Exclusive: Muzaffar Ali ने अपनी फिल्म ‘Umrao Jaan’ के 44 साल बाद Re-Release होने पर शेयर की यादें

IANS INDIA

मुंबई: फिल्म निर्माता-निर्देशक मुजफ्फर अली ने आईएएनएस के साथ एक एक्सक्लूसिव बातचीत में अपनी फिल्म "उमराव जान" के 44 साल बाद री-रिलीज होने पर अपने एक्सपीरियंस शेयर किया। इस दौरान उन्होंने अपनी फिल्म और कल्चर के बारे में भी बात की। साथ ही उन्होंने बताया की एक्ट्रेस रेखा को इस फिल्म में चुनने की क्या वजह थी। बातचीत के दौरान, मुजफ्फर अली ने अपने "हाउस ऑफ कोटवारा" के बारे में भी बात की और इसके बारे में बताया। इसके अलावा, उन्होंने रेखा के साथ फिल्म से जुड़ी कुछ यादें भी शेयर कीं।   #MuzaffarAli #UmraoJaan #ExclusiveInterview #Re-Release #HouseofKotwara #Trending #BollywoodNews #BollywoodGossips #BollywoodUpdates #BollywoodNews #Bollywood #Bollywoodcelebrity #BollywoodHindiNews #ians

Transcript

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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