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 ...
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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
All the poetry used in this movie is written by a Pakistani poet named Faiz Ahmed Faiz, who died ten years before this movie was released. See more »
Good to see Merchant without Ivory
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.
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