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Mumbai... | 0:00:07 | 0:00:08 | |
..the biggest city in India. | 0:00:11 | 0:00:12 | |
Endlessly rich in culture... | 0:00:14 | 0:00:16 | |
..and in contradictions. | 0:00:18 | 0:00:19 | |
It's home to one of the oldest | 0:00:22 | 0:00:25 | |
and grandest hotels in the world, the Taj Mahal Palace. | 0:00:25 | 0:00:28 | |
I love excess. | 0:00:32 | 0:00:33 | |
They always say if you've got to ask the price of something then | 0:00:33 | 0:00:36 | |
you're not rich enough to stay here. | 0:00:36 | 0:00:38 | |
It has over 500 rooms... | 0:00:41 | 0:00:43 | |
..and 1,500 staff. | 0:00:46 | 0:00:47 | |
I don't feel that I'm 61. I feel that I'm 16. | 0:00:49 | 0:00:52 | |
They built me very strongly. | 0:00:52 | 0:00:54 | |
It is famed for being meticulous - where no detail is too small | 0:00:57 | 0:01:01 | |
or demand too great. | 0:01:01 | 0:01:03 | |
Anything that's possible. I cannot get you pink elephant. I'll try. | 0:01:03 | 0:01:08 | |
With an army of staff striving for flawless service... | 0:01:09 | 0:01:12 | |
This is India. And we frankly don't say no to anything. | 0:01:15 | 0:01:18 | |
..it is where the super-rich of today come to | 0:01:20 | 0:01:23 | |
live like the Maharajahs of India's past. | 0:01:23 | 0:01:26 | |
Sometimes I close my eyes and I pretend all of India is like this. | 0:01:26 | 0:01:31 | |
The hotel's deputy manager, Parveen, is | 0:01:49 | 0:01:51 | |
responsible for much of its day-to-day running. | 0:01:51 | 0:01:54 | |
What we need to do is go through today, | 0:01:57 | 0:01:59 | |
all the functions for the next eight days. | 0:01:59 | 0:02:02 | |
OK, so start. | 0:02:02 | 0:02:03 | |
Let's talk about the important ones. | 0:02:05 | 0:02:08 | |
He's looked after hotels all over the world, | 0:02:08 | 0:02:10 | |
but nowhere on the scale of the Taj. | 0:02:10 | 0:02:13 | |
-Residential wedding. -Wedding, yeah. How many rooms are let? | 0:02:13 | 0:02:15 | |
Approximately 80 at this particular time. | 0:02:15 | 0:02:18 | |
'It's not just a hotel, it's an institution. | 0:02:25 | 0:02:27 | |
'You know, a lot of different kinds of firsts happened here.' | 0:02:28 | 0:02:32 | |
The first hotel to have electricity. The first hotel to have elevators. | 0:02:32 | 0:02:37 | |
'The first ballroom in the country.' | 0:02:37 | 0:02:40 | |
Thank you. | 0:02:40 | 0:02:41 | |
Despite having an entire hotel to look after, | 0:02:41 | 0:02:44 | |
nothing is too small to escape Parveen's attention. | 0:02:44 | 0:02:48 | |
'It's extremely important to get to the minutest detail. | 0:02:48 | 0:02:50 | |
'The ironing of the tablecloths to the way the flower | 0:02:50 | 0:02:54 | |
'arrangements are and checking of each and every glass. | 0:02:54 | 0:02:57 | |
'These are some of the most important things.' | 0:02:57 | 0:02:59 | |
This needs to be done. | 0:03:01 | 0:03:02 | |
A lot of these have developed a bit of a tarnish, so get that done. | 0:03:02 | 0:03:07 | |
'The kind of people who we get here | 0:03:07 | 0:03:11 | |
'are the top creme de la creme of society.' | 0:03:11 | 0:03:15 | |
You see watermarks. | 0:03:15 | 0:03:16 | |
'Every small detail has been kept in mind to give people | 0:03:16 | 0:03:20 | |
'a feeling of luxury and exclusivity.' | 0:03:20 | 0:03:22 | |
See that handle, that's come off. | 0:03:22 | 0:03:25 | |
So get that sorted out. | 0:03:25 | 0:03:26 | |
These tablecloths need a bit of an ironing. | 0:03:26 | 0:03:28 | |
-Certainly, sir. -Those flowers need to be changed. | 0:03:28 | 0:03:32 | |
Can you help checking things when you walk around? | 0:03:32 | 0:03:34 | |
I do that all the time. | 0:03:34 | 0:03:36 | |
They hate me in this restaurant. I can find 500 faults. | 0:03:37 | 0:03:40 | |
We've got 1,500 people working here so we need to ensure every | 0:03:44 | 0:03:47 | |
person delivers what he is supposed to deliver all the time. | 0:03:47 | 0:03:51 | |
For example, the in-room dining actually might end up walking | 0:03:52 | 0:03:55 | |
a mile to reach your room and there are certain places where | 0:03:55 | 0:03:58 | |
two people have to lift a trolley to bring it to you. | 0:03:58 | 0:04:01 | |
There's a lot which goes at the back of the hotel to ensure there's | 0:04:01 | 0:04:05 | |
a perfect service delivered. | 0:04:05 | 0:04:07 | |
Good afternoon, everyone. We have 45 arrivals pending for the day. | 0:04:07 | 0:04:12 | |
Those most attuned to the demands of the guests are | 0:04:14 | 0:04:17 | |
the hotel's 35 butlers. | 0:04:17 | 0:04:19 | |
Another important guest is coming and he loves to enjoy his breakfast | 0:04:19 | 0:04:22 | |
and he loves to have the toast freshly brought | 0:04:22 | 0:04:25 | |
out from the toaster and on his plate. | 0:04:25 | 0:04:27 | |
So, the room as per his preference with a toaster, toast holder, | 0:04:27 | 0:04:31 | |
everything already preset. | 0:04:31 | 0:04:34 | |
He'll be coming quite late in the night but evening shift butler | 0:04:34 | 0:04:37 | |
just do a double check of the room because he's a very important guest. | 0:04:37 | 0:04:41 | |
DOORBELL DINGS | 0:04:49 | 0:04:50 | |
Valet service. | 0:04:50 | 0:04:52 | |
We recently had the head of a fairly large country who came | 0:04:52 | 0:04:55 | |
and stayed with us, one of the premiers. | 0:04:55 | 0:04:58 | |
And the rider for him was one of the toughest I've ever seen. | 0:04:58 | 0:05:01 | |
They don't want a speck of light in the room in the night. | 0:05:02 | 0:05:05 | |
And they don't want even 10 decibels of noise coming inside. | 0:05:05 | 0:05:10 | |
-Thank you. -Come, come, come, come right in. | 0:05:10 | 0:05:13 | |
One of the top-most Hollywood star who visited us for him | 0:05:13 | 0:05:16 | |
we had to convert the entire room into a gym. | 0:05:16 | 0:05:19 | |
And he would not eat anywhere in the hotel so we had to set up a dedicated | 0:05:19 | 0:05:23 | |
pantry with all kinds of food which would be served to him from there. | 0:05:23 | 0:05:27 | |
Every VIP who comes in has a customised list of things to do. | 0:05:29 | 0:05:35 | |
SHE CLEARS HER THROAT | 0:05:36 | 0:05:37 | |
As a hotel, we usually never say no. | 0:05:40 | 0:05:43 | |
-Have a great day. -Same to you and kindly let me know if you require any assistance. | 0:05:43 | 0:05:47 | |
-Of course I will. -Thank you. -Thank you. -Have a nice day. | 0:05:47 | 0:05:49 | |
I get this room every time I come. | 0:06:04 | 0:06:06 | |
'I have to entertain a lot | 0:06:09 | 0:06:11 | |
'so instead of taking people to a restaurant, it's always so much | 0:06:11 | 0:06:16 | |
'cosier and nicer to have a little dinner over here | 0:06:16 | 0:06:19 | |
'because it's almost like calling someone to your home.' | 0:06:19 | 0:06:22 | |
Kalyani Chawla is the brand ambassador for Christian Dior | 0:06:24 | 0:06:27 | |
in India, and a frequent guest of the hotel. | 0:06:27 | 0:06:30 | |
The Taj with all this attention to detail, | 0:06:31 | 0:06:36 | |
it's just fascinating. | 0:06:36 | 0:06:39 | |
And it's pure luxury more than anything else. | 0:06:39 | 0:06:42 | |
It's just so... It's just so beautiful. | 0:06:42 | 0:06:45 | |
I mean, there was Russell Brand staying in this suite in my bed. | 0:06:47 | 0:06:53 | |
OK, but I'm quite confident that I get better treatment than | 0:06:53 | 0:06:57 | |
Russell Brand. | 0:06:57 | 0:06:58 | |
Yes, I do. | 0:06:58 | 0:06:59 | |
A suite at the hotel costs between £2,000 and £9,000 a night. | 0:07:02 | 0:07:06 | |
