Maqbool: Adaptation of Macbeth

Many films have been made from the plays of William Shakespeare. When a literary work or a part of a literary work is used as a base for a film or TV Series, it is called adaptation. It is a form of Translation, known as Transmutation: A change from one semiotic system to another semiotic system. Here written text is turned into visual text, Linguistic signs are replaced by the Visual signs. Few of Shakespearean works have been adopted in Indian films, too. 2003 film Maqbool by Vishal Bhardwaj is an adaptation of Shakespeare's one of the best tragedies, Macbeth.

Maqbool was Vishal Bhardwaj's second film as a director. The film had its North American premiere at the 2003 Toronto International Film Festival. And it was also screened in the Marché du Film section of the 2004 Cannes Film Festival. The film has a great star-cast: Pankaj Kapoor (he wins two awards for this role), Irrfan Khan, Tabu, Naseeruddin Shah, Om Puri, and Piyush Mishra. The screenplay was developed from the drama by Vishal Bhardwaj and Abbas Tyrewala. The most significant turn in the adaptation is that the film is about Mumbai Underworld. The King, Duncan I of Scotland is actually an underworld don, Abbaji. Macbeth (Maqbool) and Banquo (Kaka) are two of his goons who look after his business. And Lady Macbeth (Nimmi) is actually a mistress of Abbaji and not a wife of Maqbool.

Two corrupt policemen predicts the reign of Maqbool on Abbaji's kingdom. The role of witches from the drama is taken by these two corrupt policemen. But, unlike drama, they are not passive fortune-tellers. In fact, they are active in manipulating the future events. These 'witches' believe in the 'balance of power' and hence acts accordingly to increase the rivalry between the gangs and within the gang. They are the first to ignite the lust for power in Maqbool and psychologically prepared him to question his loyalties to Abbaji. Second deciding factor is Nimmi, mistress of Abbaji, who secretly falls for Maqbool and contrives him to be the next head of the gang and also helps him to achieve the motive.

When Macbeth asks about his demise, witches tell him that the jungle's arrival at his palace will bring his doom. Similar prediction is used here. On Maqbool's query Policemen tells him that sea's arrival at his palace will bring his doom. Such a prophecy, on literal level, is impossible to turn true. But, the Custom comes to Maqbool's palace to arrest him, due to his smuggling from sea route.

Thus, most of the dramatic aspects have been retained in the movie with slight modifications to fit the modern era and underworld locale. Film also uses certain unique devices which make the film a impressive experience. The most distinguished aspect of the film is the acting of all the major and minor characters. The music of the film, both background music and songs, is yet another feather in Bhardwaj's cap. He has composed the overall music of the movie. The songs are memorable and soothing. But, the most main feature is, the songs never stop the advancement of the movie, they don't hinder audience's attention. 

One interesting symbol developed in the movie is chanting of Quaranic Aayats in the background at the time of murder. Such a use makes the murders sacrificial. Considering the fact that the murders were needed for the safety of the gang, and thus, they turn out to be sacrificial in the true sense: Sacrificing an individual to guarantee the well-being of the Mafia-gang. This is used at least three times with a brilliant effect. The technique makes the slaying sacrificial and less shocking. 

The movie becomes an epic tell of an ever indebted person turning into treacherous and traitorous due to his ambition and lust for power. Maqbool was very happy being a right-hand of Abbaji, until the policemen prophesied about him taking over Abbaji's sovereignty. Later on, his lust for Nimmi gets added in the venture of eliminating Abbaji from the throne of underworld and bed of Nimmi. Maqbool was earlier given the control of Bollywood, which was also a prediction of the policemen, and because of this reason, Maqbool gathered the audacity to murder Abbaji. 

One more important aspect in the movies is the relationship between Maqbool and Abbaji. The director very subtlety complements the aroma of Oedipus complex by presenting Lady Macbeth as a mistress of the king.  Here, Maqbool is not only contriving for the throne and power, but also for his love interest. By killing Abbaji, he finds his place on his throne as well as in his bed. Just like conquering the king, Oedipus gets not just his state but also gets his wife. In fact, achieving Nimmi becomes prime motif as the rule of Abbaji started crumpling as soon as he dies. Everybody knew that Maqbool is the perpetrator but he is supported by Bhonsle, a political big shot, and hence people supported him.

The scenes of hallucination and fright of blood have been portrayed very powerfully. Both Maqbool and Nimmi were guilt ridden and hallucinating the blood and dead-bodies of the people they’ve killed. In drama, Macbeth had hallucination of Banquo during a meet at his castle. Lady Macbeth saved him by asking other guests to leave. In the movie, the scene was well-incorporated. It was a time of one of the death rituals of Abbaji, everyone was there. And the policemen bring the dead-body of Kaka. Maqbool, here, hallucinates that Kaka wakes up from death and discloses his evil intentions.

The drama is all about human ambition and all the evil tactics that Macbeth uses to gain power and ultimately his tragic demise. By relocating the characters and story under Mumbai underworld, director supplements one more aspect to the significance of the film. The movie also throws some light on the interrelationship of our politics and underworld. They exist in mutual support. The candidate supported by Abbaji will never lose election; on the other hand Abbaji was guaranteed freedom from the law and order by these politicians. The corruption is an integral part of the system. Later, Maqbool was shielded by Bhonsale, a politician.

Thus, the film becomes a great work of art which combines a classical tragedy with modern day scenario. It combines universally appealing issue of human ambition and local issue of collaboration of politics and criminal world. It’s a pure amalgamation of classical and cultural; of universal and local. Though movie was a gem and internationally appreciated, it did not do well at Indian box-office. This literally means that our viewers are not yet equipped for realistic cinema.