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MUSIC: Piya Tu Ab To Aaja by Asha Bhosle | 0:00:04 | 0:00:06 | |
Mumbai. | 0:00:06 | 0:00:08 | |
The biggest city in India. | 0:00:10 | 0:00:12 | |
Endlessly rich in culture | 0:00:14 | 0:00:18 | |
and in contradictions. | 0:00:18 | 0:00:20 | |
It's home to one of the oldest and grandest hotels in the world, | 0:00:22 | 0:00:27 | |
the Taj Mahal Palace. | 0:00:27 | 0:00:29 | |
It's beyond just luxury. | 0:00:31 | 0:00:34 | |
You know, this is a mirage in the middle of this city. | 0:00:34 | 0:00:40 | |
It has over 500 rooms... | 0:00:40 | 0:00:43 | |
..and 1,500 staff. | 0:00:44 | 0:00:48 | |
I don't feel that I'm 61, | 0:00:48 | 0:00:50 | |
I feel that I'm 16. | 0:00:50 | 0:00:52 | |
Taj has built me very strongly. | 0:00:52 | 0:00:55 | |
It's famed for being meticulous, | 0:00:57 | 0:00:59 | |
where no detail is too small | 0:00:59 | 0:01:01 | |
or demand too great. | 0:01:01 | 0:01:03 | |
Anything that's possible. | 0:01:03 | 0:01:05 | |
Can I get you a pink elephant? I'll try! | 0:01:05 | 0:01:08 | |
HE LAUGHS | 0:01:08 | 0:01:09 | |
With an army of staff striving for flawless service. | 0:01:09 | 0:01:13 | |
This is India and we frankly don't say no to anything. | 0:01:15 | 0:01:19 | |
It's where the super-rich of today | 0:01:19 | 0:01:22 | |
come to live like the maharajas of India's past. | 0:01:22 | 0:01:25 | |
Sometimes I close my eyes and I pretend that all of India | 0:01:25 | 0:01:30 | |
is like this. | 0:01:30 | 0:01:32 | |
MUSIC: Moonlight Serenade by Glenn Miller | 0:01:49 | 0:01:52 | |
Since the hotel opened its doors in 1903, | 0:01:54 | 0:01:57 | |
the daily demands of guests have been met by English-style butlers. | 0:01:57 | 0:02:01 | |
They are schooled in every aspect of a guest's stay. | 0:02:08 | 0:02:11 | |
During the visit, what are all the things we have to keep in our mind? | 0:02:11 | 0:02:14 | |
Basically, getting yourself ready for the VIP visit. | 0:02:14 | 0:02:19 | |
It can be a state head, a business head, | 0:02:19 | 0:02:21 | |
it can be a celebrity. | 0:02:21 | 0:02:23 | |
Just get the tea set up ready, and also the breakfast set up, | 0:02:25 | 0:02:29 | |
because she will call any moment. | 0:02:29 | 0:02:32 | |
It is like a second home to the guests who are travelling, | 0:02:32 | 0:02:35 | |
so as far as business travellers are concerned, | 0:02:35 | 0:02:38 | |
they can't take their entire team along with them. | 0:02:38 | 0:02:40 | |
But this is the one who | 0:02:40 | 0:02:44 | |
can create or gives a kind of service | 0:02:44 | 0:02:46 | |
that they are used to in their home | 0:02:46 | 0:02:49 | |
or in their business unit. | 0:02:49 | 0:02:51 | |
Then you start doing the research on their preferences. | 0:02:51 | 0:02:54 | |
For example, does somebody have a habit of jogging? | 0:02:54 | 0:02:58 | |
So you know that now you have to have a jogging map in the room. | 0:02:58 | 0:03:01 | |
So these are the things that you have to remember, | 0:03:01 | 0:03:03 | |
especially when the lady valets are upcoming. | 0:03:03 | 0:03:06 | |
So they have notes of vanity requirement. | 0:03:06 | 0:03:09 | |
Like a, what do you call it, a heavy-duty...your hair dryer. | 0:03:09 | 0:03:15 | |
That's the reason we, as a butler service, | 0:03:15 | 0:03:17 | |
are here - to give the meaning of luxury to our guest. | 0:03:17 | 0:03:20 | |
Thank you very much, have a great evening. | 0:03:20 | 0:03:24 | |
When a regular guest returns, | 0:03:30 | 0:03:32 | |
their room is set to their specific preferences... | 0:03:32 | 0:03:35 | |
..by their preferred butler. | 0:03:38 | 0:03:39 | |
-You want it to be perfect? -Yes, ma'am. | 0:03:41 | 0:03:44 | |
What do you know about this guest? | 0:03:44 | 0:03:47 | |
He's a very regular guest. | 0:03:47 | 0:03:51 | |
And his preferences...like he likes talcum powder in the room, | 0:03:51 | 0:03:55 | |
which will be set from the housekeeping side. | 0:03:55 | 0:04:00 | |
Adrian is preparing for the arrival of Tikka Singh. | 0:04:00 | 0:04:03 | |
Whenever he comes up to us, we definitely look after him. | 0:04:04 | 0:04:08 | |
Tikka is a descendant of one of India's royal dynasties, | 0:04:12 | 0:04:16 | |
with a history rather older than the hotel itself. | 0:04:16 | 0:04:19 | |
MUSIC: Yeh Raat Bjeegi Bheegi by Raj Kapoor | 0:04:19 | 0:04:21 | |
-A garland, sir. -Thank you, how are you? | 0:04:26 | 0:04:29 | |
-Good afternoon, Mr Singh. -How are you? | 0:04:29 | 0:04:31 | |
-I'm fine, thank you, sir, how are you? -Nice to see you. | 0:04:31 | 0:04:37 | |
Oh, how nice. It's beautiful. | 0:04:37 | 0:04:39 | |
I love these flowers, yes, absolutely. | 0:04:41 | 0:04:43 | |
-Who did this? -The housekeeping department. -Please thank them. | 0:04:43 | 0:04:46 | |
-Certainly, I'll do that. -It's absolutely exquisite. | 0:04:46 | 0:04:48 | |
Thank you. | 0:04:48 | 0:04:50 | |
-Enjoy your stay with us, sir, a pleasure to have you back, sir. -Thank you very much. | 0:04:52 | 0:04:56 | |
-I'll have some of that. -Mr Singh, | 0:04:56 | 0:04:58 | |
-what would you like to enjoy, sir? -I'll try the guava berry. | 0:04:58 | 0:05:01 | |
-Certainly, sir. A cold towel for you, sir. -Very nice. | 0:05:01 | 0:05:04 | |
Where would you like me to place the guava berry for you, sir? | 0:05:04 | 0:05:07 | |
I'll drink it right now, in fact. | 0:05:07 | 0:05:10 | |
I'm not entirely sure how I should address you. | 0:05:10 | 0:05:14 | |
Is it Mr or Your Excellency...? | 0:05:14 | 0:05:16 | |
Or Tikka-ji. | 0:05:16 | 0:05:20 | |
-Tikka-ji? -Yes. | 0:05:20 | 0:05:21 | |
-And Tikka means...? -It means "crown prince". | 0:05:21 | 0:05:24 | |
Before Independence, the maharajahs ruled over vast swathes of India. | 0:05:27 | 0:05:33 | |
Tikka's great-grandfather was the Maharajah of the province | 0:05:35 | 0:05:39 | |
of Karputhala. | 0:05:39 | 0:05:41 | |
NEWSREEL: From every corner of the state, they bring him gifts. | 0:05:41 | 0:05:44 | |
They make abasements before the maharaja | 0:05:44 | 0:05:46 | |
and his four-year-old grandson. | 0:05:46 | 0:05:49 | |
He became ruler at the age of five. | 0:05:49 | 0:05:52 | |
They weigh him with pieces of solid gold which afterwards are distributed | 0:05:52 | 0:05:55 | |
to the poor, | 0:05:55 | 0:05:57 | |
and days of feasting end with a durbar and state procession. | 0:05:57 | 0:06:01 | |
The last maharaja, my great-grandfather, | 0:06:02 | 0:06:06 | |
died in this hotel. | 0:06:06 | 0:06:07 | |
He was on his way for a last visit to Europe in 1949. | 0:06:07 | 0:06:12 | |
There's been great attachment with this property, | 0:06:14 | 0:06:16 | |
five generations have come. | 0:06:16 | 0:06:19 | |
He was very friendly with Mr Tata. | 0:06:19 | 0:06:22 | |
He came for the inauguration in 1903. | 0:06:22 | 0:06:25 | |
-The original founder of the hotel? -Exactly, yeah. | 0:06:25 | 0:06:27 | |