I think this is the best part of the suite. | 0:07:11 | 0:07:14 | |
There's, um... It's actually really romantic. | 0:07:16 | 0:07:20 | |
And... Sorry, it's in a mess. | 0:07:20 | 0:07:24 | |
But it's a wardrobe, walk-in there, | 0:07:24 | 0:07:28 | |
and this beautiful bathroom inside. | 0:07:28 | 0:07:31 | |
And when I'm lying down in the bed, I can still see a little bit | 0:07:31 | 0:07:36 | |
out of the windows. | 0:07:36 | 0:07:38 | |
This is my domain. | 0:07:38 | 0:07:41 | |
It does feel like a bachelor pad to me. | 0:07:42 | 0:07:45 | |
This is a party pad, yes. | 0:07:45 | 0:07:47 | |
I can see complete decadence happening here but... | 0:07:47 | 0:07:52 | |
which I refrain from - I'm here on work. | 0:07:52 | 0:07:55 | |
SHE LAUGHS | 0:07:55 | 0:07:56 | |
There's potential. | 0:07:56 | 0:07:58 | |
When Kalyani threw a party to celebrate the launch | 0:08:04 | 0:08:07 | |
of a boutique in the hotel... | 0:08:07 | 0:08:08 | |
..she took over the whole first floor. | 0:08:10 | 0:08:13 | |
We actually transformed the entire section | 0:08:13 | 0:08:17 | |
so we have ripped off the carpets on the grand staircase. | 0:08:17 | 0:08:21 | |
We took over the entire Sea Lounge which before that nobody could do. | 0:08:21 | 0:08:25 | |
And we had imported crockery, cutlery, tablecloths, everything. | 0:08:25 | 0:08:30 | |
In spite of all the unreasonable demands, they not only agreed | 0:08:30 | 0:08:37 | |
but they did such an amazing job. | 0:08:37 | 0:08:40 | |
It is definitely the place to be. | 0:08:42 | 0:08:44 | |
This is the place to be. | 0:08:44 | 0:08:46 | |
In terms of prestige or in terms of a certain | 0:08:46 | 0:08:51 | |
calibre of the kind of hotels that you're expected to stay in, | 0:08:51 | 0:08:55 | |
this is definitely the best. There's no doubt about it. | 0:08:55 | 0:08:58 | |
Space is such a luxury, in Bombay especially. | 0:09:03 | 0:09:06 | |
Everyone's living in little matchboxes | 0:09:06 | 0:09:09 | |
because there is no space. | 0:09:09 | 0:09:10 | |
To come to Bombay | 0:09:12 | 0:09:14 | |
and live in this space, I think... it's beyond just luxury. | 0:09:14 | 0:09:20 | |
It's just absolutely fabulous. | 0:09:20 | 0:09:22 | |
And you look out and you see the sea | 0:09:22 | 0:09:24 | |
because it kind of cuts off everything else below. | 0:09:24 | 0:09:28 | |
And you just have this expanse of water and the boats | 0:09:28 | 0:09:34 | |
and the sun shining. | 0:09:34 | 0:09:36 | |
This is a little mirage in the middle of this city where | 0:09:36 | 0:09:41 | |
it's just a concrete jungle almost. | 0:09:41 | 0:09:44 | |
Since the hotel quietly opened its doors to | 0:10:00 | 0:10:02 | |
just 17 guests in December 1903, | 0:10:02 | 0:10:05 | |
it's been seen as a home away from home for the high society of India. | 0:10:05 | 0:10:09 | |
To begin with, we had very few luxury hotels in the country. | 0:10:10 | 0:10:13 | |
I think it was extremely important | 0:10:15 | 0:10:17 | |
to be seen and people understand it | 0:10:17 | 0:10:19 | |
as synonymous with luxury and history. | 0:10:19 | 0:10:22 | |
The hotel had few rivals when playing host to the stars. | 0:10:25 | 0:10:28 | |
Entertaining everyone from Pierre Cardin to Alfred Hitchcock, | 0:10:29 | 0:10:33 | |
it was the only place to be for the international elite. | 0:10:33 | 0:10:36 | |
We are all extremely attached to it and we all call it | 0:10:40 | 0:10:43 | |
the Grand Old Lady, it's not just a hotel, it's an institution. | 0:10:43 | 0:10:46 | |
But even grand old ladies cannot rest on past glories. | 0:10:50 | 0:10:53 | |
But since 2000, when the Indian economy has been booming, | 0:10:55 | 0:10:58 | |
the landscape of the country is changing. | 0:10:58 | 0:11:00 | |
All over the country there are new five-star hotels which are coming up all the time. | 0:11:00 | 0:11:05 | |
To keep its place on the world stage, the hotel must continue | 0:11:05 | 0:11:09 | |
to court institutions who share an equally illustrious past. | 0:11:09 | 0:11:13 | |
'This is where everyone comes. | 0:11:18 | 0:11:20 | |
'This is where everyone meets from around the world. | 0:11:20 | 0:11:23 | |
'And the Taj, from the very beginning, | 0:11:23 | 0:11:25 | |
'were art collectors and supporters | 0:11:25 | 0:11:28 | |
'and sponsors.' | 0:11:28 | 0:11:29 | |
Hugo Weihe is an international director at Christie's, | 0:11:31 | 0:11:34 | |
the world's oldest and largest auction house. | 0:11:34 | 0:11:37 | |
They're holding their first ever auction in India consisting | 0:11:38 | 0:11:40 | |
solely of Indian art. | 0:11:40 | 0:11:42 | |
We've been working towards this for a long time | 0:11:43 | 0:11:45 | |
so this is a dream come true now | 0:11:45 | 0:11:47 | |
we're on the ground here in India. | 0:11:47 | 0:11:49 | |
With enough millionaires to fill every room in the hotel, | 0:11:51 | 0:11:54 | |
Mumbai is an untapped market for Christie's. | 0:11:54 | 0:11:57 | |
I think this will be a seminal event | 0:11:57 | 0:12:00 | |
and the Taj is really the sort of anchor for it. | 0:12:00 | 0:12:03 | |
For Parveen and his team, an international auction on this | 0:12:11 | 0:12:14 | |
scale is unprecedented. | 0:12:14 | 0:12:16 | |
OK, so Christie's is looking at the prestigious event | 0:12:19 | 0:12:22 | |
and the kind of reputation it has all over the world. | 0:12:22 | 0:12:25 | |
They've chosen this hotel because of its historic significance, | 0:12:25 | 0:12:29 | |
because they find this the right background to do the auction. | 0:12:29 | 0:12:34 | |
It needs to be really handled with care. | 0:12:34 | 0:12:36 | |
Christie's will take over the hotel's two main function | 0:12:39 | 0:12:41 | |
rooms for a week in the run-up to the auction. | 0:12:41 | 0:12:44 | |
'We're doing all sorts of events around it. | 0:12:45 | 0:12:47 | |
'We'll have a reception on Monday and a dinner on Tuesday, | 0:12:47 | 0:12:50 | |
'inviting all the important collectors | 0:12:50 | 0:12:53 | |
'and inspire new collectors here.' | 0:12:53 | 0:12:55 | |
Will they have paintings on both sides? Inside and outside? | 0:12:55 | 0:12:58 | |
They will have paintings all around | 0:12:58 | 0:13:00 | |
and I think they will also have paintings inside. | 0:13:00 | 0:13:02 | |
Just ensure we don't have anybody | 0:13:06 | 0:13:08 | |
walking in there from the hotel who is not supposed to be there. | 0:13:08 | 0:13:12 | |
So just make sure from front and back. | 0:13:12 | 0:13:14 | |
I don't want people trying to have a peek or just trying to walk in. | 0:13:14 | 0:13:18 | |
Same goes for you. | 0:13:18 | 0:13:20 | |
Just make sure your people are very clear who's going to be | 0:13:20 | 0:13:22 | |
allowed to clean up. | 0:13:22 | 0:13:24 | |
By any means, I want to restrict as less | 0:13:24 | 0:13:26 | |
number of people inside the hall as possible. | 0:13:26 | 0:13:28 | |
OK. Thank you. | 0:13:28 | 0:13:31 | |
So that's the book. | 0:13:33 | 0:13:35 | |
It's going to be in my office if anyone wants to have a look at it. | 0:13:35 | 0:13:37 | |
It has some of the best paintings you guys would have seen. | 0:13:37 | 0:13:42 | |
# I want the waiter | 0:13:42 | 0:13:44 | |
# With the water | 0:13:44 | 0:13:46 | |
# I want the waiter with the water for my daughter | 0:13:46 | 0:13:50 | |
# I want the waiter with the water for my daughter | 0:13:50 | 0:13:53 | |
# Cos my daughter has an order | 0:13:53 | 0:13:54 | |
# For some water on the tray. # | 0:13:54 | 0:13:57 | |
-What are you checking? -The toaster. | 0:14:06 | 0:14:09 | |
