baat kuch kehanan chahate ho, taap kehsakate ho.
16:51Nii, haamne to film me keh diya, aap dekh lije.
16:54Aam sirvi ehi guzarish karna chaahe ga humare audience ko.
16:57Ke bhaiya dekhye, pahele dekhye.
16:59Woh jo dawai aati ti na.
17:02Pahele istamal kare, phir vishwaas kare.
17:04Toh pahele dekhye, phir vishwaas kare.
17:07Haa, dekhye usko, jaiye.
17:09Or, poora yakeen hai ki aap entertainment,
17:13toh kya karenge hum?
17:15Kyo ki is tarah ki film me,
17:16haa apko jhaq jhorne ke liye ukti hain.
17:19Or, woh,
17:20joh logon ko pata bhi nahi hai,
17:21vaisi vaisi chizze,
17:22isse pata lagi gai ki aisa bhi hai.
17:25Sensor board ne,
17:26haamare research material ko,
17:28chai mahinay khud bhi scrutinize karvaaya hai, historians.
17:31Or, hunnoune humko UA13 plus certificate diya hai,
17:34taakki bachche bhi film dekhye.
17:35Toh, madabh, film me aisa,
17:36toh, haamne kuchh nahi dhikhaa ko ki woh,
17:38because sensor board,
17:39bachche film dekhke,
17:40bachche film dekhye, maane e film skool tuk jaye.
17:43Okay, okay.
17:44And I'm tempted to ask one last question.
17:46It's an open to all question.
17:47Aap tine hoa iska jabaab dhe sakte hai.
17:48Jab hum baat kerti hai ki,
17:51aapne ek pishle interview me kaah ta ki,
17:55haamara desh eek bhoat nazuk parisitiyo se guzarta rhetta hai.
17:58Now, India is one of the rare countries,
18:01johan pe joh density hai,
18:03diversity ki,
18:04woh bhoh zhaada hai.
18:05Har sot km per bahasa badal jati hai.
18:07Loh ka khan paan,
18:08raihansindh ka tariqa badal jati hai.
18:10Itne saare dharm hai,
18:11itne saare chatiya hai,
18:12alag-alag regions hai.
18:14Kya aapko lagta hai ki,
18:15ye joh diversity hai,
18:16India ki,
18:17ye eek doh dhari talwar hai.
18:18Again, this is challenging the mainstream narrative.
18:20Aap eek aagaya ta,
18:21diversity strength of India.
18:22Itne saare dhari talwar hai,
18:23itne saare dhari talwar hai.
18:25Toh dhari talwar hai,
18:26Toh dhari talwar hai,
18:27Toh khatai ho nai saakta.
18:28Itne saare dhari talwar hai,
18:29Itne saare dhari talwar hai,
18:30Itne saare dhari talwar hai,
18:31Itne saare dhari talwar hai,
18:32Toh dhari talwar hai,
18:33Toh apne aap shant ho jaya ga,
18:34Yeh janta,
18:35Is dhari talwar hai,
18:36Is dhari talwar hai,
18:37Salute talwar hai,
18:38Yeh janta,
18:39Toh koii kutbhari talwar hai,
18:40Lekin koii aate rai,
18:41Toh wu aapnei talwar hai,
18:42Toh koii talwar hai,
18:43Lor hai hai,
18:44Tohstände narex chyathe,
18:46Is dhari talwar koii talwar hai,
18:46O adazandhan lui to our nearest neighbor haud,
18:47Itne saal hai doh aango ki tna turbulen saan namun sang
19:11in the country,
19:13it will be kept in the past.
19:15It will be called in the language,
19:17then in the language,
19:19then in the language,
19:21that you can wear such a large pajama.
19:23You can wear such a large pajama,
19:25you can wear such a nice,
19:27you can wear such a white dress.
19:29So, it will be different.
19:31It will be all about it.
19:33When I was writing a song,
19:35I will write it.
19:37I will write it.
19:39So, today's event is the ę°ěĽć
˘.
19:44I'm not sure I'm asking you about it.
19:46When you talk about it mostly.
19:48It's called religion.
19:51It's called religion.
19:53It's called religion.
19:55Marx said it's like a fear.
19:58He said it's called his name.
20:02I'm not sure what he said,
20:05I don't know.
20:09So, the fight is the fight, the fight is the fight.
20:15So, I have written that,
20:17the people who know how to live,
20:20the war is on the sky.
20:23And how to come from the mountains,
20:26how to come from the mountains,
20:28all the trees have been made.
20:30Tell me, how to make the trees?
20:33In the trees, all the trees have been made.
20:36Now, the trees have been made,
20:39the trees have been made,
20:40the trees have been made.
20:42You can buy the trees in one place.
20:45So, this means,
20:47the diversity, the language,
20:51the people are living.
20:54When you go to the market,
20:57I remember that,
21:00Confucius is a Chinese scholar,
21:04the people who are living in the mountains,
21:07the people who are living in the mountains,
21:09the people who are living in the mountains,
21:10the people who are living in the mountains.
21:13It's a simple thing.
21:15If you go to the market,
21:17you can see that.
21:19Where do you come from?
21:21It's from the injection.
21:23You go out, go out, go out.
21:27You ask the trees,
21:30one second,
21:31give me a tree.
21:32Who is it?
21:33Who is it?
21:34Who is it?
21:35Who is it?
21:36Who is it?
21:37It's not like this.
21:39You drink tea,
21:40you drink tea,
21:41you drink it,
21:42you drink it,
21:43you drink it,
21:44you drink it,
21:45you drink it,
21:46you drink it.
21:47So, this is the thing.
21:48It's like this.
21:49It's like this.
21:50You go open,
21:51you don't get it.
21:52And the food will also be like this.
21:55So, this is it.
21:57This is why it's simple to be.
22:00And do you have any closing notes?
22:02Closing notes is that,
22:04when you asked the diversity,
22:06when our country is in India and Pakistan,
22:08one of our country is in the match,
22:09one of our country is in the same place.
22:11It's not Hindu or Muslim.
22:13Why are we doing another monument?
22:17If someone is saying another thing
22:19and another thing,
22:21there,
22:23they're both narrative.
22:24So,
22:26we both can listen to the narrative.
22:27And this is a issue.
22:28This is a issue in the film.
22:29This is a issue in Hindu and Muslim.
22:30This is not a issue in India.
22:31This is a issue in the Dallas,
22:33the issue of Thailand.
22:34This is not a issue in India.
22:36Thus, the diversity is in the film.
22:37If you don't even struggle in the film,
22:38no communal rights or this,
22:41no trolling.
22:42Just a film.
22:43It's just a film.
22:44And this is a film,
22:45and this is not to be a film,
22:46and this is not to be a film in any kind of thought.
22:48This is a simple.
22:50Thank you. Perfect. So, on that note, thank you so much and I wish you all the best for all of you.
22:55Please take care.
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