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An editor asks Deven, a teacher who loves Urdu poetry, to interview poet Nur Shahjehanabadi, an aging whale of a man. Deven goes to Bhopal from Mirpur to meet Nur, of whom he is in awe. He finds him living with feuding wives, visited by sycophants who drink his whisky and eat his food. Deven wants to record Nur for posterity and seeks funds to buy an aged tape recorder, to bribe Safiya, the elder wife, to get Nur into a room at a brothel for a week for the recording, and to feed Nur's pals who show up. Nur's beautiful second wife, Imtiaz, wants to be taken seriously as a poetess. Dever dismisses her and ignores his own wife and child much as Nur does. In the end, what is preserved? Written by
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Shabana Azmi, who plays Imtiaz Begum, who aspires to be a poetess in her own right in the movie is related to many poets, namely, father Kaifi Azmi, husband Javed Akhtar and father in law Janisaar Akhtar.
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The movie is loaded with metaphors depicting the death of Urdu poetry. The decaying mansions, the poet's failing health, his fall from grace all add up. The poverty has desensitized the college youth from being able to nurture a taste for poetry. They prefer to get diplomas in "japanese electronic gadgetry". Its grim. But its unavoidable. Urdu was cherished by the elite and rarely accepted by the masses. It was a medium of flattery, romance and also of unabashed obsequiousness. Poets almost ask for poverty unless they have a gracious benefactor. Like a lot of other artifacts of the past, it evokes wistfulness. The art though lives on in isolated pockets of the country.