Basically, the guest likes to toast the bread. | 0:14:09 | 0:14:12 | |
As per his requirements instead of ordering and waiting. | 0:14:12 | 0:14:17 | |
So we have arranged for a toaster which we'll be | 0:14:17 | 0:14:19 | |
placing in his room before his arrival. | 0:14:19 | 0:14:24 | |
The toast are ready so that proves it's working properly. There we go. | 0:14:25 | 0:14:31 | |
It's perfect. | 0:14:31 | 0:14:33 | |
Whether it's extending Gregory Peck's bed or allowing | 0:14:37 | 0:14:41 | |
President Obama to book the entire hotel...the staff will do | 0:14:41 | 0:14:45 | |
anything to make the hotel a home for their guests. | 0:14:45 | 0:14:48 | |
Listen, guys. I want you to take care of this gentleman. | 0:14:48 | 0:14:52 | |
She was very particular. | 0:14:52 | 0:14:54 | |
He cannot speak and he said, "Have you told the guy I'm deaf?" | 0:14:54 | 0:14:57 | |
I said, "No, I told him you are a Bollywood or Hollywood star." | 0:14:57 | 0:15:01 | |
OK, so there she is and she's all ready to go, please ensure... | 0:15:01 | 0:15:06 | |
Just take good care of them. | 0:15:06 | 0:15:09 | |
For half of the staff, | 0:15:09 | 0:15:10 | |
the hotel has been their home for over 20 years. | 0:15:10 | 0:15:13 | |
Hello there, good evening. | 0:15:13 | 0:15:15 | |
Satish was 18 | 0:15:15 | 0:15:16 | |
when he started as a trainee in the hotel's patisserie. | 0:15:16 | 0:15:19 | |
Hello there. How are you, my friend? | 0:15:19 | 0:15:21 | |
Twenty years later, he's Chief Concierge, a role that exists | 0:15:21 | 0:15:26 | |
exclusively to make sure guests get anything and everything they desire. | 0:15:26 | 0:15:31 | |
A concierge is man Friday. He is your magic wand. | 0:15:31 | 0:15:36 | |
Maybe, helicopter ride to the hotel. Possible. I can do that. | 0:15:36 | 0:15:42 | |
'Have somebody play bagpipes at the airport to welcome you, possible.' | 0:15:42 | 0:15:47 | |
Whichever car you like from a sedan to Jaguar to | 0:15:47 | 0:15:50 | |
Bentley, Mercedes S-Class with Wi-Fi inside, possible. | 0:15:50 | 0:15:56 | |
Maybe a glass of champagne, bottle of champagne, possible. | 0:15:56 | 0:16:00 | |
I cannot get you pink elephant. I'll try. | 0:16:00 | 0:16:03 | |
I'll not disappoint you. Elephant is possible. | 0:16:04 | 0:16:07 | |
Great. Thank you. | 0:16:07 | 0:16:09 | |
So that's what we do. We dazzle, we delight. | 0:16:10 | 0:16:13 | |
That's how we engage with our guests and build that connect with them. | 0:16:16 | 0:16:20 | |
And they say concierges are very friendly people. | 0:16:20 | 0:16:23 | |
That's how we enhance that friendship | 0:16:23 | 0:16:27 | |
and it goes into relationship later on. | 0:16:27 | 0:16:29 | |
We have a whole lot of regular guests coming back | 0:16:29 | 0:16:31 | |
and they come and they hug you and that's important. | 0:16:31 | 0:16:34 | |
And that's the satisfaction for me. | 0:16:36 | 0:16:38 | |
Before we got married, we were thinking about getting married and | 0:17:02 | 0:17:05 | |
Pete said, "If we get married, I'll take you all around the world." | 0:17:05 | 0:17:09 | |
And I thought, "Oh, this will be good." | 0:17:09 | 0:17:11 | |
So we've kept on doing it, as much as we can. | 0:17:12 | 0:17:15 | |
For the last 25 years, Suzie and Peter Noble, | 0:17:17 | 0:17:20 | |
have been shipping their classic car from their home in Essex. | 0:17:20 | 0:17:23 | |
Now retired from their business making metal fastenings for jeans, | 0:17:24 | 0:17:27 | |
they drive all over India, often starting and ending at the hotel. | 0:17:27 | 0:17:31 | |
I was like a man Friday for them. | 0:17:33 | 0:17:35 | |
'Liaising all the trip, into the whole of India.' | 0:17:38 | 0:17:42 | |
Head straight down this corridor, | 0:17:43 | 0:17:45 | |
midway through, take the Grand Staircase to first floor. | 0:17:45 | 0:17:48 | |
They got the car all the way up from England over here. | 0:17:54 | 0:17:57 | |
So he could travel around the country and each point he went to, | 0:17:57 | 0:18:02 | |
Gujarat, Udaipur, met some maharajas over there, | 0:18:02 | 0:18:05 | |
he would call me and tell me what to do with the next destination. | 0:18:05 | 0:18:10 | |
Ensure that our car is coming. | 0:18:10 | 0:18:12 | |
Ensure we have enough parking space for them | 0:18:12 | 0:18:14 | |
and that's what I would do for them. | 0:18:14 | 0:18:18 | |
Probably they're my favourite couple of guests ever. I just love them. | 0:18:24 | 0:18:28 | |
It is a little bit British to do it but our interest is, in a way, | 0:18:34 | 0:18:37 | |
the nostalgia and try and catch a fast-changing world. | 0:18:37 | 0:18:42 | |
We set off on a journey through China crossing | 0:18:45 | 0:18:50 | |
the Gobi Desert in a Bentley Continental. | 0:18:50 | 0:18:52 | |
And we stopped on the desert | 0:18:54 | 0:18:57 | |
and a Rolls-Royce Silver Ghost passed us driven by a Swiss. | 0:18:57 | 0:19:01 | |
And I said to Suzie, "When we get back home, I'm going to buy | 0:19:01 | 0:19:05 | |
"a car like that. | 0:19:05 | 0:19:06 | |
"But I'm going to buy a Lanchester." She'd never heard of that. | 0:19:06 | 0:19:09 | |
Most people haven't. | 0:19:09 | 0:19:10 | |
The saying used to be in the '20s if you wanted a really good car | 0:19:10 | 0:19:14 | |
you bought a Rolls-Royce Silver Ghost. | 0:19:14 | 0:19:17 | |
But if you want something a little bit better you bought a Lanchester. | 0:19:17 | 0:19:20 | |
Somebody said to us today, "Where have you come from?" | 0:19:22 | 0:19:26 | |
We said, "Britain, England." And they said, | 0:19:26 | 0:19:28 | |
"Where has this car come from?" "England." "Oh, good. | 0:19:28 | 0:19:31 | |
"The British are coming back." | 0:19:31 | 0:19:33 | |
I thought, "I wish they were." | 0:19:35 | 0:19:37 | |
Basically, it's like being a celebrity. | 0:19:53 | 0:19:56 | |
And I hate celebs. | 0:19:56 | 0:19:57 | |
But it's like being a celebrity in this car. | 0:19:58 | 0:20:00 | |
-Look at those playing on the grass, playing horses. -Yeah, lovely. | 0:20:09 | 0:20:12 | |
There's a feeling of sadness. There's also a feeling of guilt, | 0:20:15 | 0:20:19 | |
where these lovely children living like that, | 0:20:19 | 0:20:24 | |
and frankly, you're living in the Taj. | 0:20:24 | 0:20:26 | |
You feel you don't want to go out into the streets. | 0:20:32 | 0:20:34 | |
You have to and you feel wretched, really. | 0:20:34 | 0:20:39 | |
It's a saddening process. | 0:20:39 | 0:20:41 | |
Sue, I'm going to get to the Taj. | 0:20:44 | 0:20:46 | |
I'm going to go down, put the car to bed. | 0:20:46 | 0:20:49 | |
If you go to the room, Satish will help you. | 0:20:49 | 0:20:52 | |
Thank you, Satish. | 0:21:01 | 0:21:02 | |
In a hotel as old as the Taj, Parveen and | 0:21:16 | 0:21:19 | |
Executive Housekeeper Indrani face | 0:21:19 | 0:21:22 | |
a constant battle to keep up appearances. | 0:21:22 | 0:21:25 | |
Just hold on for another 15 days. | 0:21:25 | 0:21:27 | |
Just give it a coat of paint, let it dry. | 0:21:27 | 0:21:29 | |
We'll do it on, let's say, first week of Feb. | 0:21:29 | 0:21:32 | |
Let's go to 651. | 0:21:32 | 0:21:34 | |
Everywhere from the corridors, | 0:21:36 | 0:21:38 | |
to the 15-room, 5,000-square-foot Tata Suite, | 0:21:38 | 0:21:41 | |
is in need of regular attention. | 0:21:41 | 0:21:43 | |
We've just taken the suite out for maintenance and we're basically... | 0:21:43 | 0:21:47 | |
