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.
12 Reviews
Another well told tale of decay and lost nostalgia
kaustubh-rajnish26 October 2008
Merchant Ivory movies are often about forgotten times , forgotten cultures and forgotten people. This one is no different. The ever dependable Om Puri plays an Urdu professor who attempts to document a dying but once grand urdu poet Nur (played convincingly by an obese Shashi Kapoor). Through his rather struggling attempt the story portrays the common hurdles which the language - lack of finance, poor understanding of technology and maybe all things modern, the complete ignorance of youth of the art and not to mention the petty selfishness of untalented people trying to hang on to what may be long gone
The film as usual is beautifully art directed. The sets and settings take you right into old Muslim mohallas of a small city in MP.
The performances of almost all are wonderful including an incredible outburst by Nur's second prostitute wife who wished she could have been a poet but couldn't due to the social class that she survives on.
Its a poignant tale of subdued frustration which artists of dying arts often face.It also has some wonderful Urdu Poetry (a little like the more popular Sher o Shairi) A moving and poignant tale of decay, ambition and neglect.Highly recommended to Merchant Ivory, Om Puri and of course urdu fans
Memorable quote " These electronic things electric fans, tape recorder are no good. They only confuse man more." - Poet Nur (Shashi Kapoor)
The film as usual is beautifully art directed. The sets and settings take you right into old Muslim mohallas of a small city in MP.
The performances of almost all are wonderful including an incredible outburst by Nur's second prostitute wife who wished she could have been a poet but couldn't due to the social class that she survives on.
Its a poignant tale of subdued frustration which artists of dying arts often face.It also has some wonderful Urdu Poetry (a little like the more popular Sher o Shairi) A moving and poignant tale of decay, ambition and neglect.Highly recommended to Merchant Ivory, Om Puri and of course urdu fans
Memorable quote " These electronic things electric fans, tape recorder are no good. They only confuse man more." - Poet Nur (Shashi Kapoor)
Two men ..one love!!
amit_imt20021 September 2008
Warning: Spoilers
While this directorial debut from Ismail Merchent leaves most westerners cold and thinking this movie to be about the dying language of Urdu its a actually the study of two characters who put their love of art above everything else and their smoldering passion is captured perfectly.
Important here is to note that while the subject chosen has been Urdu poetry it could have been replaced as easily by say Indian classical music and the movie would have worked just as well. Merchent tries to capture the situation of the artist and his ardent followers juxtaposing the touching sincerity of Om Puri with that of the the poet Nurs(played by Shashi Kapoor) bunch of sycophants. The film contains many local nuances which may be missed by non Indian audiences which is what makes this work a true labor of love as Merchent never tries to simplify the context or the complexity of the characterization.
Great script, wonderful overall performances by the actors and a movie that truly enlarges ones world view! I am reminded of Milan Kunderas quote about Pargue -that the city is disappearing like a poem written on piece of burning paper. Merchent captures remnants of that disappearing poetry and the movie is like a slow burn on celluloid!
Important here is to note that while the subject chosen has been Urdu poetry it could have been replaced as easily by say Indian classical music and the movie would have worked just as well. Merchent tries to capture the situation of the artist and his ardent followers juxtaposing the touching sincerity of Om Puri with that of the the poet Nurs(played by Shashi Kapoor) bunch of sycophants. The film contains many local nuances which may be missed by non Indian audiences which is what makes this work a true labor of love as Merchent never tries to simplify the context or the complexity of the characterization.
Great script, wonderful overall performances by the actors and a movie that truly enlarges ones world view! I am reminded of Milan Kunderas quote about Pargue -that the city is disappearing like a poem written on piece of burning paper. Merchent captures remnants of that disappearing poetry and the movie is like a slow burn on celluloid!
