Muzaffar Ali’s brilliant film ‘‘Umrao Jaan’’ (1981) is a timeless, cinematic masterpiece © film critic Mr. Lalit Rao (FIPRESCI)

Indian director Muzaffar Ali’s brilliant film ‘‘Umrao Jaan’’ (1981) is a timeless, cinematic masterpiece that has been restored by NFAI for the entire world to see and appreciate © film critic Mr. Lalit Rao (FIPRESCI) dated 30.07.2025

 

 

In the vast landscape of Indian cinema, ‘‘Umrao Jaan’’ (1981), directed by the aesthete Muzaffar Ali, occupies a rare and hallowed place. A film that is both visually enchanting and emotionally haunting, Umrao Jaan tells the story of a learned courtesan and poet, a young girl named Ameeran whose life was transformed into ‘‘Umrao Jaan’’ — the ornament of Lucknow's poetic and cultural court life. The film is not only a deeply tragic narrative of loss, exile, and longing, but also a masterclass in cinematic art, combining evocative music, remarkable performances, and rich historical detail.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The novel ‘‘Umrao Jaan Ada’’ by Urdu writer Mirza Hadi Ruswa sparked a creative fire in Muzaffar Ali’s soul. As he delved deep into its pages, he began hearing the distant voices of 1800s Lucknow — the sounds, the poetry, the heartbeat of a forgotten era. Gradually, Umrao Jaan unfolded in his imagination, scene by scene, as if the story was gently guiding him. From this intimate, emotional entry point, Muzaffar Ali transitioned into the disciplined world of cinematography and technique, carefully shaping the film’s structure. What began as a personal vision evolved into a cinematic gem that continues to captivate audiences across diverse sections of cinema loving audiences.  

 

In 2025, this precious gem of Indian cinema has received a new lease of life. The National Film Archive of India (NFAI) has restored Umrao Jaan, replacing the deteriorated and almost rotten print with a stunningly revived version. This restoration is more than a technical achievement — it is a cultural necessity. It brings back to light a film that deserves to be rediscovered and appreciated by cinéphiles across the globe. It also serves as a reminder of the stories that lie buried under the gloss of mainstream cinema, waiting to be re-evaluated and cherished.

 

Umrao Jaan is based on the late 19th-century Urdu novel ‘‘Umrao Jaan Ada’’ by Mirza Hadi Ruswa. Considered to be one of the first Urdu novels, it chronicles the life of a courtesan who, despite being a poetess of great renown, remains stigmatized because of her profession. Muzaffar Ali’s adaptation of this literary classic pays homage to the original work while also reinterpreting it for the cinematic medium with grace and sensitivity.

 

The novel was absolutely revolutionary in its time — not only because it centered on the life of a courtesan, but also because it portrayed her as a sensitive, intelligent, and cultured woman, not just a seductress. The 1981 film builds on this empathy and humanizes Umrao Jaan even further.

 

Muzaffar Ali’s direction is marked by an aesthetic vision that straddles the fine line between art and commercial cinema. He does not dramatize or sensationalize Umrao’s life; rather, he lets the melancholy of her circumstances speak through long silences, ghazals, poetry, and gazes. Every frame is soaked in the richness of Lucknow’s Nawabi culture — from the delicately embroidered costumes to the ornate kothas, from candle-lit courtyards to poetic mehfils.

The story of Umrao Jaan — born as Ameeran — is one of tragedy rooted in cruelty. She was a young girl, separated from her family and sold to a kotha (brothel) by her father’s enemy for a mere Rs. 125. The innocence of Ameeran was forever lost in that transaction. As she grows into a beautiful and talented courtesan, renamed Umrao Jaan, she acquires fame and admiration, but not the acceptance and love she yearns for.

 

At the heart of the film is actress Rekha’s extraordinary portrayal of Umrao Jaan. It is, arguably, the finest performance of her career — subtle, dignified, and steeped in unspoken sorrow. Her eyes convey what words cannot, and her dance sequences — especially to the immortal ghazals composed by Khayyam — are lessons in restrained elegance. She won the National Film Award for Best Actress for this role, a recognition that still feels understated for the gravity of what she accomplished.

 

 

For actress Rekha, the 1981 classic ‘‘Umrao Jaan’’ is far more than just a film she starred in — it is a living part of her soul. The character, the poetry, and the emotions continue to resonate within her even after decades. Watching the beautifully restored version today feels, for Rekha, like witnessing an old, cherished love letter being carefully opened and read by a new generation. It is an emotional bridge between past and present. As she reflects on this moment, Rekha says her heart is full, overwhelmed by the timeless beauty and enduring legacy of Umrao Jaan.

 

Actress Rekha is supported by a cast of impeccable actors. Actor Farooq Sheikh plays Nawab Sultan, the man who claims to love Umrao but ultimately chooses societal norms over his heart. His performance is understated yet powerful, and he brings a deep internal conflict to life with nuance. Actor Raj Babbar as Faiz Ali, the dashing bandit who sees Umrao not as a commodity but as a woman, provides a stark contrast to the Nawab’s cowardice. Actor Naseeruddin Shah as Gauhar Mirza, the jealous admirer, adds a layer of social reality and internal court politics.