We don't have any major visit happening here for the next couple | 0:21:47 | 0:21:50 | |
of days so we've just decided to do different kinds of paint finishes. | 0:21:50 | 0:21:56 | |
It's an old building so it needs a bit of massaging every few months. | 0:21:56 | 0:22:01 | |
OK, so this is the state of affairs. | 0:22:01 | 0:22:05 | |
Can I rip it off and do the same colour as this wall? | 0:22:06 | 0:22:10 | |
Hue of slightly silver. | 0:22:10 | 0:22:12 | |
-I'll show you the samples. -Exactly. | 0:22:12 | 0:22:14 | |
'When we started the hotel 110 years back, our founder was very clear. | 0:22:14 | 0:22:19 | |
'He wanted to make not just any hotel | 0:22:19 | 0:22:22 | |
'but he wanted to make the best hotel in the country. | 0:22:22 | 0:22:24 | |
'You have to continuously keep spending time and money | 0:22:24 | 0:22:26 | |
'and effort on restoring things. | 0:22:26 | 0:22:28 | |
'In the same manner it was 110 years back | 0:22:28 | 0:22:31 | |
'and in certain cases you have to do better.' | 0:22:31 | 0:22:33 | |
And then do a finish which is very similar. | 0:22:33 | 0:22:35 | |
-So it should not be a bright finish. -Put Scotchgard... | 0:22:35 | 0:22:38 | |
So do a dull finish. | 0:22:38 | 0:22:41 | |
Do a dull finish. Also I think we need fresh painting. | 0:22:41 | 0:22:46 | |
It's a part of us. We can't help it. It's everywhere you go. | 0:22:46 | 0:22:49 | |
There's some issue and when I catch hold of him he knows I'm only | 0:22:49 | 0:22:52 | |
going to come up with issues | 0:22:52 | 0:22:53 | |
-that need to be sorted out. -That's why I run away from her. | 0:22:53 | 0:22:56 | |
You'll always find me running away from her. | 0:22:56 | 0:22:57 | |
Still she comes to my office and drags me. | 0:22:57 | 0:23:00 | |
Because there are so many issues that need to be sorted out, | 0:23:00 | 0:23:03 | |
alternative suggestions, financial... | 0:23:03 | 0:23:05 | |
They need financial approval and we come up with some... | 0:23:05 | 0:23:08 | |
Housekeeping is like my second passion. | 0:23:08 | 0:23:11 | |
So I like to spend a lot of time because I'm married to a housekeeper. | 0:23:11 | 0:23:14 | |
It's like you know the hotel better than most people know their homes. | 0:23:14 | 0:23:18 | |
-More than that. -She spends more time at the hotel than she spends at home. | 0:23:18 | 0:23:23 | |
My home gets my attention only on Sundays. | 0:23:23 | 0:23:25 | |
On Sunday, it's no for anything. | 0:23:25 | 0:23:27 | |
Do you do housekeeping at home? No. | 0:23:27 | 0:23:29 | |
Do you do the detailing at home about paint and polish? | 0:23:29 | 0:23:32 | |
I wish I could do that at home but no time, seriously. | 0:23:32 | 0:23:35 | |
I'm a mother and a daughter-in-law and a wife | 0:23:35 | 0:23:38 | |
so all those takes more precedence. | 0:23:38 | 0:23:40 | |
But a little bit of housekeeping comes naturally. | 0:23:40 | 0:23:43 | |
SHE LAUGHS | 0:23:43 | 0:23:44 | |
Whether it's persuading people to spend £9,000 a night | 0:23:49 | 0:23:52 | |
on a hotel suite, or millions on a painting, | 0:23:52 | 0:23:55 | |
presentation is everything. | 0:23:55 | 0:23:57 | |
'We gear up to the days and there's all these steps ahead of it. | 0:24:00 | 0:24:04 | |
'The catalogue is the first major step when we get that into print. | 0:24:04 | 0:24:07 | |
'And it's received by the collectors around the world. | 0:24:07 | 0:24:11 | |
'Now the exhibition is the next major step because this is where | 0:24:12 | 0:24:17 | |
'everyone will be able to see it in person for the first time.' | 0:24:17 | 0:24:19 | |
With Christie's best chance to woo the Indian art world approaching, | 0:24:20 | 0:24:24 | |
Hugo, like Parveen, is a stickler for detail. | 0:24:24 | 0:24:28 | |
'We must be perfectionists and we want to present them | 0:24:28 | 0:24:31 | |
'in the best possible way. | 0:24:31 | 0:24:32 | |
'That includes hanging them straight on the wall, | 0:24:32 | 0:24:36 | |
'having the lighting perfect, the label all at the same height. | 0:24:36 | 0:24:40 | |
'All of this matters because it's that first impression of a work.' | 0:24:40 | 0:24:44 | |
-Well done. It's looking terrific. -We're getting there. | 0:24:44 | 0:24:49 | |
It was a little bit crowded over there, maybe? | 0:24:49 | 0:24:52 | |
Alongside the art... the hotel will be laying on lavish | 0:24:53 | 0:24:57 | |
parties for potential buyers. | 0:24:57 | 0:24:59 | |
-It's a buffet. -Buffet and people are circulating now. It's standing. | 0:24:59 | 0:25:04 | |
So you're not doing cutlery, crockery? | 0:25:04 | 0:25:06 | |
No, we're just putting the smaller plates... | 0:25:06 | 0:25:08 | |
-But is the food going to have knives? Will the food need a knife? -No. | 0:25:08 | 0:25:12 | |
-Sure? -Yeah. -We started dinner at 8.15. -So is it like networking? | 0:25:12 | 0:25:17 | |
-Champagne? -Wine and champagne. | 0:25:17 | 0:25:20 | |
That's OK from here onwards. These two fill this two spaces which is fine. | 0:25:22 | 0:25:26 | |
But it's a bit tight, that's my only concern. Otherwise this is good. | 0:25:26 | 0:25:30 | |
The centre-piece of the auction is a painting by | 0:25:30 | 0:25:32 | |
"the Indian Rothko" | 0:25:32 | 0:25:33 | |
Vasudeo Gaitonde. Christie's are hoping | 0:25:33 | 0:25:36 | |
it will break the current world record of 3m... | 0:25:36 | 0:25:39 | |
and become the most expensive Indian artwork in history. | 0:25:39 | 0:25:43 | |
It's important to be able to present it in a way that everyone can say, | 0:25:43 | 0:25:47 | |
"Wow. It's fantastic. | 0:25:47 | 0:25:49 | |
"It looks so beautiful. And I could maybe acquire it and maybe have it | 0:25:49 | 0:25:54 | |
"in my house and it will make everything look so wonderful at my house too." | 0:25:54 | 0:25:59 | |
I don't want anybody serving around these paintings. | 0:26:01 | 0:26:04 | |
Tell people to be at least two-three feet away from... | 0:26:06 | 0:26:10 | |
three-four feet away from the main area. | 0:26:10 | 0:26:12 | |
So that you don't even land up in an accident where somebody is | 0:26:12 | 0:26:15 | |
just banging. | 0:26:15 | 0:26:17 | |
-I don't want any accidents. OK, anything else? -Nothing, sir. | 0:26:17 | 0:26:22 | |
We've been living this life for so long now, couldn't do anything else. | 0:26:25 | 0:26:30 | |
We're always together. Have been ever since we got married. | 0:26:30 | 0:26:33 | |
And it will stay like that. | 0:26:33 | 0:26:35 | |
There's nobody else that I could travel with. | 0:26:37 | 0:26:39 | |
-Nobody else would travel with you. -No, that's a good point, Sue. | 0:26:40 | 0:26:44 | |
That's a good point. | 0:26:44 | 0:26:45 | |
12 years ago, I had a stroke. Complete left side paralysed. | 0:26:48 | 0:26:52 | |
And from then onwards he's done everything for me. | 0:26:52 | 0:26:55 | |
He has to cut my food, do my hair. | 0:26:55 | 0:26:59 | |
Everything. You can't imagine what he's had to do. | 0:26:59 | 0:27:02 | |
And nobody else would do that, so he's my rock. | 0:27:02 | 0:27:05 | |
We thought she was going to be in a wheelchair for life. Half paralysed. | 0:27:08 | 0:27:11 | |
Everything was dead on the left side | 0:27:11 | 0:27:13 | |
so, therefore, these were dark days for us. | 0:27:13 | 0:27:18 | |
You can't imagine. | 0:27:18 | 0:27:20 | |
Sue was talking about, "I can sit on my balcony and look at my garden." | 0:27:21 | 0:27:24 | |
And I said, "No. We're going to the Sudan. | 0:27:27 | 0:27:30 | |