Good to see Merchant without Ivory
proserpine13 May 2006
The Ivory-Merchant duo are known for their luxurious-looking films, the camera often caressing each fish-fork with the same love it displays for the protagonist. It's somewhat refreshing here to see Merchant without Ivory. Merchant's camera displays the same love for detail that the Ivory-Merchant duo's does, except that it is much grittier, caressing the protagonist's vomit with the same attention that it bestows upon his exquisite Jamewaar shawl. I refer to Shashi Kapoor as the protagonist, because he steals the role away from Om Puri. Om Puri plays the timid Deven, a college professor bent on interviewing his idol, the formerly grand but now-alcoholic Urdu poet, Nur. Shashi Kapoor is perfect as the obese, alcoholic, henpecked, decaying poet because his own appearance encapsulates this decay. Those who do not recognize him as the hero in scores of Bollywood films or in many early Ivory-Merchant productions will miss the subtlety of this cinematic reference, because Kapoor's own physical decay perfectly encapsulates the theme of decay that is central to the film. Shabana Azmi is as competent as ever, bringing a hint of feminism to her character's plagiarism of her husband's work, as well as highlighting the inherently masculinist nature of the poetry that confines a woman's role to the object of desire and nothing else.
A great movie for Ismail Merchant fans
kaahmed30 September 2000
This movie showcases the decline of a language and its effect on a people, i.e. the Muslims of India. A great movie with many comical elements, but an all pervasive sense of loss and decline permeates every scene of the movie as an idealist teacher searches for a lost litrery treasure.
Fair.
sam_perera5 August 2005
Another recent DVD through the Merchant & Ivory Collection. A fair movie at best with some notable talent from a fine actor, Om Puri. The comedy picks up towards the end of the movie which is a god send since the rest of the movie is pure farce. Sadly, age has not been kind to Shashi Kapoor or Shabana Azmi and their roles are two dimensional and uninspiring. India yet again steals the show with the beauty of its architecture, glorious sunsets, and colorful people. The direction works well, and the camera seems to capture the mood eloquently. The poetry in Urdu is glorious to listen to even of delivered by Shashi Kapoor. Maybe good for a rainy day when you wish to be alone with a beer.
Unique and much misunderstood
donelan-129 August 2005
The first scene of an old man composing a poem, as he looks out the window of his decaying villa at the timeless Indian landscape, establishes that he is a great poet. The rest of the film shows us the price that he has willingly paid for his poetry, and the tragedy of writing in a dying language. The comic efforts of the school teacher to record the old man reading his poetry highlight the tragedy, and as the teacher becomes more and more entangled in the poet's life, he comes to understand (as we do) that none of the poet's sacrifices have diminished him, and that he has no regrets. Perhaps the most poignant scene is the teacher's interview with the poet's young second wife, who (unable to create poetry) performs his poems to music and passes them off as her own. Her response to his charge of plagiarism leaves him speechless, and reveals more about the position of women in Indian society than a dozen feminist studies. Perhaps the reason why this film received poor reviews is that everyone is looking for Hollywood (or Bollywood) stereotypes, and missing a very moving story that is told in a quiet and unpretentious way.
Beautiful and Thoughtful Meditation on a Dying Culture
monsoondreamer18 March 2012
Warning: Spoilers
In Custody is Ismail Merchant's beautiful retelling of Anita Desai's novel about the death of a language and a culture as reflected in the decline of one individual. Om Puri and Shashi Kapoor play men watching, with varying degrees of remorse and resignation, the death of the Urdu language, a language of poetry, erudition and courtliness. Shabana Azmi, as Nur's (Kapoor) second wife, a courtesan and singer of ghazals, is a bridge between what is passing and the rash future. Their performances are sensitive and subtle and quietly heartbreaking. The cinematography is exquisite, making the film visually rich and haunting. There are many strong performances, and the secondary characters are well-cast. The film is more theme-driven than plot-driven, so probably not suited to every taste. One of my very favorite Ivory-Merchant offerings.