And he said he was very impressed that Mr Tata had built | 0:06:27 | 0:06:31 | |
a world-class hotel! | 0:06:31 | 0:06:33 | |
It's nice for the descendants to continue this tradition, you know. | 0:06:33 | 0:06:37 | |
This is a nice way to maintain a link with the past. | 0:06:37 | 0:06:41 | |
Does everybody here know who you are, do you think? | 0:06:41 | 0:06:45 | |
Some, some not. I keep it very discreet. | 0:06:45 | 0:06:48 | |
It's better. | 0:06:48 | 0:06:50 | |
HE LAUGHS | 0:06:50 | 0:06:51 | |
-Why is that? -I think | 0:06:51 | 0:06:54 | |
I enjoy the aspect of being incognito, | 0:06:54 | 0:06:57 | |
you really get to know people better. | 0:06:57 | 0:07:01 | |
They're completely transparent with you, they're relaxed, | 0:07:01 | 0:07:04 | |
that's the way it should be. | 0:07:04 | 0:07:06 | |
Otherwise they get a little stiff. | 0:07:06 | 0:07:09 | |
HE LAUGHS | 0:07:09 | 0:07:10 | |
If you just hang those suits up, please. | 0:07:10 | 0:07:13 | |
But in fact you're a member of the royal family. | 0:07:13 | 0:07:17 | |
So what? It's nice | 0:07:17 | 0:07:19 | |
to be welcomed normally, too, | 0:07:19 | 0:07:22 | |
as a regular guest, I think. | 0:07:22 | 0:07:24 | |
We are a democracy now | 0:07:24 | 0:07:27 | |
and it's nice to merge with new India. | 0:07:27 | 0:07:31 | |
And I think people appreciate that much more. | 0:07:31 | 0:07:35 | |
And when they find out who you are, | 0:07:35 | 0:07:39 | |
they're very, very intrigued. | 0:07:39 | 0:07:42 | |
And use you as an example. | 0:07:42 | 0:07:45 | |
I think it's very important to remain humble. | 0:07:45 | 0:07:49 | |
We have such disparity in this country | 0:07:49 | 0:07:52 | |
and you have to be an example. | 0:07:52 | 0:07:56 | |
I try and do everything myself | 0:07:56 | 0:07:58 | |
and travel normally and don't have hangers-on. | 0:07:58 | 0:08:02 | |
That's the way to do it, you know. | 0:08:02 | 0:08:04 | |
I need to go and see a friend of mine, so I think I'll go there. | 0:08:04 | 0:08:08 | |
I need to get some flowers organised. | 0:08:08 | 0:08:11 | |
-Can you organise a nice bouquet of flowers? -Certainly, sir. | 0:08:11 | 0:08:13 | |
The flowers are for Tikka's friend, Sharon Stone. | 0:08:16 | 0:08:19 | |
The Hollywood actress is staying in the presidential suite. | 0:08:19 | 0:08:24 | |
MUSIC: Oriental Swing by Lil Hardin Armstrong | 0:08:24 | 0:08:27 | |
She's in Mumbai to host a charity auction at the hotel. | 0:08:36 | 0:08:40 | |
Deputy general manager, Parveen, | 0:08:46 | 0:08:47 | |
is in charge of this high-profile event. | 0:08:47 | 0:08:51 | |
Hello? | 0:08:55 | 0:08:57 | |
We have some celebrities from Hollywood | 0:08:57 | 0:09:00 | |
coming down. | 0:09:00 | 0:09:02 | |
And a lot of Indian Bollywood celebrities will be there. | 0:09:02 | 0:09:05 | |
And most of the tables have been picked up by some of the top people in India. | 0:09:05 | 0:09:09 | |
So, basically, these are Indian celebrities who have donated | 0:09:09 | 0:09:13 | |
and taken a table and will take part in the dinner. | 0:09:13 | 0:09:16 | |
In-between, there will also be an auction. | 0:09:16 | 0:09:20 | |
It's a sit-down dinner for about 323 people. | 0:09:23 | 0:09:27 | |
How many people are involved in this operation? | 0:09:27 | 0:09:30 | |
From the hotel, we will have about 140 people, | 0:09:30 | 0:09:34 | |
just to serve the people in the front, | 0:09:34 | 0:09:36 | |
and there are chefs involved, | 0:09:36 | 0:09:39 | |
and easily about 200 people from the hotel. | 0:09:39 | 0:09:41 | |
And from management, probably another 150. | 0:09:41 | 0:09:44 | |
So, to put on a function like this, | 0:09:44 | 0:09:47 | |
you will have about 300, 350 people | 0:09:47 | 0:09:49 | |
who go behind the scene and in front of the scene. | 0:09:49 | 0:09:51 | |
But there's only 300 invited guests. | 0:09:51 | 0:09:54 | |
Yeah, but it's a very complicated set-up, | 0:09:54 | 0:09:56 | |
so we started three days before | 0:09:56 | 0:09:58 | |
and you need to be precise in terms of the lighting, | 0:09:58 | 0:10:01 | |
and so you need to do light checks every day before | 0:10:01 | 0:10:04 | |
and do sound checks a few hours before, | 0:10:04 | 0:10:06 | |
and also in terms of it's a sit-down service, | 0:10:06 | 0:10:09 | |
so you need about three people for ten people, | 0:10:09 | 0:10:11 | |
so the numbers keep going up. | 0:10:11 | 0:10:13 | |
Good morning, hi. We'll quickly check the lobby... | 0:10:13 | 0:10:17 | |
With 1,500 people working in the hotel, | 0:10:17 | 0:10:20 | |
there are three members of staff to every guest. | 0:10:20 | 0:10:23 | |
Executive Housekeeper, Indrani, has over 200 room boys | 0:10:23 | 0:10:28 | |
under her instruction. | 0:10:28 | 0:10:29 | |
Danesh, just write down the notes. | 0:10:29 | 0:10:33 | |
We'll have to plan out for polishing of the lobby furniture in the night. | 0:10:33 | 0:10:37 | |
What is that? Shift, shift, shift, shift. | 0:10:39 | 0:10:42 | |
I want you to take this plant, I want to take this plant. | 0:10:42 | 0:10:46 | |
Put it out, put it out! | 0:10:46 | 0:10:48 | |
Do you have to be a little bit obsessive to do your job? | 0:10:50 | 0:10:52 | |
What qualities of you does it require? | 0:10:52 | 0:10:54 | |
I think...qualities? I'd say | 0:10:54 | 0:10:57 | |
the knack to see everything at every given point of time. | 0:10:57 | 0:11:01 | |
What is this white thing over there? | 0:11:01 | 0:11:03 | |
Leave a message - it has to be scrubbed. | 0:11:03 | 0:11:05 | |
What have they done? | 0:11:05 | 0:11:07 | |
It's like we are being trained and tuned | 0:11:07 | 0:11:10 | |
to always be looking out for things, | 0:11:10 | 0:11:13 | |
to notice where it is going good | 0:11:13 | 0:11:15 | |
and at the same time see what we can improve on. | 0:11:15 | 0:11:18 | |
I want all the flower beds to be clean, | 0:11:18 | 0:11:20 | |
but I don't want the guests to be disturbed. | 0:11:20 | 0:11:22 | |
This is looking nice. | 0:11:25 | 0:11:27 | |
Fantastic! I think this is our best polishing done, | 0:11:27 | 0:11:30 | |
it's really lovely. | 0:11:30 | 0:11:32 | |
It's an absolutely sparkling floor and I love it. | 0:11:32 | 0:11:35 | |
Good morning! | 0:11:35 | 0:11:37 | |
I'm looking for perfection, | 0:11:42 | 0:11:44 | |
I'm looking for that fine detailing. | 0:11:44 | 0:11:46 | |
There are many things which sometimes my boys, | 0:11:46 | 0:11:49 | |
even if they are regular in areas, they cannot see it. | 0:11:49 | 0:11:52 | |
It's very important for me that I involve the boy. | 0:11:52 | 0:11:55 | |
That is why every area that I go, you'll see I'm involving the boy, the one who has to do it. | 0:11:55 | 0:11:59 | |
Tikka, when you open the mini bar... | 0:11:59 | 0:12:01 | |
Can you see the corner? Put your hand, put your hand. | 0:12:05 | 0:12:07 | |