Supporting actors Dina Pathak and Prema Narayan deliver poignant performances as Hussaini, the brothel madam, and Bismillah, the courtesan rival, respectively. The film’s world is populated not only by these primary characters but also by minor ones who add flavor and authenticity to the narrative. Leela Mishra, Satish Shah, Mukri, Gajanan Jagirdar, and Yunus Parvez, even in brief appearances, embody the spirit of 19th-century Lucknow and enrich the film's realism. Their presence is never ornamental — each character adds something vital to the story.

 

The music of Umrao Jaan remains one of its most enduring legacies. Composed by the maestro Khayyam and penned by Shahryar, the film’s soundtrack is a sublime collection of ghazals that have become part of India’s cultural heritage. Songs like “Dil Cheez Kya Hai,” “In Aankhon Ki Masti Ke,” and “Justuju Jiski Thi” are not just musical pieces — they are emotional epiphanies. Rekha’s graceful kathak-based dance performances elevate the ghazals to an even higher plane, making them central to the storytelling. The songs do not interrupt the narrative — they are the narrative. Through them, Umrao expresses what she cannot say aloud — her hopes, her disappointments, her sorrow, and her longing.

 

By 2020s, the original prints of ‘‘Umrao Jaan’’ had badly deteriorated. The colors had faded, the sound was patchy, and much of the film risked becoming unwatchable. In 2025, the National Film Archive of India undertook a restoration project to save this masterpiece. Thanks to this meticulous effort, a high-quality print now exists that restores the film’s visual and audio glory. It preserves not only the content but also the texture and tone that made the original film so mesmerizing.

 

This restoration could not have come at a better time. In an era of fast-moving content and flashy visuals, there is a growing appreciation for classic cinema that marries aesthetics with substance. The restored print of ‘‘Umrao Jaan’’ opens up the possibility for new audiences — especially global ones — to experience a timeless tale that is at once culturally specific and universally human.

 

Beneath the glamour, silk, and poetry lies a profoundly sorrowful narrative. Umrao Jaan's is not a tale of romance — it is a tale of betrayal, marginalization, and silent suffering. Despite her talents and refinement, she is shunned as a “Tawaif” — a polite term for what society perceives as a prostitute. This perception becomes her prison. Even the men who claim to love her do not want to accept her in public. When she finally meets her mother and brother after many years, they too reject her. Her identity as Umrao Jaan has eclipsed Ameeran forever.

 

This rejection is most painful because it comes not from strangers, but from family and lovers. The message is devastating — no matter how much a courtesan learns, earns, or evolves, she remains unacceptable to a patriarchal, hypocritical society. Muzaffar Ali does not shy away from showing this injustice. His portrayal of the courtesan’s life is not soaked in pity or vulgarity, but in quiet, burning truth.

 

Despite all its strengths, it is rather unfortunate that ‘‘Umrao Jaan’’ has often been misunderstood by critics. Many dismissed it as just another period film soaked in Urdu ghazals. Such an assessment fails to grasp the film's powerful critique of gender roles, its commentary on social hypocrisy, and its exploration of identity and exile.

 

It is time for critics and audiences alike to revisit this film with new eyes. In a world where conversations around gender, consent, and marginalization are more prominent than ever, Umrao Jaan resonates with poignant relevance. It is not merely the story of a courtesan; it is a reminder of how women were — and still are — treated as commodities in many parts of the world.

 

With the restored version now available, Umrao Jaan can and should be celebrated on the world stage. It is a shining example of Indian cinema’s capacity to blend art and commerce, poetry and politics, music and melancholy. It should be screened at international film festivals, studied in film schools, and archived as part of global cinematic heritage.

The film’s elegance, emotional depth, and historical context make it accessible and relevant beyond borders. For cinéphiles, it offers a masterclass in direction, performance, cinematography, and music. For feminists and human rights advocates, it opens a window into the historical marginalization of women and urges reflection on how much — or how little — has changed. Umrao Jaan is not just a film; it is a tapestry of culture, tragedy, poetry, and human resilience. The restoration in 2025 is more than a revival of an old print — it is a cultural resurrection. It gives a second life to a film that was always more than what many saw on the surface.

 

 

 

It is time we stop seeing ‘‘Umrao Jaan’’ merely as a genteel tale of beautiful ghazals and elegant costumes, and begin to see it for what it truly is: a heartbreaking portrait of a woman’s struggle against society’s unforgiving gaze. A film about how women were bought and sold, used and discarded, yet continued to live with dignity and depth.

In the story of ‘‘Umrao Jaan’’ lies the story of countless women — past and present — whose lives remain unheard. And through the restored reels of this cinematic masterpiece, their stories can finally find voice once more.