Laicism has to be replaced by multi-cohabitation
Dr_Coulardeau17 September 2008
Warning: Spoilers
An extremely good Indian film adapted from Anita Desai's book. It shows how India is a real laboratory for multiculturalism and at the same time it reveals a case where one culture is more or less dying in India itself because it is a minority culture based on a minority language language. Luckily it is the official language of Pakistan and this Urdu poetry is praised and appreciated in quite a few foreign countries. The film shows quite well how this old poetry finds it difficult to survive in the modern world of technology and metropolitan living. It has to be collected and saved for future generations and yet it is eroding fast. Parodies are common and the main noble themes are giving way to trite images and situations. The film though does not show the confrontation of the Hindu and Urdu cultures. It reduces the Urdu side of things to essentially the Moslem religion and it more or less entirely erases the Hindu religion. Then the discourse is no longer a discourse of exchange and sharing but rather a discourse of tolerance for the minority culture that has to come from a dominant, but neutral point of view. That's a shame in a way because the subject of the book was a lot wider and it concerned the whole world in many ways, the necessary moving away from the laicism some states preach against any religion and the indispensable adoption of a more tolerant, open and absolutely free approach of all philosophical or religious beliefs that must be granted the right to express themselves anywhere in society. Just like a man has the right to wear his color everywhere in society, a man must have the right to wear and express his beliefs everywhere in society. All dress codes and neutral-looking regulations are nothing but severe censorship if not discrimination. Yet this film is essential because it reveals a problem that is probably the most important problem to solve in the world in the coming decades: beyond tolerance how can we build a world of complete collaboration among all the different visions of the universe and life.
Dr Jacques COULARDEAU, University Paris Dauphine, University Paris 1 Pantheon Sorbonne & University Versailles Saint Quentin en Yvelines
Dr Jacques COULARDEAU, University Paris Dauphine, University Paris 1 Pantheon Sorbonne & University Versailles Saint Quentin en Yvelines
In Custody of a Language
Chrysanthepop9 July 2011
Merchant Ivory Productions's adaptation of Anita Desai's novel, 'In Custody' is rawer and grittier than their previous films. Not to put down their previous works, which are gems in their own rights, but such treatment wouldn't have worked for a story like 'In Custody'. Merchant gives it a very lyrical and subtle toned down look. The art direction and props look very authentic. Cinematography has always been a strong point in Merchant Ivory films and here too it is no less stunning.
The film's key theme is that of deterioration. This is reflected in the dying out of the Urdu language that Deven desperately tries to keep alive through Nur's poetry; in Nur's own life (once he was a celebrated poet and now he's merely an over-eating alcoholic has-been who's resented by his own wife) and seeks momentary comfort in his supposed 'fans' who drop by, uninvited, for their own convenience; in Choti Begum who's become the breadwinner as she continues to plagiarize her husbands poems and performs in front of the sleazy men of the village. With Choti Begum, the issue of feminism is touched. When she tells Deven how men were always praised for their poetry while women were merely seen as the object of desire, this does ring true to an extent.
The first rate performances are very natural. Shashi Kapoor performs effortlessly. In a way, 'In Custody' also reflects the deterioration of his physical health. Shabana Azmi also turns in a remarkable performance and Om Puri leads the film with élan.
The poetry is superb. It contributes beautifully. Not only is it a part of the film, but to me the entire picture felt like one poem.
The film's key theme is that of deterioration. This is reflected in the dying out of the Urdu language that Deven desperately tries to keep alive through Nur's poetry; in Nur's own life (once he was a celebrated poet and now he's merely an over-eating alcoholic has-been who's resented by his own wife) and seeks momentary comfort in his supposed 'fans' who drop by, uninvited, for their own convenience; in Choti Begum who's become the breadwinner as she continues to plagiarize her husbands poems and performs in front of the sleazy men of the village. With Choti Begum, the issue of feminism is touched. When she tells Deven how men were always praised for their poetry while women were merely seen as the object of desire, this does ring true to an extent.
The first rate performances are very natural. Shashi Kapoor performs effortlessly. In a way, 'In Custody' also reflects the deterioration of his physical health. Shabana Azmi also turns in a remarkable performance and Om Puri leads the film with élan.
The poetry is superb. It contributes beautifully. Not only is it a part of the film, but to me the entire picture felt like one poem.
Muhafiz..The Keeper.. Shashi Kapoor's and Om Puri's masterpiece
cseabhi8 July 2021
In Custody is the adaptation of the novel by Anita Desai and revolves around a poet Nur Sahjahanabadi.
Deven(OM Puri) is a Hindi teacher and is in love with the Urdu language and poetry. He wants to take an interview of Nur Shahjehanbadi, the renowned poet. But there are several obstacles in his path. Nur is living a silent life with well wishers but not in a good condition. He refuses to give interview and says Urdu is taking its last breath. So now, what will Deven do?