Can you put this dust here? | 0:12:11 | 0:12:13 | |
I want this to be taken... | 0:12:13 | 0:12:15 | |
I randomly try to check not one room, a series of rooms, | 0:12:15 | 0:12:18 | |
so that I know that if a person is to improve, | 0:12:18 | 0:12:21 | |
was it that it was missed in one room or was a continuity? | 0:12:21 | 0:12:25 | |
When I took out the bathrobe, | 0:12:25 | 0:12:27 | |
there was a small stain on that bathrobe. | 0:12:27 | 0:12:29 | |
The pillows were not rightly ironed, | 0:12:29 | 0:12:32 | |
and he has missed out a stain on the bath sheet. | 0:12:32 | 0:12:35 | |
Similarly, he missed out a stain on the bathrobe, | 0:12:35 | 0:12:38 | |
and those are very faint stains, | 0:12:38 | 0:12:41 | |
but then we expect them to tune their eyes and look out for them. | 0:12:41 | 0:12:44 | |
Over there. Can you see that? | 0:12:46 | 0:12:49 | |
Change it once more, all right? | 0:12:49 | 0:12:50 | |
MUSIC: In the Still of the Night by Ella Fitzgerald | 0:12:53 | 0:12:56 | |
Thomas has been a room boy at the hotel for nearly three decades. | 0:13:04 | 0:13:08 | |
Over the years, | 0:13:30 | 0:13:32 | |
he has perfected the exact ways in which a room must be prepared. | 0:13:32 | 0:13:36 | |
Why do you have to wear gloves? | 0:13:39 | 0:13:41 | |
-Good afternoon. -Good afternoon, Thomas. | 0:14:21 | 0:14:23 | |
Thomas has been cleaning for Maria Mooers for the last 25 years. | 0:14:23 | 0:14:27 | |
83-year-old Maria is an American oil heiress. | 0:14:27 | 0:14:30 | |
She lives in the hotel for six months of the year. | 0:14:30 | 0:14:33 | |
Thomas, just carry on as usual. | 0:14:33 | 0:14:35 | |
I don't know, there is something about this, it has a certain air | 0:14:37 | 0:14:41 | |
and tradition, | 0:14:41 | 0:14:43 | |
-which is very nice. -When did you first come here? | 0:14:43 | 0:14:46 | |
I first came here when I was... | 0:14:46 | 0:14:49 | |
They hadn't built the pool yet. | 0:14:49 | 0:14:52 | |
Hello, I'd like the bottle service, please. | 0:14:54 | 0:14:58 | |
Thank you. | 0:14:58 | 0:15:00 | |
I have been in this hotel for the past five years | 0:15:00 | 0:15:02 | |
and she has been here much before us, so I can say that | 0:15:02 | 0:15:06 | |
she grew with the hotel. | 0:15:06 | 0:15:10 | |
Yes, good afternoon. | 0:15:10 | 0:15:11 | |
Please. I'd like the usual order. | 0:15:11 | 0:15:14 | |
The hot skimmed milk, the coconut water. | 0:15:14 | 0:15:18 | |
And is Rajesh on duty today? | 0:15:18 | 0:15:21 | |
OK, fine, if he could bring it. | 0:15:24 | 0:15:26 | |
She has been like a family for us, | 0:15:26 | 0:15:28 | |
somebody who stays with us | 0:15:28 | 0:15:30 | |
six months is as good as our own parents or anybody. | 0:15:30 | 0:15:33 | |
And, obviously, her needs can be a big refrigerator | 0:15:33 | 0:15:37 | |
or a special table | 0:15:37 | 0:15:39 | |
to showcase or worship all her idols. | 0:15:39 | 0:15:43 | |
The little book shelf we keep every time she comes, | 0:15:43 | 0:15:46 | |
and all the books are in it. | 0:15:46 | 0:15:49 | |
It's because it's like a home for her. | 0:15:49 | 0:15:51 | |
-Rajesh, hello. -Hello. | 0:15:51 | 0:15:53 | |
-We'll just have it in the usual place. -Yes, ma'am. | 0:15:53 | 0:15:56 | |
Maria doesn't eat Indian food | 0:15:57 | 0:15:59 | |
or dine in the hotel's air-conditioned restaurants. | 0:15:59 | 0:16:03 | |
She prefers to eat in her room. | 0:16:03 | 0:16:05 | |
-You like to have a fridge here? -Yes. | 0:16:09 | 0:16:11 | |
Because I buy things they don't normally give. | 0:16:11 | 0:16:16 | |
What happens when you're not here? | 0:16:16 | 0:16:18 | |
I take it to Ayaz's house | 0:16:18 | 0:16:20 | |
and he kindly keeps it, his wife is very sweet. | 0:16:20 | 0:16:23 | |
And I'm friendly with all of them. He has two daughters. | 0:16:23 | 0:16:27 | |
Teenage. | 0:16:27 | 0:16:28 | |
And I couldn't manage without him, really. | 0:16:28 | 0:16:31 | |
When in India, Maria employs Ayaz as a personal assistant. | 0:16:32 | 0:16:37 | |
He spends the afternoons and evenings with her. | 0:16:37 | 0:16:40 | |
He was with the hotel, | 0:16:40 | 0:16:43 | |
and under contract as a driver, | 0:16:43 | 0:16:46 | |
but I saw the potential, | 0:16:46 | 0:16:47 | |
so I said, "Come and work for me." | 0:16:47 | 0:16:50 | |
So he did, as a driver, | 0:16:50 | 0:16:53 | |
but he was very intelligent and he went to university | 0:16:53 | 0:16:57 | |
and studied mechanical engineering or something like that. | 0:16:57 | 0:17:00 | |
I'm not quite sure exactly, | 0:17:00 | 0:17:04 | |
but anyway, my material was a lot easier. | 0:17:04 | 0:17:07 | |
Ayaz helps you all through the year? | 0:17:09 | 0:17:12 | |
Yes, he does. | 0:17:12 | 0:17:14 | |
I've been here for the past 14 years. | 0:17:14 | 0:17:16 | |
Is it 15 now? | 0:17:16 | 0:17:18 | |
-Coming up, I think. -Since 1999. | 0:17:18 | 0:17:20 | |
-That's true. -Since 1999. | 0:17:20 | 0:17:23 | |
-So you travel...? -Along with her. | 0:17:23 | 0:17:26 | |
Well, at a certain point... | 0:17:26 | 0:17:28 | |
She knows my family, I know her family. | 0:17:28 | 0:17:30 | |
..You have to just bow to the inevitable. | 0:17:30 | 0:17:33 | |
It's harder to travel alone. | 0:17:33 | 0:17:36 | |
And of course, he's good company, he's fun. | 0:17:36 | 0:17:39 | |
So, anyway... | 0:17:41 | 0:17:42 | |
Maria still works, she owns an oil business in Texas, | 0:17:43 | 0:17:47 | |
and is often up until the early hours making investments in America. | 0:17:47 | 0:17:52 | |
Do you enjoy working? | 0:17:52 | 0:17:54 | |
Oh, I do. What would you do all the time? | 0:17:54 | 0:17:57 | |
You can't party every night. | 0:17:57 | 0:17:58 | |
I don't consider it a waste of time at all, I enjoy it. | 0:18:01 | 0:18:04 | |
Some people in your circumstances would just want to give up work by now. | 0:18:04 | 0:18:08 | |
Oh, no way! | 0:18:08 | 0:18:11 | |
I really enjoy it | 0:18:11 | 0:18:13 | |
and it's also my livelihood. | 0:18:13 | 0:18:15 | |
It makes your travels possible? | 0:18:16 | 0:18:19 | |
Makes everything possible. | 0:18:19 | 0:18:22 | |
Jewellery, everything else. | 0:18:22 | 0:18:24 | |
All the things that most ladies like. | 0:18:24 | 0:18:27 | |
You enjoy the nice things of life? | 0:18:29 | 0:18:32 | |
Don't we all? | 0:18:32 | 0:18:34 | |
SHE LAUGHS | 0:18:34 | 0:18:36 | |
Mumbai has always been very aspirational | 0:18:45 | 0:18:48 | |
and Mumbai is called the city of dreams. | 0:18:48 | 0:18:50 | |
In the past there has been history of people, | 0:18:50 | 0:18:53 | |
who were fairly common, and came here | 0:18:53 | 0:18:56 | |
to make it big in the film industry | 0:18:56 | 0:18:58 | |
and struggled their way up and kind of made it big, | 0:18:58 | 0:19:01 | |
and there are also histories | 0:19:01 | 0:19:03 | |
and stories of people who came from various parts | 0:19:03 | 0:19:05 | |