"We're going to go up the Nile." | 0:27:30 | 0:27:33 | |
It was a big turning point. | 0:27:33 | 0:27:34 | |
And Sue has improved every day since. | 0:27:36 | 0:27:39 | |
And she still supports me. | 0:27:42 | 0:27:44 | |
And she still does her fair share of all the donkey-work where | 0:27:44 | 0:27:47 | |
it can be done. | 0:27:47 | 0:27:49 | |
And I can say no more really. | 0:27:49 | 0:27:52 | |
How did you both get through those dark days? | 0:27:54 | 0:27:56 | |
I can't remember. | 0:27:58 | 0:27:59 | |
I really can't remember. | 0:28:00 | 0:28:02 | |
No. | 0:28:04 | 0:28:05 | |
Excuse me. | 0:28:08 | 0:28:09 | |
Sorry, I can't stand talking about it. | 0:28:11 | 0:28:13 | |
So there you are and... | 0:28:16 | 0:28:17 | |
HE EXHALES | 0:28:19 | 0:28:21 | |
But we turned a corner. | 0:28:21 | 0:28:22 | |
It's the main thing. | 0:28:22 | 0:28:24 | |
'And I often said to Sue, "If anything happened to her, | 0:28:41 | 0:28:45 | |
'"I'd probably come and live here." | 0:28:45 | 0:28:46 | |
'I'd be quite happy to have ten good years with the Lanchester and Suzie.' | 0:28:56 | 0:29:01 | |
Chief Concierge Satish, the Nobles' man Friday, | 0:29:53 | 0:29:56 | |
lives just ten minutes from the hotel with his wife, mother and son. | 0:29:56 | 0:30:00 | |
HE PRAYS | 0:30:01 | 0:30:03 | |
TALKS TO BABY | 0:30:04 | 0:30:06 | |
Come on. Yeah. Yeah. Very good. Very good. | 0:30:11 | 0:30:17 | |
SINGS TO BABY | 0:30:20 | 0:30:23 | |
Sharmila also works at the hotel where they met 15 years ago. | 0:30:25 | 0:30:29 | |
We were selling pastries at Taj. | 0:30:31 | 0:30:34 | |
And that's where our eyes met. Over a Vienna lemon cheesecake. | 0:30:34 | 0:30:39 | |
So, Taj gave me a wife and a son and a nice house to live. | 0:30:45 | 0:30:51 | |
What more can you ask for? | 0:30:51 | 0:30:52 | |
This is my luxury. | 0:30:56 | 0:30:58 | |
This is my Grand Presidential Tata Suite. I hope you like it. Yeah? | 0:30:58 | 0:31:04 | |
BABY GURGLES | 0:31:04 | 0:31:05 | |
HE IMITATES BABY | 0:31:09 | 0:31:11 | |
And do namaste to everybody. | 0:31:11 | 0:31:13 | |
We must do good morning namaste. | 0:31:13 | 0:31:15 | |
Namaste. Yes. | 0:31:15 | 0:31:17 | |
Say, "Thank you for coming. | 0:31:17 | 0:31:20 | |
"Thank you for coming to my house." | 0:31:20 | 0:31:22 | |
Seeing this monumental building, you know, it's like... | 0:31:26 | 0:31:29 | |
"Oh, wow, this is Taj, it's a great big hotel." | 0:31:29 | 0:31:32 | |
I never imagined that I would be ever walking into this hotel. | 0:31:32 | 0:31:37 | |
And, you know, I'm working for that hotel | 0:31:39 | 0:31:44 | |
and at times I wonder when I look outside it's...it's probably | 0:31:44 | 0:31:47 | |
somebody else out over there who is also dreaming to come inside | 0:31:47 | 0:31:52 | |
and work and I have something for them - | 0:31:52 | 0:31:54 | |
it's like, "Dreams do come true. | 0:31:54 | 0:31:56 | |
"The Taj really makes your dream come true." | 0:31:56 | 0:32:00 | |
For the wealthiest in Mumbai, | 0:32:09 | 0:32:11 | |
an exclusive retreat can be found via a private lift in the lobby. | 0:32:11 | 0:32:15 | |
The Chambers is one of the most sought-after business clubs | 0:32:21 | 0:32:24 | |
in the whole of India. Membership is by invitation only. | 0:32:24 | 0:32:29 | |
Consisting of a library, bar, dining and conference rooms, | 0:32:31 | 0:32:35 | |
this is where captains of industry | 0:32:35 | 0:32:37 | |
and the international elite network and broker deals. | 0:32:37 | 0:32:40 | |
Bernard Steinrucke is president of the Indo-German Chamber Of Commerce | 0:32:44 | 0:32:49 | |
and he and his wife Ranjana have been members for the last six years. | 0:32:49 | 0:32:53 | |
When I came, this was my first home in Mumbai. | 0:32:53 | 0:32:56 | |
I had a beautiful suite here on the sixth floor. | 0:32:56 | 0:32:59 | |
Luckily, the hotel took good care of me. | 0:33:02 | 0:33:06 | |
It makes you proud. | 0:33:13 | 0:33:14 | |
You know, it's kind of situates you in a certain time | 0:33:14 | 0:33:18 | |
and place which is rare. | 0:33:18 | 0:33:20 | |
Having grown up in Bombay, it's our first idea, the word posh. | 0:33:22 | 0:33:29 | |
I mean, before you had terms like... | 0:33:29 | 0:33:33 | |
er...over-the-top luxury and things, there was posh | 0:33:33 | 0:33:37 | |
and Taj represented that so it's very associated | 0:33:37 | 0:33:41 | |
with growing up in Bombay and something very special. | 0:33:41 | 0:33:49 | |
It's iconic in that sense. | 0:33:49 | 0:33:51 | |
Sometimes when I'm having lunch here with guests you happen to | 0:33:51 | 0:33:55 | |
bump into some of the celebrities of Mumbai | 0:33:55 | 0:34:00 | |
but they are comfortable here because nobody's bothering them. | 0:34:00 | 0:34:07 | |
Make sure that the grooming of the boys is up to the margin. | 0:34:10 | 0:34:14 | |
Make sure everybody polishes shoes. | 0:34:14 | 0:34:16 | |
And get a lot, the next time, anyone who polishes, just an empty brush | 0:34:17 | 0:34:22 | |
and a liquid polish. Everybody needs to wash their face, gel their hair. | 0:34:22 | 0:34:27 | |
Well, we have exclusive music | 0:34:28 | 0:34:30 | |
even for the members of the Chambers today. | 0:34:30 | 0:34:32 | |
And we've got Anoushka Shankar, daughter of the famous sitar player | 0:34:32 | 0:34:37 | |
Ravi Shankar, who's going to be here tonight. | 0:34:37 | 0:34:40 | |
Hello. | 0:34:40 | 0:34:41 | |
-Hi. -I just want to say hello, Parveen, deputy manager. | 0:34:41 | 0:34:44 | |
It's a pleasure having you. | 0:34:44 | 0:34:45 | |
And thank you very much for everything in the suite. | 0:34:47 | 0:34:50 | |
We didn't get time to thank you. | 0:34:50 | 0:34:52 | |
Such a pleasure for us to be in there. | 0:34:52 | 0:34:54 | |
It's an honour for us having you stay. | 0:34:54 | 0:34:55 | |
-Thank you, it feels like coming home. -Great. Thank you. | 0:34:55 | 0:34:58 | |
INDIAN MUSIC PLAYS | 0:34:58 | 0:35:00 | |
The hotel has welcomed some of the world's biggest music icons. | 0:35:04 | 0:35:08 | |
It was the first home of jazz in the city, playing host to the | 0:35:08 | 0:35:11 | |
likes of Duke Ellington. | 0:35:11 | 0:35:14 | |
When George Harrison took up residence, | 0:35:14 | 0:35:16 | |
Anoushka's father, sitar legend Ravi Shankar, taught him | 0:35:16 | 0:35:20 | |
to play in one of the hotel's suites. | 0:35:20 | 0:35:22 | |
Right now, I'm thinking I will change this one. | 0:35:38 | 0:35:43 | |
David Cameron has already replaced Sarkozy | 0:35:43 | 0:35:46 | |
so we want to add Tom Cruise and where's Anoushka's picture? | 0:35:46 | 0:35:51 | |
Anoushka, for sure. | 0:35:51 | 0:35:54 | |
Nikhila is the Hotel's director of public relations. | 0:35:56 | 0:36:00 | |
It's her job to make sure that the hotel | 0:36:00 | 0:36:02 | |
capitalises on its illustrious past. | 0:36:02 | 0:36:06 | |
If you come to Mumbai, | 0:36:06 | 0:36:07 | |
actually, if you come to India and you come anywhere | 0:36:07 | 0:36:10 | |
near the city of Mumbai, this is where you must stay. | 0:36:10 | 0:36:13 | |
Anybody who's anybody has wanted to stay here | 0:36:13 | 0:36:16 | |
and we try to keep it as current as possible so the VIPs that we are | 0:36:16 | 0:36:21 | |
putting up right now have actually visited us in 2013, most of them. | 0:36:21 | 0:36:26 | |
Um, I'm going to be leaving a little space for Tom Cruise | 0:36:26 | 0:36:29 | |
later but, um, that's because I love him. | 0:36:29 | 0:36:33 | |