The movie is an important movie for a lot of reasons. How a declining language affects people, the poet who was once an eminent poet is now almost forgotten. How the family of poet suffer and the feelings of a poet.
Shashi Kapoor as the poet Nur, is just terrific. He is completely convincing and just by looking at him we feel that we are seeing Nur Shahjehanbadi in front of us. He makes us feel that the character of Nur is so real. There is that pain and emotion that reflects on his face.
Om Puri as the college professor is just superb. Shabana Azmi as Nur's wife is terrific. She plays the part of dominating and irritating wife with perfection.
But it's Shashi Kapoor's movie all the way. He just stals the show from all the actors and dominates the screen with his voice, body language and mannerism.
Riding on amazing performance, this movie is an important movie both for cinema lovers and poetry lovers.
Deven(OM Puri) is a Hindi teacher and is in love with the Urdu language and poetry. He wants to take an interview of Nur Shahjehanbadi, the renowned poet. But there are several obstacles in his path. Nur is living a silent life with well wishers but not in a good condition. He refuses to give interview and says Urdu is taking its last breath. So now, what will Deven do?
The movie is an important movie for a lot of reasons. How a declining language affects people, the poet who was once an eminent poet is now almost forgotten. How the family of poet suffer and the feelings of a poet.
Shashi Kapoor as the poet Nur, is just terrific. He is completely convincing and just by looking at him we feel that we are seeing Nur Shahjehanbadi in front of us. He makes us feel that the character of Nur is so real. There is that pain and emotion that reflects on his face.
Om Puri as the college professor is just superb. Shabana Azmi as Nur's wife is terrific. She plays the part of dominating and irritating wife with perfection.
But it's Shashi Kapoor's movie all the way. He just stals the show from all the actors and dominates the screen with his voice, body language and mannerism.
Riding on amazing performance, this movie is an important movie both for cinema lovers and poetry lovers.
A Florentine Homage to Ismail Merchant in a great picture without Ivory
Barev201329 November 2014
For a certain niche group of cinephiles ever since the release of a film called "Shakespeare Wallah" in 1965, the "Merchant-Ivory" label has become synonymous with high-class rarified taste in cinema in some way associated with India ("A Passage to India", "Heat and Dust"), or, in the later collaborations of this producer-director team, with ultra refined literary adaptations set in Victorian England such as "The Remains of the Day", and "Howard's end". To be brutally frank, since "Merchant-Ivory" productions were never exactly my cup of tea cinematically speaking, (although I made valiant efforts to sit through a number of their films), I never paid enough attention to discern who did exactly what, whether they were both Indian or half-Indian or what -- and merely assumed that they were in some sense co-directors something like their polar opposites, the Coen brothers in the frozen wastes of Minnesota.
From a fascinating 1994 documentary screened here entitled "In Ismail's Custody" by Englishman Derrick Santini, which is basically a biopic about Mr. Merchant, and a takeoff on the name of the one film Merchant directed solo, IN CUSTODY, much of this cloudiness was cleared up. Ivory was a gay American Anglophile based in England and Merchant was an authentic Indian from Bombay. In general Ivory Directed their films and Merchant was the producer. However, "In Custody", is the one and only M&I production where Merchant for once took over the reins actually directing himself and is, for my money at least, the best picture in the entire M&I repertory.
The subject of the film, based on the novel my Anita Desai, is the decline of the Urdu language in India after partition when Urdu became the official language of Pakistan but, as the idiom of the Indian Muslims, began to be looked upon with a baleful eye in India proper.