of the country and established small businesses | 0:19:05 | 0:19:08 | |
and the area flourished. So this hotel fits into that culture | 0:19:08 | 0:19:12 | |
and you will find a lot of people when you talk to them will tell you | 0:19:12 | 0:19:15 | |
that the first time their aspiration when they made it big was to come | 0:19:15 | 0:19:18 | |
and eat in this hotel, | 0:19:18 | 0:19:20 | |
and when they made it bigger was to come and stay in this hotel. | 0:19:20 | 0:19:24 | |
So it is fairly ingrained into the social structure and memories of the people in this country. | 0:19:24 | 0:19:28 | |
I can stay in any presidential suite room in any five-star hotel | 0:19:32 | 0:19:35 | |
in the world now. | 0:19:35 | 0:19:38 | |
But this is a landmark for me. | 0:19:38 | 0:19:41 | |
Taj. | 0:19:41 | 0:19:43 | |
Ashish is a newly wealthy Indian businessman, | 0:19:43 | 0:19:45 | |
living in the UK. | 0:19:45 | 0:19:48 | |
He's a regular guest | 0:19:48 | 0:19:50 | |
and is staying in a £1,000-a-night suite with his brother and a friend. | 0:19:50 | 0:19:54 | |
You set up a call centre in India? | 0:19:54 | 0:19:57 | |
-Yes. -Successful? -Successful. | 0:19:57 | 0:19:59 | |
-Big money? -Yes. -Good money. | 0:19:59 | 0:20:02 | |
Very big money. | 0:20:02 | 0:20:04 | |
-You travel round the world now? -Yes. | 0:20:04 | 0:20:07 | |
Can I show you my passport? | 0:20:07 | 0:20:09 | |
-Yeah. -Just a minute. | 0:20:09 | 0:20:10 | |
This passport is my new passport. | 0:20:18 | 0:20:22 | |
So... | 0:20:22 | 0:20:24 | |
I think seven months ago. | 0:20:24 | 0:20:27 | |
So, one, two, | 0:20:27 | 0:20:31 | |
three, four, five, six, seven, | 0:20:31 | 0:20:33 | |
eight, nine, ten, 11, 12, 13, 14, | 0:20:33 | 0:20:37 | |
15, 16, 17, 18, 19. | 0:20:37 | 0:20:40 | |
22, 23, 24, 25, 26, | 0:20:42 | 0:20:45 | |
27, 28, 29, | 0:20:45 | 0:20:48 | |
30, 31, 32, 33, 34... | 0:20:48 | 0:20:51 | |
..52, 53, 54, 56. | 0:20:53 | 0:20:56 | |
57, 58, 59. | 0:20:56 | 0:20:58 | |
60, 61. | 0:20:58 | 0:21:00 | |
62, 63. | 0:21:01 | 0:21:03 | |
-In how many months? -Eight months. | 0:21:03 | 0:21:06 | |
You travel the world? | 0:21:06 | 0:21:07 | |
All. This is Nepal. | 0:21:07 | 0:21:10 | |
This is Singapore, Hong Kong, Iraq. | 0:21:10 | 0:21:13 | |
Macau, | 0:21:13 | 0:21:15 | |
United States of America, India. | 0:21:15 | 0:21:17 | |
Palace services. | 0:21:17 | 0:21:19 | |
-Good morning. -Good morning, how are you? | 0:21:22 | 0:21:25 | |
-Would you like me to set the order on the armchair? -Yes, please. | 0:21:28 | 0:21:33 | |
So how is your morning in the Taj? | 0:21:33 | 0:21:37 | |
It's very nice, sir. Not very busy. | 0:21:37 | 0:21:39 | |
Can you put some lemon on that papaya | 0:21:39 | 0:21:42 | |
-and some black pepper as well? -Yes. | 0:21:42 | 0:21:45 | |
Ashish was ten when he first visited Mumbai on a school trip. | 0:21:45 | 0:21:48 | |
I came in my school | 0:21:52 | 0:21:55 | |
to see the Bombay and Mumbai teams | 0:21:55 | 0:21:58 | |
and we see the Gateway of India. | 0:21:58 | 0:22:01 | |
And there is a Taj Mahal hotel. | 0:22:01 | 0:22:04 | |
So I ask my teacher, "What is this?" | 0:22:04 | 0:22:08 | |
She is telling me, | 0:22:08 | 0:22:10 | |
"This is the Taj Mahal hotel | 0:22:10 | 0:22:14 | |
"and lots of big people are coming here | 0:22:14 | 0:22:17 | |
"and they are staying here," | 0:22:17 | 0:22:19 | |
so I ask my teacher, | 0:22:19 | 0:22:21 | |
"Can I go inside?" | 0:22:21 | 0:22:22 | |
She is telling me, "No, | 0:22:22 | 0:22:24 | |
"you I'm not big. You are coming from middle-class family. | 0:22:24 | 0:22:28 | |
"You are not going in this hotel." | 0:22:28 | 0:22:31 | |
So I... | 0:22:31 | 0:22:35 | |
That time, one of my friends was with me, | 0:22:35 | 0:22:39 | |
I tell him, "One day | 0:22:39 | 0:22:41 | |
"I'll become a big man and I come here." | 0:22:41 | 0:22:43 | |
And there is my dream. | 0:22:43 | 0:22:46 | |
Lots of hotels, but I like this. | 0:22:48 | 0:22:51 | |
You see this room, | 0:22:51 | 0:22:54 | |
I think the height 16-foot or 18-foot, | 0:22:54 | 0:22:58 | |
and generally hotels are ten-feet or like this. | 0:22:58 | 0:23:03 | |
This is a mahal! | 0:23:03 | 0:23:06 | |
It's a palace. Mahal is the Indian word, palace. | 0:23:06 | 0:23:10 | |
Who can live in the palace? Of course, I'm a king. | 0:23:10 | 0:23:15 | |
So, this hotel I rent for two days, | 0:23:17 | 0:23:19 | |
so two days I am a king. | 0:23:19 | 0:23:22 | |
In India, everybody has a dream for Taj. | 0:23:22 | 0:23:26 | |
OK, boys, come inside, the night boys. | 0:23:38 | 0:23:41 | |
Each morning, Indrani holds training sessions with her staff, | 0:23:41 | 0:23:44 | |
schooling them in the correct way to interact with guests. | 0:23:44 | 0:23:47 | |
Sunil, we'll do a mock ironing board delivery, OK? | 0:23:47 | 0:23:52 | |
So you think that this is a door | 0:23:52 | 0:23:54 | |
and I am the guest | 0:23:54 | 0:23:56 | |
and you have come to deliver an ironing board, | 0:23:56 | 0:23:58 | |
so continue. Start! | 0:23:58 | 0:24:00 | |
I just knock three times? | 0:24:00 | 0:24:03 | |
OK. | 0:24:03 | 0:24:04 | |
No, you don't have to say, "Ding dong!" | 0:24:04 | 0:24:07 | |
Like that, it's a complete drama act. | 0:24:07 | 0:24:09 | |
OK, fine. | 0:24:09 | 0:24:12 | |
-Talk, talk, talk. -OK. Come in! | 0:24:12 | 0:24:14 | |
-Good morning, Miss Gupta. -Good morning! | 0:24:14 | 0:24:16 | |
-How are you, ma'am? -Fantastic. -You require an ironing board, ma'am? | 0:24:16 | 0:24:20 | |
Yes, I wanted an ironing board. Can you make it a little fast? | 0:24:20 | 0:24:23 | |
Yes, ma'am, sure. | 0:24:23 | 0:24:24 | |
This is the way, when you conduct a training, | 0:24:24 | 0:24:26 | |
you have to do an actual. | 0:24:26 | 0:24:27 | |
You have to be very confident when you are speaking. | 0:24:36 | 0:24:39 | |
You've got my point? | 0:24:39 | 0:24:41 | |
It also starts with how you deliver. | 0:24:41 | 0:24:44 | |
I have seen, most of the time, | 0:24:44 | 0:24:46 | |
the boy rings the bell. After that, | 0:24:46 | 0:24:48 | |
he starts moving with his back towards a guest. | 0:24:48 | 0:24:51 | |
At that time, you should say, "Excuse me, ma'am, I'm just bringing it." | 0:24:51 | 0:24:54 | |
That's understood, no? Not everybody likes to see your backside. | 0:24:54 | 0:24:57 | |
Tell me what your home life was like, how you grew up. | 0:25:01 | 0:25:05 | |
My house was, like, ordinary. | 0:25:05 | 0:25:07 | |
I don't have my own room. I don't have my own things. | 0:25:07 | 0:25:10 | |
Nothing, it's normal. | 0:25:10 | 0:25:12 | |
So we have four brothers and sisters, | 0:25:14 | 0:25:17 | |
we are all sleeping in one room. | 0:25:17 | 0:25:19 | |
But we have a very good love with our family, | 0:25:23 | 0:25:26 | |
so, because of my mother's love | 0:25:26 | 0:25:29 | |
and my family support, | 0:25:29 | 0:25:31 | |
I'm here. | 0:25:31 | 0:25:33 | |