I think it's about sharing the same space with somebody who is | 0:36:34 | 0:36:39 | |
world famous and world-renowned, so I think it's nice... Sorry? Um... | 0:36:39 | 0:36:44 | |
It's fine now. What do you think? Is it too crushed? | 0:36:45 | 0:36:47 | |
I think you can actually push even Sir Mick Jagger a little down. | 0:36:47 | 0:36:52 | |
And then everything won't be so cramped. | 0:36:52 | 0:36:55 | |
When my dad was first in Mumbai, he used to be a banker. | 0:37:02 | 0:37:07 | |
When he was transferred to Mumbai and I was six years old, | 0:37:07 | 0:37:12 | |
this was my home. | 0:37:12 | 0:37:14 | |
And I remember running around in the corridor singing loudly | 0:37:14 | 0:37:19 | |
and my mother used to be very, very, you know, | 0:37:19 | 0:37:23 | |
she would try to keep me quiet saying, "Please," you know, | 0:37:23 | 0:37:26 | |
"Please, we're out in the lobby," and for me it was my home. | 0:37:26 | 0:37:29 | |
I thought everybody lived in such lavish, beautiful homes. | 0:37:31 | 0:37:35 | |
We just go and do random checking of the rooms basically. | 0:38:12 | 0:38:15 | |
So, what happens is, on a daily basis, | 0:38:18 | 0:38:21 | |
we take about four or five rooms. | 0:38:21 | 0:38:22 | |
The rooms are chosen at random at the last minute. | 0:38:22 | 0:38:25 | |
We spend about an hour, we've got | 0:38:25 | 0:38:27 | |
six to eight people who go on the floor. | 0:38:27 | 0:38:29 | |
Put it back. | 0:38:30 | 0:38:32 | |
So you have one guy would check the air conditioning, | 0:38:32 | 0:38:34 | |
there'd be somebody who would check the plumbing. | 0:38:34 | 0:38:36 | |
Then the housekeeper, so she also has her team of people, there's | 0:38:36 | 0:38:39 | |
one helper who has to strip the room, maybe one supervisor, then we | 0:38:39 | 0:38:42 | |
get somebody from in-room dining to see the glasses and all that. | 0:38:42 | 0:38:45 | |
Moeed usually comes and checks the room along with us, | 0:38:45 | 0:38:47 | |
in terms of all the other detailing. | 0:38:47 | 0:38:49 | |
There are some water stains, there's some kind of staining, so... | 0:38:55 | 0:38:58 | |
Write it on, please. | 0:38:58 | 0:39:01 | |
And because if you need to check a room in 10 minutes, | 0:39:06 | 0:39:08 | |
you need that number of people to just | 0:39:08 | 0:39:09 | |
kind of completely strip everything and do that. | 0:39:09 | 0:39:12 | |
You do four to five rooms a day. | 0:39:12 | 0:39:16 | |
Why are we laminating these? | 0:39:16 | 0:39:20 | |
-Because they're getting everything on, will stain. -No, no, no. | 0:39:20 | 0:39:24 | |
-Can't have lamination, please. -They're at side table every day. | 0:39:24 | 0:39:27 | |
No lamination. | 0:39:27 | 0:39:29 | |
You go for a better quality if you think staining is an issue | 0:39:29 | 0:39:31 | |
you go for a non-stain finish, but no lamination, please. | 0:39:31 | 0:39:34 | |
Tell Nikhila to get you better quality. Yeah? No lamination. | 0:39:35 | 0:39:40 | |
Yeah? | 0:39:41 | 0:39:42 | |
We're supposed to be giving the best to our guests as far as hygiene, | 0:39:53 | 0:39:57 | |
cleanliness and maintenance is concerned. | 0:39:57 | 0:39:59 | |
And that is why they're coming to us | 0:39:59 | 0:40:00 | |
and they're not going to any other smaller hotel. | 0:40:00 | 0:40:04 | |
Housekeeping. | 0:40:04 | 0:40:05 | |
But you've got to look exactly the way a guest would have seen | 0:40:07 | 0:40:10 | |
the room so you have to get into every corner. | 0:40:10 | 0:40:14 | |
You know, you'll find dust in certain places. | 0:40:14 | 0:40:17 | |
You will find small marks on things and | 0:40:17 | 0:40:20 | |
that's about getting your people to see, so you've got to see yourself. | 0:40:20 | 0:40:24 | |
You know, it has to be perfect, so you've got to give a guest | 0:40:24 | 0:40:26 | |
zero defection by all means. | 0:40:26 | 0:40:28 | |
And it takes a huge amount of hard work | 0:40:28 | 0:40:30 | |
an eye for detail to reach zero defect, so that's what | 0:40:30 | 0:40:33 | |
the team's job is. | 0:40:33 | 0:40:35 | |
What do you check? | 0:40:35 | 0:40:36 | |
Hmm? What do you check when you come to the room? | 0:40:38 | 0:40:41 | |
When this was introduced, you didn't see the size is not up to the mark? | 0:40:41 | 0:40:45 | |
-They said they were changing it... -It's not a matter of changing. | 0:40:45 | 0:40:48 | |
Why didn't you see it? | 0:40:48 | 0:40:49 | |
Abbas, it's your responsibility, this is your part of the room, | 0:40:50 | 0:40:54 | |
so then you're supposed to see it. | 0:40:54 | 0:40:56 | |
With the imminent arrival of the art elite, Nikhila has | 0:41:05 | 0:41:09 | |
called in the Hotel's art consultant to make the most of their collection. | 0:41:09 | 0:41:13 | |
So just take this but very carefully, huh? | 0:41:13 | 0:41:16 | |
Lift it from one side and you lift it from the other and just hold it. | 0:41:16 | 0:41:19 | |
We just want to see how it looks. | 0:41:19 | 0:41:21 | |
You know, the hotel has the most exquisite art but | 0:41:21 | 0:41:26 | |
the guests who are coming, of course, know art, they love art. | 0:41:26 | 0:41:30 | |
They may not be able to see these because these pieces are hidden | 0:41:30 | 0:41:32 | |
in suites or in lounge so we thought let's bring the pieces to them. | 0:41:32 | 0:41:36 | |
So, we're lining the pathway for the entrance with masterpieces. | 0:41:39 | 0:41:44 | |
So they'll have masterpieces inside and outside. | 0:41:51 | 0:41:54 | |
Within the hotel's collection are some of the most important pieces | 0:41:58 | 0:42:01 | |
of modern Indian art, including four paintings by Gaitonde. | 0:42:01 | 0:42:05 | |
And it's perfect. | 0:42:05 | 0:42:08 | |
In the late 1950s, a group of new modern artists emerged in India, | 0:42:08 | 0:42:14 | |
many of whom were supported by the Tata family who owned | 0:42:14 | 0:42:17 | |
the hotel. | 0:42:17 | 0:42:18 | |
They found an outlet in the hotel's gallery space. | 0:42:19 | 0:42:24 | |
A lot of these artists actually came and stayed in this hotel and painted. | 0:42:24 | 0:42:28 | |
We used to have an art gallery here, where a lot of these painters | 0:42:28 | 0:42:30 | |
would come and sell their art pieces and the hotel would buy them. | 0:42:30 | 0:42:35 | |
Put it down, hold it from the base. Only from the base. | 0:42:35 | 0:42:39 | |
Don't hold it up. Don't hold it up. | 0:42:39 | 0:42:42 | |
So, we have some of the most beautiful collection of Indian | 0:42:42 | 0:42:46 | |
contemporary art. | 0:42:46 | 0:42:47 | |
Be careful because otherwise you'll hit the wall. | 0:42:47 | 0:42:51 | |
Now, go up. | 0:42:51 | 0:42:52 | |
Up, up, up, up. | 0:42:52 | 0:42:54 | |
Many of the artworks being sold at the Christie's | 0:42:54 | 0:42:56 | |
auction are by this same group of artists. | 0:42:56 | 0:42:58 | |
So, the Gaitonde painting is one of our most important | 0:43:00 | 0:43:04 | |
paintings in the entire collection, | 0:43:04 | 0:43:06 | |
possibly the most important, so the fact that we brought it out | 0:43:06 | 0:43:10 | |
and putting it here is a huge deal. | 0:43:10 | 0:43:13 | |
VS Gaitonde is arguably the most famous abstract artist | 0:43:13 | 0:43:17 | |
the country has ever produced. | 0:43:17 | 0:43:19 | |
They are going to be showing a light on the old ones, | 0:43:19 | 0:43:21 | |
personally, I think ours is perfect, but I'm biased. | 0:43:21 | 0:43:26 | |
How much is it worth? | 0:43:27 | 0:43:29 | |
It's priceless! | 0:43:29 | 0:43:30 | |
SHE LAUGHS | 0:43:30 | 0:43:32 | |
