[3] The film depicts an episode in the life of famous poet Mirza Ghalib during the last Mogul King, Bahadur Shah Zafar's times.

Emperor Bahadur Shah "Zafar" (Iftekhar), himself a poet of considerable stature, is hosting a "mushaira" (poetry recitation session).

At the "mushaira", the poetry of "Zauq" is much applauded; Mirza Asadullah Khan "Ghalib", on the other hand, finds no takers for his "ghazals" (poems).

(In another scene, when ghalib is reciting out of court, even the general populace thinks his ghazals are too profound and his Urdu too difficult.)

In the more intellectual environment of the mushaira, nobody except the Mufti (Murad) and the Kotwal, Hashmat Khan (Ulhas) can find anything to appreciate in Ghalib's poetry.

This time, it is a poor mendicant who, when questioned, tells Ghalib that Moti Begum teaches him these ghazals so that he can sing them to earn a few paisas.

...and there is Ghalib's wife (Nigar Sultana), an extremely religious woman who is tormented by the fact that none of her children have survived beyond infancy.

In desperation, Chaudhvin writes a letter to Ghalib and sends it to him through her doorkeeper-cum-general dogsbody, a man with a taste for liquor.

Much arguing ensues, but the mother stands firm and the Kotwal is left fuming and vowing vengeance — mainly on Ghalib.

And all of it played out against the background of a Delhi that's changing, even the de jure power of its puppet emperor now ceded to the British Resident.

She added, "The beauty of the film, is that it actually doesn’t focus so much on Ghalib’s life yet manages to bring his words alive.

Ghalib’s verses with Suraiya’s golden voice and Ghulam Mohammad’s lilting tunes that are still hummed today.