Can I have some water, please? | 0:25:35 | 0:25:37 | |
And a cup of tea? | 0:25:37 | 0:25:38 | |
-Yes, I have some cappuccino. -Cappuccino. | 0:25:38 | 0:25:41 | |
-And this gentleman wants some green tea. -Green tea for you, sir. | 0:25:41 | 0:25:44 | |
I think this start and this love, my mother's love, | 0:25:44 | 0:25:47 | |
are always with me. Right now, | 0:25:47 | 0:25:50 | |
my mother is no more. | 0:25:50 | 0:25:52 | |
She is no more with me, | 0:25:52 | 0:25:54 | |
but I don't know if she is in heaven. | 0:25:54 | 0:25:57 | |
I think she sees me and sees I'm happy right now. | 0:25:57 | 0:26:01 | |
She's part of your success? | 0:26:01 | 0:26:03 | |
I ask my mother, | 0:26:03 | 0:26:05 | |
"I want to go to Taj," so she's telling me, | 0:26:05 | 0:26:07 | |
"You learn more and if you're doing very good things, | 0:26:07 | 0:26:12 | |
"then you definitely achieve the goal | 0:26:12 | 0:26:15 | |
"and you definitely go one day in the Taj." | 0:26:15 | 0:26:17 | |
This is my mother's promise. | 0:26:17 | 0:26:18 | |
And I did it. | 0:26:21 | 0:26:23 | |
Now this 60-metre road, | 0:26:26 | 0:26:30 | |
this is a journey of 20 years. | 0:26:30 | 0:26:33 | |
Few staff can afford to live near the hotel, | 0:26:39 | 0:26:42 | |
as property prices in Mumbai are amongst the highest in the world. | 0:26:42 | 0:26:46 | |
Ajay works as a room boy. | 0:26:47 | 0:26:49 | |
He lives two hours outside the city. | 0:26:49 | 0:26:52 | |
His one-bedroom flat is shared with his wife, mother, | 0:26:52 | 0:26:57 | |
daughter and two sons. | 0:26:57 | 0:26:59 | |
Ajay leaves for work at 5.30 every morning. | 0:27:36 | 0:27:39 | |
HE SINGS | 0:27:43 | 0:27:45 | |
HORN BEEPS | 0:27:59 | 0:28:01 | |
HE SINGS LOUDER | 0:28:12 | 0:28:15 | |
THEY PLAY PERCUSSION | 0:28:20 | 0:28:23 | |
THEY JOIN IN SINGING | 0:28:31 | 0:28:34 | |
Ajay has been cleaning for guests for the last 18 years. | 0:29:29 | 0:29:32 | |
With celebrities from around the world | 0:30:52 | 0:30:54 | |
flying in for the charity auction, | 0:30:54 | 0:30:56 | |
Parveen and his team leave nothing to chance. | 0:30:56 | 0:30:59 | |
When does Sharon Stone walk in? | 0:30:59 | 0:31:02 | |
"Sharon Stone makes remarks and introduction, auction." | 0:31:02 | 0:31:06 | |
-That's at about 9.30. -9.30, so for 15 minutes, | 0:31:06 | 0:31:09 | |
you can sell the second course, | 0:31:09 | 0:31:11 | |
-I mean the second replenishment. -The rotis... | 0:31:11 | 0:31:14 | |
But once Sharon Stone is on, they want you to be completely back. | 0:31:14 | 0:31:16 | |
In that case, would they be OK if somebody wants Indian breads...? | 0:31:16 | 0:31:19 | |
They're OK, so if you could just sell extra helpings of Indian bread. | 0:31:19 | 0:31:23 | |
MUSIC: Oriental Swing by Lil Hardin Armstrong | 0:31:23 | 0:31:26 | |
Walking in the hotel and meeting some of the best people, | 0:31:37 | 0:31:41 | |
the most important people from the country, internationally, | 0:31:41 | 0:31:44 | |
that becomes your job and then you're doing that every day, | 0:31:44 | 0:31:48 | |
but that also brings in a bit of responsibility and a bit of glamour | 0:31:48 | 0:31:51 | |
and a bit of, I would say, | 0:31:51 | 0:31:54 | |
every day is different, | 0:31:54 | 0:31:56 | |
so you really look forward to meeting these people. That's the lucky part of this job. | 0:31:56 | 0:32:00 | |
It doesn't give you enough time to go out, | 0:32:00 | 0:32:02 | |
so at least the world comes to you. | 0:32:02 | 0:32:05 | |
When the people have finished the second course, | 0:32:05 | 0:32:08 | |
do you want us to wait till here to start clearing? | 0:32:08 | 0:32:11 | |
I'll send you guys the new run of show. | 0:32:11 | 0:32:14 | |
There's nothing that's changed timing-wise... | 0:32:14 | 0:32:17 | |
Much of the evening's success will be down to Chef Oberoi | 0:32:17 | 0:32:21 | |
and his 250 chefs. | 0:32:21 | 0:32:24 | |
He has cooked for dignitaries | 0:32:27 | 0:32:28 | |
and heads of state from around the world. | 0:32:28 | 0:32:32 | |
President Obama, George Bush, | 0:32:32 | 0:32:34 | |
Bill Clinton... | 0:32:34 | 0:32:37 | |
..Mrs Hillary Clinton, Francois Mitterrand, | 0:32:39 | 0:32:42 | |
the German chancellor, | 0:32:42 | 0:32:44 | |
the Singapore prime minister, the Japanese prime minister, | 0:32:44 | 0:32:48 | |
the Japanese crown prince, | 0:32:48 | 0:32:49 | |
the Russian president, | 0:32:49 | 0:32:52 | |
for everyone, practically. | 0:32:52 | 0:32:54 | |
I'd be so nervous. | 0:32:55 | 0:32:57 | |
I don't think one has to be nervous about it. | 0:32:59 | 0:33:04 | |
I think one should be confident of the product you're giving. | 0:33:04 | 0:33:07 | |
And I will never let a product go to the table | 0:33:07 | 0:33:12 | |
which has not been tasted by me. | 0:33:12 | 0:33:15 | |
It will never pass. | 0:33:15 | 0:33:17 | |
It has to work. | 0:33:19 | 0:33:21 | |
Once the customer has eaten, there's no retake. | 0:33:21 | 0:33:26 | |
You can't say, "I'll rectify it," and bring it back. No! | 0:33:26 | 0:33:30 | |
The bullet is already fired! | 0:33:30 | 0:33:33 | |
Good evening, Mr Singh... | 0:33:38 | 0:33:41 | |
The evening's event is in aid of amfAR, the AIDS research charity. | 0:33:43 | 0:33:48 | |
Tikka Singh will be escorting his friend, Sharon Stone. | 0:33:48 | 0:33:53 | |
He has arranged for some couture luggage to be auctioned at the event. | 0:33:53 | 0:33:56 | |
This is my invitation. | 0:33:59 | 0:34:01 | |
It's the first event being hosted in India | 0:34:01 | 0:34:04 | |
by amfAR. | 0:34:04 | 0:34:05 | |
I did something in Cannes for them this year, in May. | 0:34:05 | 0:34:10 | |
That's how I got to meet some of the executives | 0:34:10 | 0:34:14 | |
and they said, "Please try and help us in India." | 0:34:14 | 0:34:17 | |
So one did. | 0:34:17 | 0:34:19 | |
MUSIC: Oriental Swing by Lil Hardin Armstrong | 0:34:19 | 0:34:22 | |
My hairdresser said that he'd done Hillary Clinton's hair. | 0:34:42 | 0:34:46 | |
I'm so very special | 0:34:46 | 0:34:48 | |
SHE LAUGHS | 0:34:48 | 0:34:49 | |
So, your first time in India? | 0:34:49 | 0:34:51 | |
It is, which is a beautiful thing. | 0:34:51 | 0:34:55 | |
It's just a wonderful moment | 0:34:55 | 0:34:58 | |
to have that first awakening to India. | 0:34:58 | 0:35:02 | |
To see the Gate and the Arabian Sea | 0:35:02 | 0:35:04 | |
out your window is kind of incredible. | 0:35:04 | 0:35:06 | |
Impressive, I mean, the whole thing is really, really beautiful, | 0:35:06 | 0:35:10 | |
really picturesque, and full of sights and smells and colours | 0:35:10 | 0:35:15 | |
and it's just great. | 0:35:15 | 0:35:17 | |
Hurry, I don't have to see the pan. Go! | 0:35:26 | 0:35:28 | |
Without further ado, let's put our hands together | 0:35:45 | 0:35:48 | |
and welcome the beautiful, the wonderful Miss Sharon Stone. | 0:35:48 | 0:35:54 | |