I'm going to see from the other side to see if it's straight. | 0:43:38 | 0:43:42 | |
If the auction is a success, | 0:43:42 | 0:43:44 | |
the value of the works in the hotel will increase substantially. | 0:43:44 | 0:43:48 | |
It looks lovely. It's really nice. It looks like it was always there. | 0:43:50 | 0:43:55 | |
I'm very happy with it. | 0:43:55 | 0:43:58 | |
I'll just have to get that spotlight down and... | 0:43:58 | 0:44:00 | |
It's like it was meant to be there. | 0:44:02 | 0:44:04 | |
Good afternoon, I'm Steven Murphy, Chief Executive of Christie's. | 0:44:16 | 0:44:19 | |
Thank you so much for coming. | 0:44:19 | 0:44:21 | |
It's actually an auspicious moment today, | 0:44:21 | 0:44:23 | |
but we're here announcing this great moment for Christie's | 0:44:23 | 0:44:27 | |
on the same day as the 110th anniversary of this great building, | 0:44:27 | 0:44:32 | |
this great institution of this hotel that we're part of. | 0:44:32 | 0:44:35 | |
So we're very excited to be showcasing | 0:44:35 | 0:44:37 | |
all of this wonderful art | 0:44:37 | 0:44:39 | |
to all of our clients around the world in the same moment. | 0:44:39 | 0:44:42 | |
Thank you. | 0:44:42 | 0:44:43 | |
APPLAUSE | 0:44:43 | 0:44:46 | |
Indian modern art has been doing well over the last 10-15 years, | 0:44:46 | 0:44:49 | |
but the market has been overseas with New York and London and... | 0:44:49 | 0:44:54 | |
But not in India. | 0:44:56 | 0:44:58 | |
What's nice about this particular auction | 0:44:58 | 0:45:00 | |
is that it's almost like they're coming back to India. | 0:45:00 | 0:45:04 | |
It's their return. | 0:45:04 | 0:45:05 | |
'Well, The Taj is the sort of iconic hotel in India. | 0:45:06 | 0:45:11 | |
'So it is the appropriate place for a high-end art event. | 0:45:11 | 0:45:17 | |
'And Christie's and The Taj, they're good brands.' | 0:45:17 | 0:45:21 | |
Two big brands, fighting it out for attention. | 0:45:21 | 0:45:24 | |
We have to carry on this event much better than their expectations, | 0:45:26 | 0:45:30 | |
so actually not just meet their expectations, | 0:45:30 | 0:45:32 | |
rather exceed the expectations. | 0:45:32 | 0:45:34 | |
'This is a combination of perfection and eye for detail.' | 0:45:34 | 0:45:37 | |
And it falls to Parveen's team | 0:45:40 | 0:45:42 | |
to make sure that nothing is overlooked. | 0:45:42 | 0:45:44 | |
So basically it's a seven-course sit-down dinner. | 0:45:46 | 0:45:49 | |
Chef has crafted the menu, which is there. | 0:45:49 | 0:45:51 | |
As of now, they have not told us how they want this printed. | 0:45:51 | 0:45:54 | |
Have another paper one? | 0:45:54 | 0:45:56 | |
No, that's what I'm saying. I want to use the one we did for... | 0:45:56 | 0:45:59 | |
No, no, not the school one... Sorry, I'm getting mixed up, | 0:45:59 | 0:46:02 | |
-that other one with the antique look. Was old. -No, it's here. | 0:46:02 | 0:46:05 | |
It's right here. | 0:46:05 | 0:46:07 | |
It has a nice archival look | 0:46:07 | 0:46:08 | |
and it goes with the whole feeling that we're trying to create. | 0:46:08 | 0:46:11 | |
You can do either burnt insert or just do regular, | 0:46:11 | 0:46:14 | |
you don't have to go with the burnt insert. | 0:46:14 | 0:46:17 | |
-No? -Yeah. | 0:46:17 | 0:46:19 | |
So do this outer. So you know the size now that you need to make. | 0:46:19 | 0:46:24 | |
'It is a opportunity for us on the international stage.' | 0:46:24 | 0:46:27 | |
I mean, it's the first time Christie's is coming to India | 0:46:27 | 0:46:29 | |
for an auction and they've chosen The Taj, | 0:46:29 | 0:46:32 | |
so from that perspective it's huge. | 0:46:32 | 0:46:34 | |
-How many lots are there? -18. -18. | 0:46:34 | 0:46:36 | |
He's supposed to be in now, so I think we should move to the venue. | 0:46:36 | 0:46:40 | |
To ensure the auction is a success, | 0:46:42 | 0:46:45 | |
the team is planning every last detail... | 0:46:45 | 0:46:48 | |
..something head of food and beverage Mehr knows all about. | 0:46:50 | 0:46:53 | |
Can we just have them organised properly? And you put little tags... | 0:46:55 | 0:46:59 | |
-Certainly, ma'am. -..that says exactly which item | 0:46:59 | 0:47:01 | |
-and what is the bar stock you're going to maintain. -Fine, ma'am. | 0:47:01 | 0:47:04 | |
Because, as discussed last time, my biggest concern is that you guys | 0:47:04 | 0:47:08 | |
do it once and then after two weeks again we have to come and check it. | 0:47:08 | 0:47:10 | |
It should not be like that. Have a proper check list. | 0:47:10 | 0:47:13 | |
Also, make a check list here on the wall, which clearly says what are | 0:47:13 | 0:47:16 | |
the items you will be stocking and what quantities you intend to put. | 0:47:16 | 0:47:20 | |
'I mean, we keep checking and checking and checking.' | 0:47:22 | 0:47:24 | |
Each time you check, you find something new. | 0:47:24 | 0:47:27 | |
I don't want all this, you know, | 0:47:27 | 0:47:28 | |
Why? This is typically happening, | 0:47:31 | 0:47:32 | |
because again you're not doing what I had told you last time. | 0:47:32 | 0:47:36 | |
'That's the only way to reach perfection,' | 0:47:36 | 0:47:39 | |
is to keep challenging yourself to find something else to correct. | 0:47:39 | 0:47:42 | |
So the idea is to be as organised and clean, so at one shout, | 0:47:42 | 0:47:45 | |
the butler comes running, he sees it, and says | 0:47:45 | 0:47:48 | |
"OK, my coasters, my this." | 0:47:48 | 0:47:50 | |
Ideally, you should be able to just see it and do it, | 0:47:50 | 0:47:52 | |
but still a tag would be beneficial | 0:47:52 | 0:47:54 | |
and you should write down the exact quantity... | 0:47:54 | 0:47:56 | |
'That is the idea. We're constantly fine-tuning | 0:47:56 | 0:47:59 | |
'till you reach that level of perfection' | 0:47:59 | 0:48:01 | |
or till the guest arrives. | 0:48:01 | 0:48:03 | |
You need to keep coming, | 0:48:03 | 0:48:04 | |
it's not like we do it once and we don't, you know, go back to check it. | 0:48:04 | 0:48:08 | |
Yeah? And you guys are here every day, | 0:48:08 | 0:48:10 | |
so I expect that you will check all this every day. | 0:48:10 | 0:48:12 | |
-Your new cupboard has come, huh? -Yes, ma'am. | 0:48:12 | 0:48:14 | |
Engagement tools cupboard. OK. | 0:48:14 | 0:48:16 | |
Good. I think we'll say that's it for now. | 0:48:16 | 0:48:19 | |
With a few days to go before the auction itself, | 0:48:33 | 0:48:37 | |
the seduction of Mumbai's elite is well under way. | 0:48:37 | 0:48:39 | |
This event was supposed to be 400 to 450. | 0:48:48 | 0:48:51 | |
It's now become I think a little more than that. | 0:48:52 | 0:48:55 | |
But we've got the who's who of the city, you know. | 0:48:57 | 0:49:00 | |
Pretty much a good mix of socialite and industrial, | 0:49:00 | 0:49:03 | |
so it's been going smooth so far. | 0:49:03 | 0:49:05 | |
-So which painting are we heading for? -All of them. | 0:49:18 | 0:49:20 | |
All of them?! My God. | 0:49:20 | 0:49:23 | |
Too many zeros, no? But zero has no value. | 0:49:23 | 0:49:27 | |
THEY LAUGH | 0:49:27 | 0:49:29 | |
I love that. I love the use of colours. It's a happy painting. | 0:49:31 | 0:49:35 | |
It'll really work well in my home. 162,000-243,000. | 0:49:35 | 0:49:41 | |
So I'm worried about what that might end up at the auction. | 0:49:41 | 0:49:45 | |
So am I. Yeah. | 0:49:45 | 0:49:46 | |
I have a couple of head waiters and one or two managers, | 0:49:49 | 0:49:52 | |
