So much average

Good movie but grossly overrated

If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

By the time the dramatic fireworks start popping off, each one feels earned.

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.

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.

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!

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.