CHEERING AND APPLAUSE | 0:35:54 | 0:35:56 | |
I'd just like to tell you, | 0:35:56 | 0:35:58 | |
get out your wallets. | 0:35:58 | 0:36:00 | |
SHE LAUGHS | 0:36:00 | 0:36:02 | |
We're going to start with an item | 0:36:02 | 0:36:07 | |
that comes from friends of mine | 0:36:07 | 0:36:09 | |
at Louis Vuitton and my escort, Tikka Singh. | 0:36:09 | 0:36:12 | |
CHEERING AND APPLAUSE | 0:36:12 | 0:36:15 | |
This one is for those who travel in serious style, | 0:36:15 | 0:36:18 | |
So that's basically everyone here. | 0:36:18 | 0:36:20 | |
This is a complete and luxurious Louis Vuitton Jetsetter travel set. | 0:36:20 | 0:36:26 | |
I've got five, I'll go to seven. | 0:36:31 | 0:36:33 | |
11. I got 11. | 0:36:33 | 0:36:35 | |
Looking for lucky 13. | 0:36:35 | 0:36:37 | |
I've got 11. | 0:36:37 | 0:36:39 | |
13. | 0:36:39 | 0:36:41 | |
I've got 13... | 0:36:41 | 0:36:43 | |
HORNS BEEP | 0:36:45 | 0:36:47 | |
MUSIC: Lullaby by Gayaneh | 0:36:47 | 0:36:49 | |
The threads have to be clipped, all of them. | 0:36:57 | 0:37:00 | |
I can see some things coming out. | 0:37:00 | 0:37:03 | |
Can you clip the threads... | 0:37:03 | 0:37:05 | |
all of them, please? | 0:37:05 | 0:37:07 | |
Today, Princess Astrid of Belgium is arriving | 0:37:07 | 0:37:10 | |
for her first stay at the hotel. | 0:37:10 | 0:37:12 | |
Get the brush and wet cloth, fast. | 0:37:12 | 0:37:16 | |
As ever, Executive Housekeeper, Indrani, | 0:37:16 | 0:37:19 | |
is overseeing the finer details of preparation. | 0:37:19 | 0:37:22 | |
Straight line. | 0:37:26 | 0:37:28 | |
I've just had it cleaned. | 0:37:28 | 0:37:31 | |
You come into this entrance and you will smell jasmine, | 0:37:32 | 0:37:36 | |
you smell the marigold, | 0:37:36 | 0:37:38 | |
you smell Indian fragrance. | 0:37:38 | 0:37:40 | |
So the moment the lady comes out of the car, | 0:37:44 | 0:37:47 | |
she sees it and she knows she's stepping into the Taj Mahal Palace. | 0:37:47 | 0:37:51 | |
And it is, as you must have heard of it, | 0:37:51 | 0:37:55 | |
what we present inside is so different from the outside hustle, | 0:37:55 | 0:37:58 | |
bustle, heat and the sound, | 0:37:58 | 0:38:00 | |
so the moment that you step down you should know that, yes, | 0:38:00 | 0:38:04 | |
you step into a different world. | 0:38:04 | 0:38:05 | |
We want to hear her say, "Wow!" as she enters. | 0:38:05 | 0:38:08 | |
For General Manager, Gaurav, the protocol for welcoming | 0:38:15 | 0:38:18 | |
a dignitary or head of state is never straightforward. | 0:38:18 | 0:38:22 | |
The basic difference is how do you greet | 0:38:22 | 0:38:26 | |
the head of state, the royalty, there are different ways. | 0:38:26 | 0:38:29 | |
There are small nuances | 0:38:29 | 0:38:32 | |
associated with every kind of greeting. | 0:38:32 | 0:38:34 | |
For example, she's royalty. | 0:38:34 | 0:38:36 | |
She'll be referred to as "Your Royal Highness". | 0:38:36 | 0:38:39 | |
And you don't extend your hand. | 0:38:39 | 0:38:41 | |
Only if she extends her hand, then you extend your hand. | 0:38:41 | 0:38:44 | |
So, with a head of state, | 0:38:44 | 0:38:47 | |
it's exactly the opposite. | 0:38:47 | 0:38:48 | |
You're supposed to welcome them by extending your hand. | 0:38:48 | 0:38:51 | |
So small things like these have to be kept controlled. | 0:38:51 | 0:38:55 | |
I think that's the protocol as far as all royalties are concerned. | 0:38:55 | 0:38:59 | |
But I think over a period of time it's blurred a bit. | 0:38:59 | 0:39:04 | |
I think they are far more flexible now. | 0:39:04 | 0:39:06 | |
And I think they don't want to be rude if you extend your hand first. | 0:39:06 | 0:39:09 | |
I don't think they want to be rude about it. | 0:39:09 | 0:39:11 | |
-Your royal highness, welcome to the hotel. -Thank you. | 0:39:21 | 0:39:25 | |
Thank you very much. | 0:39:25 | 0:39:26 | |
This is an Indian traditional ceremony. | 0:39:32 | 0:39:36 | |
Yes, I receive it... | 0:39:36 | 0:39:39 | |
Princess Astrid is here to commemorate the day in 2008 | 0:39:44 | 0:39:48 | |
when terrorists tore through Mumbai and the hotel. | 0:39:48 | 0:39:52 | |
On the 26th November, as the sun set on the city, | 0:39:58 | 0:40:02 | |
ten armed men in boats docked on the shore. | 0:40:02 | 0:40:05 | |
They began a series of co-ordinated attacks on locations | 0:40:07 | 0:40:11 | |
across the city. | 0:40:11 | 0:40:13 | |
Many were the haunts of wealthy, foreign visitors. | 0:40:13 | 0:40:15 | |
It was a scary moment when... | 0:40:18 | 0:40:20 | |
She was the first to know when the bombs dropped because that was | 0:40:20 | 0:40:24 | |
the entrance where they got in from | 0:40:24 | 0:40:26 | |
and the room was right on that entrance. | 0:40:26 | 0:40:29 | |
I turned the light off so they wouldn't realise that... | 0:40:29 | 0:40:31 | |
I normally am there, but I left at 9.30, 9.20, | 0:40:31 | 0:40:34 | |
and 9.35 was the first sign of attack. | 0:40:34 | 0:40:38 | |
Once I reached home, my sister-in-law, she told my wife, | 0:40:38 | 0:40:43 | |
"Where am I?" | 0:40:43 | 0:40:45 | |
That's how we got to know that the hotel is under attack. | 0:40:45 | 0:40:49 | |
-We were constantly on the phone the whole night. -On the, um... | 0:40:49 | 0:40:53 | |
On the cellphone. | 0:40:53 | 0:40:55 | |
After firing on the street outside the hotel, | 0:41:00 | 0:41:03 | |
two terrorists walked into the lobby dressed as backpackers. | 0:41:03 | 0:41:07 | |
There were 2,000 people inside the hotel, | 0:41:25 | 0:41:28 | |
including diamond-broker Mark Boston and his wife Mily. | 0:41:28 | 0:41:31 | |
Mily? | 0:41:32 | 0:41:33 | |
They'd been coming to the hotel for 40 years. | 0:41:35 | 0:41:37 | |
Milly was having a bath, | 0:41:37 | 0:41:41 | |
and she said, "I can hear gunfire." | 0:41:41 | 0:41:45 | |
I came out and said, "Mark, what's going on? | 0:41:45 | 0:41:47 | |
"There's some people shouting." | 0:41:47 | 0:41:49 | |
Suddenly everything went very quiet and... | 0:41:49 | 0:41:51 | |
-No, but you said, "There's gunfire," I remember so clearly. -Yes, but... | 0:41:51 | 0:41:55 | |
And I said, "Don't be silly, what do you know about gunfire?" | 0:41:55 | 0:41:59 | |
But then I realised that she was absolutely right, | 0:41:59 | 0:42:02 | |
that it was gunfire. | 0:42:02 | 0:42:03 | |
I still hear the noise. The running all over the floors. | 0:42:06 | 0:42:10 | |
You don't know what floor. | 0:42:10 | 0:42:12 | |
It was the sixth floor, we were on the third floor then, | 0:42:12 | 0:42:15 | |
but you could hear shouting and... | 0:42:15 | 0:42:18 | |
And the shots shooting as well, which was quite terrifying. | 0:42:20 | 0:42:24 | |
I just hear these shots and they were so new to me. | 0:42:32 | 0:42:36 | |
So I thought maybe some housekeeping person is trying to | 0:42:36 | 0:42:39 | |
open the service door behind. | 0:42:39 | 0:42:41 | |