For the record the plot of "In Custody runs like this: A literary editor asks Deven (Om Puri), a teacher who loves Urdu poetry, to interview a famous Urdu poet, Nur Shahjehanabadi, (Shashi Kapoor) an aging, fumbling,alcoholic, whale of a man not far from death's door. Deven goes to Bhopal from Mirpur to meet the cantankerous Nur, of whom he is in absolute awe. He finds him living with two feuding wives, and constantly visited by sycophants who drink his whisky and eat his food. Deven desperately wants to record Nur for posterity and manages to scrape up the 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, whenever they show up, disrupt the recording sessions with their drunken carousing. Moreover, Deven's young technical assistant is an irresponsible deadbeat who feels he is being overworked for a pointless project and keeps messing up the tapes or failing to turn the machine on when the drunken poet finally gets around to reciting from his works. Meanwhile Nur's beautiful second wife, Imtiaz (Shabana Azmi), wants to be taken seriously as a poetess herself, but Dever dismisses her offhandedly while ignoring his own wife and child much as Nur does. In the end, hardly any of the precious recitations by Nur have been preserved as he drinks himself into the grave. In the course of the film, however, much of the melodious Urdu verses recited by Kapoor are actually heard in this boisterous requiem for a dying language. The three principals, Om with his heavily pitted but oh so soulful face, Kapoor with his massive extroverted personality, and Azmi, with her striking beauty, are all memorable as are the numerous supporting actors, particularly a very withered old woman in white whose occasional appearances punctuate the proceedings. Since Urdu was Bombay born Merchant's native language it is clear that he had a special feeling for the subject matter at hand and therefore wanted to do this picture himself. The result is a remarkably moving film which makes one wonder why he didn't do more directing. In fact, based on this one directorial effort I could not escape the feeling that some of the Ivory directed sleeperoos might have been a lot more lively if Jim and Ismail had just switched roles every now and then.
Alex, River to River Indian Film Festival, Florence: Dec. 17, 2005
From a fascinating 1994 documentary screened here entitled "In Ismail's Custody" by Englishman Derrick Santini, which is basically a biopic about Mr. Merchant, and a takeoff on the name of the one film Merchant directed solo, IN CUSTODY, much of this cloudiness was cleared up. Ivory was a gay American Anglophile based in England and Merchant was an authentic Indian from Bombay. In general Ivory Directed their films and Merchant was the producer. However, "In Custody", is the one and only M&I production where Merchant for once took over the reins actually directing himself and is, for my money at least, the best picture in the entire M&I repertory.
The subject of the film, based on the novel my Anita Desai, is the decline of the Urdu language in India after partition when Urdu became the official language of Pakistan but, as the idiom of the Indian Muslims, began to be looked upon with a baleful eye in India proper.
For the record the plot of "In Custody runs like this: A literary editor asks Deven (Om Puri), a teacher who loves Urdu poetry, to interview a famous Urdu poet, Nur Shahjehanabadi, (Shashi Kapoor) an aging, fumbling,alcoholic, whale of a man not far from death's door. Deven goes to Bhopal from Mirpur to meet the cantankerous Nur, of whom he is in absolute awe. He finds him living with two feuding wives, and constantly visited by sycophants who drink his whisky and eat his food. Deven desperately wants to record Nur for posterity and manages to scrape up the 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, whenever they show up, disrupt the recording sessions with their drunken carousing. Moreover, Deven's young technical assistant is an irresponsible deadbeat who feels he is being overworked for a pointless project and keeps messing up the tapes or failing to turn the machine on when the drunken poet finally gets around to reciting from his works. Meanwhile Nur's beautiful second wife, Imtiaz (Shabana Azmi), wants to be taken seriously as a poetess herself, but Dever dismisses her offhandedly while ignoring his own wife and child much as Nur does. In the end, hardly any of the precious recitations by Nur have been preserved as he drinks himself into the grave. In the course of the film, however, much of the melodious Urdu verses recited by Kapoor are actually heard in this boisterous requiem for a dying language. The three principals, Om with his heavily pitted but oh so soulful face, Kapoor with his massive extroverted personality, and Azmi, with her striking beauty, are all memorable as are the numerous supporting actors, particularly a very withered old woman in white whose occasional appearances punctuate the proceedings. Since Urdu was Bombay born Merchant's native language it is clear that he had a special feeling for the subject matter at hand and therefore wanted to do this picture himself. The result is a remarkably moving film which makes one wonder why he didn't do more directing. In fact, based on this one directorial effort I could not escape the feeling that some of the Ivory directed sleeperoos might have been a lot more lively if Jim and Ismail had just switched roles every now and then.
Alex, River to River Indian Film Festival, Florence: Dec. 17, 2005
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