who are only looking out for the VVIP people and when I say VVIP, | 0:49:52 | 0:49:57 | |
it's not to say that the others aren't important, | 0:49:57 | 0:49:59 | |
but it's more to say that we're looking out for the people | 0:49:59 | 0:50:02 | |
who are used to us normally really pampering them. | 0:50:02 | 0:50:05 | |
There are certain spots which are the one where you go | 0:50:09 | 0:50:12 | |
and you know you're going to meet half of the world. | 0:50:12 | 0:50:15 | |
You are showing that you have the power to buy something, | 0:50:17 | 0:50:20 | |
you were there. It's a prestige. | 0:50:20 | 0:50:22 | |
This place, the Taj, you can meet... | 0:50:24 | 0:50:28 | |
..I don't know, everybody in the world is going through, | 0:50:29 | 0:50:33 | |
so I've met a lot of people there - | 0:50:33 | 0:50:36 | |
Madonna, Gerard Butler, Salman Rushdie. | 0:50:36 | 0:50:41 | |
Every person in the world who is known | 0:50:41 | 0:50:43 | |
wants to go in the Taj, nowhere else. | 0:50:43 | 0:50:46 | |
I would not be there if it was not the best. | 0:50:47 | 0:50:50 | |
MUSIC: "Traces Of You" by Anoushka Shankar | 0:50:55 | 0:50:57 | |
Here in Mumbai, | 0:51:07 | 0:51:09 | |
one big difference from all of the other places in India | 0:51:09 | 0:51:13 | |
is money is more important than anything else. | 0:51:13 | 0:51:17 | |
What you see in the Taj | 0:51:23 | 0:51:25 | |
are only rich women. | 0:51:25 | 0:51:27 | |
But you don't know from where they come. | 0:51:28 | 0:51:30 | |
They don't look at your caste. | 0:51:33 | 0:51:34 | |
Money is money and that's a very big thing in Mumbai. | 0:51:34 | 0:51:39 | |
# Traces of you | 0:51:52 | 0:51:55 | |
# Linger like a teardrop | 0:51:55 | 0:51:58 | |
# Fresh upon the air | 0:51:59 | 0:52:01 | |
# My heart sings for you | 0:52:01 | 0:52:04 | |
# Play me like a rain cloud | 0:52:04 | 0:52:07 | |
# Sounds upon the air. # | 0:52:08 | 0:52:11 | |
APPLAUSE | 0:52:11 | 0:52:14 | |
At these levels, when you're talking about million-dollar pictures, | 0:52:32 | 0:52:36 | |
there's only a handful of buyers at any given time, | 0:52:36 | 0:52:40 | |
so, yes, we will see lots of diamonds and emeralds. | 0:52:40 | 0:52:43 | |
I think that what we'll see tonight... | 0:52:46 | 0:52:49 | |
..is, because it's a live sale | 0:52:50 | 0:52:53 | |
and it's a chance for people to show off a little bit, | 0:52:53 | 0:52:56 | |
especially when you're bidding in the room | 0:52:56 | 0:52:58 | |
and you can see the actual bidders, | 0:52:58 | 0:53:00 | |
people do lose their inhibitions, perhaps, | 0:53:00 | 0:53:03 | |
and they do lock horns. | 0:53:03 | 0:53:06 | |
These battles do emerge | 0:53:07 | 0:53:10 | |
and I imagine that within the Mumbai social network, | 0:53:10 | 0:53:14 | |
there's going to be quite a lot of that. | 0:53:14 | 0:53:15 | |
You look amazing. | 0:53:18 | 0:53:20 | |
-You have your card? -Yeah, yeah. | 0:53:20 | 0:53:22 | |
-Buonasera. -Buonasera. | 0:53:22 | 0:53:25 | |
Welcome to all of you. Welcome to all of you, | 0:53:33 | 0:53:36 | |
whether you're on Christie's Live or here at the Taj Mahal. | 0:53:36 | 0:53:39 | |
Lot number one of a historic Christie's sale in Mumbai. | 0:53:39 | 0:53:42 | |
Shall we start this at seven lakhs? seven lakhs 50. Eight lakhs, sir. | 0:53:42 | 0:53:45 | |
Gentleman flying in from England. nine lakhs... | 0:53:45 | 0:53:47 | |
You can tell when someone's about to bid. | 0:53:47 | 0:53:49 | |
They start shuffling their feet or they go quiet. | 0:53:49 | 0:53:52 | |
-Lot number one, sold! -APPLAUSE | 0:53:52 | 0:53:56 | |
If one of the billionaires starts bidding | 0:53:58 | 0:53:59 | |
and he's bidding in the room, I don't think they'll let it go. | 0:53:59 | 0:54:02 | |
Because there's that element of... | 0:54:03 | 0:54:05 | |
..well, pride, I suppose. | 0:54:07 | 0:54:08 | |
Sir, it's yours. | 0:54:09 | 0:54:11 | |
Thank you, sir. | 0:54:15 | 0:54:17 | |
Lot number 63, | 0:54:17 | 0:54:19 | |
a Vasudeo Gaitonde from 1979. | 0:54:19 | 0:54:24 | |
I can start this here at 3.5 crores. | 0:54:24 | 0:54:27 | |
After a week where Christie's and the Taj | 0:54:27 | 0:54:29 | |
have been courting the Mumbai art scene, | 0:54:29 | 0:54:31 | |
the success of the event would largely be judged | 0:54:31 | 0:54:34 | |
on whether one lot breaks a world record. | 0:54:34 | 0:54:37 | |
At 8.5. | 0:54:37 | 0:54:38 | |
Going on? | 0:54:39 | 0:54:41 | |
Currently, that stands at 3 million. | 0:54:41 | 0:54:44 | |
Here now at 9, 9.5. | 0:54:44 | 0:54:47 | |
At 9.5. | 0:54:47 | 0:54:48 | |
10, Damian's in at 10 crores here now. 11 crores. | 0:54:48 | 0:54:51 | |
12, I have. | 0:54:53 | 0:54:55 | |
14. Sandhya, you're in - new bidder at 14. | 0:54:55 | 0:54:59 | |
Sandhya's bid. Holding with Sandhya. 15, I have. | 0:54:59 | 0:55:01 | |
Coming in? 15 is here. | 0:55:03 | 0:55:04 | |
500 if you like. | 0:55:06 | 0:55:08 | |
Will you take 15.5? | 0:55:08 | 0:55:10 | |
Yes, I will. Thank you. | 0:55:10 | 0:55:12 | |
16. | 0:55:13 | 0:55:14 | |
Back to Diki now at 16 crores. | 0:55:14 | 0:55:17 | |
Small step for you. Big step for Gaitonde. | 0:55:17 | 0:55:21 | |
AUDIENCE LAUGHS | 0:55:21 | 0:55:22 | |
-16.5. -16.5, well done. | 0:55:22 | 0:55:25 | |
17 crores. | 0:55:28 | 0:55:30 | |
At 17. | 0:55:30 | 0:55:32 | |
Small steps. 17 and a half! | 0:55:32 | 0:55:34 | |
18, Diki. | 0:55:35 | 0:55:37 | |
Sonam? | 0:55:39 | 0:55:40 | |
Sure? | 0:55:40 | 0:55:42 | |
You've said that before. | 0:55:42 | 0:55:43 | |
18 is with Diki. | 0:55:44 | 0:55:46 | |
At 18. | 0:55:46 | 0:55:47 | |
0.5? | 0:55:52 | 0:55:54 | |
18.5 | 0:55:59 | 0:56:00 | |
19 crores. | 0:56:06 | 0:56:08 | |
This close now. | 0:56:13 | 0:56:14 | |
Sonam, you've come this close. We're this close now. | 0:56:19 | 0:56:22 | |
19 crores. 19.5. | 0:56:22 | 0:56:25 | |
19.5. | 0:56:25 | 0:56:27 | |
One more deep breath. | 0:56:27 | 0:56:28 | |
20 crores. | 0:56:30 | 0:56:32 | |
-Well done. -GASPING AND APPLAUSE | 0:56:32 | 0:56:34 | |
20.5. | 0:56:42 | 0:56:43 | |
At 20.5. | 0:56:45 | 0:56:46 | |
Sure, Diki? | 0:56:49 | 0:56:51 | |
Final, final call. Thank you. | 0:56:51 | 0:56:53 | |
And, Sonam, you have it at 20 and a half crores. | 0:56:53 | 0:56:57 | |
-GAVEL BANGS -Sold! | 0:56:57 | 0:56:58 | |
CHEERING AND APPLAUSE | 0:56:58 | 0:57:00 | |
Well done, thank you, both. | 0:57:05 | 0:57:07 | |
The day I was moving into this hotel | 0:57:11 | 0:57:13 | |
I was called by my executive director of operations and he said, | 0:57:13 | 0:57:18 | |
"Just remember one thing, and that is that this is everybody's Taj." | 0:57:18 | 0:57:22 | |
Today, when I sit back and think about it, | 0:57:26 | 0:57:30 | |
I understand what he meant. | 0:57:30 | 0:57:31 | |
It basically meant that everyone in this city, | 0:57:36 | 0:57:39 | |
everyone in this country | 0:57:39 | 0:57:41 | |
feels an emotional attachment to this institution. | 0:57:41 | 0:57:44 | |
Everybody has a kind of fond memory which is connected to the hotel. | 0:57:53 | 0:57:57 | |
People have lived here, people have grown here, got married here, | 0:57:57 | 0:58:01 | |
so it's a hotel which lives in the memories of people. | 0:58:01 | 0:58:04 | |
Everyone knows that having a wedding at the Taj | 0:58:24 | 0:58:29 | |
is obviously expensive. | 0:58:29 | 0:58:30 | |
When you see the Taj on a wedding invitation, | 0:58:31 | 0:58:34 | |
you obviously think that this is a great family. | 0:58:34 | 0:58:37 | |
INDIAN MUSIC PLAYS | 0:58:40 | 0:58:43 |