It happened once, it happened twice, | 0:42:41 | 0:42:43 | |
and at the third instance | 0:42:43 | 0:42:46 | |
my instinct said, "There's something wrong." | 0:42:46 | 0:42:49 | |
I went there behind and I opened the door, and boom... | 0:42:49 | 0:42:53 | |
There was a gentleman lying down, shot. | 0:42:53 | 0:42:57 | |
The first explosion which I heard happened | 0:43:03 | 0:43:06 | |
right below my feet, in the sense I was in one of the walk-in coolers | 0:43:06 | 0:43:10 | |
trying to get some vegetables from there, and gone inside, | 0:43:10 | 0:43:13 | |
and that happens to be about the Shamiana restaurant. | 0:43:13 | 0:43:17 | |
So I went down, I came out of the elevator, | 0:43:18 | 0:43:22 | |
I just opened the door which goes into the... | 0:43:22 | 0:43:24 | |
..the lobby, and I saw bodies lying around, a lot of blood | 0:43:26 | 0:43:31 | |
and the smell of gunpowder. | 0:43:31 | 0:43:34 | |
-You know, they had these heavy bags with... -Rucksacks. | 0:43:39 | 0:43:42 | |
..rucksacks, and they had AK-47s, and, er... | 0:43:42 | 0:43:48 | |
he was spraying the weapon in all directions. | 0:43:48 | 0:43:54 | |
I remember all the flash, the red flash from the guns. | 0:43:54 | 0:43:58 | |
You could see it. | 0:43:58 | 0:44:01 | |
And people, of course, were scattered everywhere. | 0:44:01 | 0:44:04 | |
And then Mily... Then it all went terribly, terribly quiet. | 0:44:04 | 0:44:09 | |
It's extraordinary, wasn't it? | 0:44:09 | 0:44:12 | |
It was the most quiet, sort of, eerie, scary quiet. | 0:44:12 | 0:44:15 | |
We put our training shoes on | 0:44:23 | 0:44:25 | |
because we agreed that if we had to run for it, you know, | 0:44:25 | 0:44:28 | |
we need to have the right shoes on, apart from anything else. | 0:44:28 | 0:44:32 | |
So we were fully dressed ready to, if we had to... | 0:44:32 | 0:44:35 | |
had to make a move. | 0:44:35 | 0:44:37 | |
And things got steadily noisier and noisier, | 0:44:38 | 0:44:41 | |
and I mean, they were louder explosions. | 0:44:41 | 0:44:43 | |
And I realised they were out to destroy the building. | 0:44:43 | 0:44:46 | |
So you made a decision? | 0:44:50 | 0:44:52 | |
Yes. The decision we didn't take till quite a lot later. | 0:44:52 | 0:44:57 | |
Mark was the next one. | 0:45:00 | 0:45:02 | |
I came first and then he followed me. | 0:45:02 | 0:45:06 | |
Then we just went rushing down the stairs. | 0:45:06 | 0:45:09 | |
We ran so fast. We went from the third floor to the basement. | 0:45:09 | 0:45:14 | |
And the flames were coming along the banisters here. | 0:45:14 | 0:45:18 | |
So that this was all aflame. | 0:45:18 | 0:45:21 | |
All this debris falling all the time. | 0:45:21 | 0:45:23 | |
Mark and Mily managed to escape, | 0:46:00 | 0:46:02 | |
but hundreds of guests remained trapped inside. | 0:46:02 | 0:46:05 | |
Many of the staff on duty that night stayed to help them. | 0:46:06 | 0:46:09 | |
It was our moral responsibility to look after them | 0:46:10 | 0:46:14 | |
and make sure that they are consoled, made comfortable. | 0:46:14 | 0:46:19 | |
The chefs began hiding guests in The Chambers, | 0:46:22 | 0:46:25 | |
the hotel's private members' club. | 0:46:25 | 0:46:27 | |
This was the place where the guests were brought... | 0:46:27 | 0:46:30 | |
that night. | 0:46:30 | 0:46:32 | |
This was basically The Chambers. | 0:46:32 | 0:46:35 | |
We brought them here away from the area | 0:46:35 | 0:46:38 | |
where the action was taking place. | 0:46:38 | 0:46:41 | |
So we thought this will be the safest place for these people. | 0:46:42 | 0:46:47 | |
The plan was to evacuate guests through the kitchens. | 0:46:47 | 0:46:50 | |
That's a slightly narrow corridor which is behind the back area. | 0:46:53 | 0:46:57 | |
So the guests were taken out from Chambers | 0:46:57 | 0:47:00 | |
and were being escorted out in batches | 0:47:00 | 0:47:02 | |
because we had staff as well as guests, | 0:47:02 | 0:47:04 | |
so in batches of ten. | 0:47:04 | 0:47:07 | |
I was in the centre of the corridor asking them to move on, move on, | 0:47:07 | 0:47:10 | |
cos they were elderly guests, there were young children, | 0:47:10 | 0:47:14 | |
there were ladies, and who wanted to be all in a group | 0:47:14 | 0:47:16 | |
and we wanted them to be out. | 0:47:16 | 0:47:18 | |
So we kept on saying, "Please, move it. Please, move it." | 0:47:18 | 0:47:21 | |
And they were being escorted out to the back of the hotel. | 0:47:21 | 0:47:24 | |
The first 30 guests protected by a human chain of staff | 0:47:32 | 0:47:36 | |
made their way through the kitchens. | 0:47:36 | 0:47:37 | |
Around 3.30, when we were going through | 0:47:39 | 0:47:43 | |
the process of evacuation... | 0:47:43 | 0:47:45 | |
I was at a corner. | 0:47:45 | 0:47:47 | |
I could hear gunshots, sudden gunshots and... | 0:47:51 | 0:47:55 | |
And just panic after that. | 0:47:56 | 0:47:58 | |
I was shot there where you see the green baskets. | 0:48:00 | 0:48:03 | |
This is where I fell. | 0:48:09 | 0:48:11 | |
When I got shot I didn't know. | 0:48:12 | 0:48:15 | |
This is the place where I was actually on my feet. | 0:48:15 | 0:48:18 | |
That's the area where I actually crawled down and got up | 0:48:26 | 0:48:29 | |
and my hand was shot. | 0:48:29 | 0:48:31 | |
I had a big entry wound from here. | 0:48:34 | 0:48:36 | |
I just turn around and the nearest door to me | 0:48:37 | 0:48:39 | |
was the entrance to my kitchen. I entered the kitchen. | 0:48:39 | 0:48:42 | |
I was lying down on the floor next to a small refrigerator. | 0:48:45 | 0:48:51 | |
And where nobody could see me from outside. | 0:48:51 | 0:48:54 | |
But there was a lot of firing from outside. | 0:48:54 | 0:48:56 | |
Yes, there were screams and wails of people. | 0:48:56 | 0:49:00 | |
And I could recognise a couple of voices of which whom I heard. | 0:49:00 | 0:49:03 | |
It kept on happening for about an hour. I was in touch with my wife. | 0:49:06 | 0:49:11 | |
I said, "There is firing happening outside, let's see what happens." | 0:49:13 | 0:49:16 | |
Then, I don't know. | 0:49:16 | 0:49:18 | |
"I love you, but don't worry, everything is going to be fine." | 0:49:18 | 0:49:22 | |
She just said, "Take care, whatever happens, let me know." | 0:49:22 | 0:49:25 | |
And then I didn't speak much because I didn't want to make much noise. | 0:49:25 | 0:49:30 | |
Around 4.30 I heard a voice. One of the terrorists had walked in. | 0:49:35 | 0:49:42 | |
He entered, he pointed the gun at me. | 0:49:48 | 0:49:51 | |
I couldn't do anything, I was just lying down. | 0:49:51 | 0:49:54 | |
He comes into the kitchen, and in broken English and Hindi, | 0:49:54 | 0:49:58 | |
asks me to stand up. | 0:49:58 | 0:50:00 | |
Asks me to go out of the kitchen. | 0:50:00 | 0:50:03 | |
There were two guests hiding over here, father and a son. | 0:50:03 | 0:50:06 | |
Then he asks, "What do you do?" I said, "I'm a chef, I cook." | 0:50:08 | 0:50:13 | |
