For me the interesting part in this film isn't hearing the famous Kashmiri 'poet of silence' actually speak but it is the way his voice comes across as a person, when he talks about his life and then as a poet, when he talks about the thoughts that invade his mind. It is the way his poetry interacts with a listener and then how people interact with him in person, question him. 'Why silent?' isn't the only question. The question could also be why words written decades ago, concerns that first etched them, why those words still offer quasi-resonance.-0-
First section of a Ranjit Hoskote essay titled 'Winter Thoughts about Spring' (link) starts with a conversation with Rahman Rahi and ends with part were Bollywood eats up culture.
Right, Rahman Rahi with Lata Mangeshkar.
In this film, perhaps the most ironic part is when one sees a young Kashmiri girl in middle of a discussion about future of Kashmiri Language, trying to make a strong point and then struggling to find a Kashmiri word for her point. Or perhaps most ironic part is watching the poet quote Koshur poet Mahjoor and Dilli poet Mir with just as much ease. Or perhaps it is hearing him worry about losing his memories: ASI protected Sun temple ruins of military campaigner Lalitaditya and Muslim Auqaf Trust run Charari Sharief of soul campaigner Alamdar-e-Kashmir Hazrat Sheikh Noor-ud-Din Wali/Nund Reshi.