So one of them said, I mean, I'll translate it in English, | 0:50:13 | 0:50:16 | |
they said, "OK, do it first, these are not the people whom we want." | 0:50:16 | 0:50:21 | |
Then they also asked, "Are you Hindu or are you Muslim?" | 0:50:21 | 0:50:24 | |
So, I said, "I am a Hindu." I mean, there is no harm in saying that. | 0:50:24 | 0:50:29 | |
So they asked us to lie down on our stomachs, | 0:50:29 | 0:50:31 | |
in that corridor, small corridor. | 0:50:31 | 0:50:33 | |
I was in the centre, the son was on the left, | 0:50:33 | 0:50:36 | |
and the father was on the right. | 0:50:36 | 0:50:37 | |
And then from behind, almost point-blank, they fired at us. | 0:50:37 | 0:50:41 | |
First thing was I got shot in my left leg, that broke, | 0:50:52 | 0:50:56 | |
and the second was like a strong punch in my stomach. | 0:50:56 | 0:50:59 | |
I could feel that. These two gentlemen were also shot. | 0:50:59 | 0:51:04 | |
I somehow kept quiet, because I was trying to catch my breath, | 0:51:04 | 0:51:07 | |
as these two gentlemen, they were shot again. | 0:51:07 | 0:51:11 | |
I somehow did not get shot again. | 0:51:11 | 0:51:13 | |
And then there was silence. There was nothing which happened after that. | 0:51:13 | 0:51:16 | |
The father and son had gone quiet. They were not moving. | 0:51:24 | 0:51:28 | |
They both passed away. | 0:51:28 | 0:51:31 | |
In the meantime, I called my wife, "I said, I am shot, | 0:51:39 | 0:51:41 | |
"but don't worry, I love you, I'll try to save myself." | 0:51:41 | 0:51:45 | |
Also, it never came to me that I'm going to die. | 0:51:48 | 0:51:51 | |
That thought came to me, "OK, what is death? Is this how a person dies? | 0:51:51 | 0:51:56 | |
"Is this how I am going to finish off | 0:51:56 | 0:52:00 | |
"after so many years of existence?" | 0:52:00 | 0:52:03 | |
But that was the only thought, | 0:52:03 | 0:52:05 | |
and then I kind of was trying to assess my damage. | 0:52:05 | 0:52:08 | |
I knew my leg was broken. | 0:52:08 | 0:52:09 | |
And then I realised that if I can think that much, | 0:52:09 | 0:52:12 | |
I might as well put that energy into saving myself! | 0:52:12 | 0:52:14 | |
Chef Ragu was eventually rescued. | 0:52:18 | 0:52:21 | |
The siege had lasted three days. | 0:52:25 | 0:52:27 | |
Across the city, 164 people died. | 0:52:37 | 0:52:41 | |
Of the 31 who lost their lives in the hotel, 11 were staff. | 0:52:43 | 0:52:48 | |
Most of them chefs. | 0:52:48 | 0:52:49 | |
It was a terrible shock for each and every person. | 0:53:15 | 0:53:18 | |
Because very young, young people died. | 0:53:20 | 0:53:24 | |
I lost about seven of them. | 0:53:26 | 0:53:29 | |
One of my senior-most executive chefs. | 0:53:29 | 0:53:33 | |
Plus six young chefs. | 0:53:34 | 0:53:36 | |
All of them died. | 0:53:38 | 0:53:39 | |
-I was on the same level... -Other side. -On the other side. | 0:53:48 | 0:53:52 | |
-476. -Yes, and, er... | 0:53:52 | 0:53:56 | |
after the terrorist attack, no more hotels for a while... | 0:53:56 | 0:54:00 | |
so I went to live at their house and I slept on the couch... | 0:54:00 | 0:54:04 | |
and he and...he sleeps in one room, his wife and the kids | 0:54:04 | 0:54:09 | |
in the other and er... | 0:54:09 | 0:54:11 | |
it was fine, for me. | 0:54:11 | 0:54:13 | |
And I tried not to be a bother. | 0:54:13 | 0:54:15 | |
Time was not right to be or keep her anywhere in any hotels | 0:54:15 | 0:54:19 | |
-because everywhere it was scary. -You never knew who was going... | 0:54:19 | 0:54:22 | |
And she was, herself, scared too and... | 0:54:22 | 0:54:24 | |
-..so... -You looked after her. -Yeah. | 0:54:25 | 0:54:28 | |
Though the terrorists had failed to destroy the hotel | 0:54:29 | 0:54:32 | |
it took 18 months to completely restore the building. | 0:54:32 | 0:54:36 | |
We came back very early in the new year in 2009. | 0:54:38 | 0:54:42 | |
We came back for a wedding. Mily felt that she couldn't | 0:54:42 | 0:54:46 | |
really handle being in the hotel so we went to the President Hotel. | 0:54:46 | 0:54:52 | |
-We stayed at the President. -One night, I think. | 0:54:52 | 0:54:54 | |
But then we...then we didn't feel comfort... It was bizarre. | 0:54:54 | 0:54:59 | |
We felt that we really ought to be here. | 0:54:59 | 0:55:01 | |
We were, actually, not where we should be. | 0:55:01 | 0:55:04 | |
-You changed your mind? -We changed our mind | 0:55:04 | 0:55:06 | |
because we felt that, you know, the staff had had a... | 0:55:06 | 0:55:10 | |
you know, an experience that was... absolutely as bad as we had had, | 0:55:10 | 0:55:16 | |
and, perhaps in many cases, much worse. | 0:55:16 | 0:55:19 | |
-And they'd come back. -Yep. -And, erm... | 0:55:19 | 0:55:24 | |
you know, they're friends... many of them, they're old friends | 0:55:24 | 0:55:27 | |
that we've known for years. | 0:55:27 | 0:55:29 | |
If you get hurt at home, you don't stop going home. | 0:55:31 | 0:55:34 | |
You don't do that. | 0:55:34 | 0:55:36 | |
This is a place where we have become men from boys. | 0:55:36 | 0:55:41 | |
I joined this place when I was 19 or 20...quite young. | 0:55:41 | 0:55:45 | |
It's been now 20 years I've been here. | 0:55:45 | 0:55:47 | |
I turn 40 next year. | 0:55:47 | 0:55:50 | |
So, you just don't stop coming here. I mean, I cross that area every day. | 0:55:50 | 0:55:53 | |
It makes me more stronger, | 0:55:53 | 0:55:55 | |
like, this is the place which has taught me what actual life is. | 0:55:55 | 0:55:58 | |
This is what...has given me the true meaning of life. | 0:55:58 | 0:56:01 | |
God has saved me from...from... from dying, for a reason, | 0:56:01 | 0:56:05 | |
and let me enjoy life and make it better for other people. | 0:56:05 | 0:56:08 | |
People connect themselves in all forms with this hotel. | 0:56:25 | 0:56:29 | |
And they are very emotional about it. | 0:56:29 | 0:56:31 | |
It's not just a hotel, it's an institution, | 0:56:34 | 0:56:36 | |
being existent for the last 110 years. | 0:56:36 | 0:56:40 | |
Good morning, everyone. | 0:56:54 | 0:56:56 | |
ALL: Morning. | 0:56:56 | 0:56:58 | |
And welcome again to, er, a very, very auspicious | 0:56:58 | 0:57:01 | |
and a wonderful occasion this morning. | 0:57:01 | 0:57:05 | |
Again to celebrate the birthday of...of our hotel. | 0:57:05 | 0:57:08 | |
You see, right from the time we joined this company... | 0:57:17 | 0:57:20 | |
..I think we have learnt only... | 0:57:22 | 0:57:24 | |
..that the guest is God. | 0:57:27 | 0:57:29 | |
I think the relationship with the hotel, for everyone, | 0:57:37 | 0:57:39 | |
is extremely emotional. | 0:57:39 | 0:57:41 | |
And, for the city of Mumbai, I think, still it stands as an icon. | 0:57:43 | 0:57:48 | |
Mumbai is The Taj, and Taj is the Mumbai, so... | 0:57:53 | 0:57:56 | |
I would just like to, you know, say that. | 0:57:56 | 0:57:58 |