Maqbool (2003)
Based on perhaps Shakespeare’s most celebrated play, Vishal Bharadwaj’s Maqbool tells the famed tale in a brand new environment. Set in the backdrop of Mumbai’s underworld, it is the story of Maqbool (Irrfan Khan) who is the right-hand man of Abbaji (Pankaj Kapoor). Maqbool is in love with Abbaji’s mistress Nimmi (Tabu), who also loves him. Together, they plot Abbaji’s murder and succeed. Maqbool becomes the don but the guilt haunts the two lovers and they eventually meet tragic ends. Naseeruddin Shah and Om Puri play two corrupt cops who are a direct representation of the three witches from the original play.
Chimes at Midnight (1965)
The plot of this Orson Welles’ classic centers around Sir John Falstaff – Shakespeare’s most recurring character. Welles claimed this movie to be a story of betrayal of friendship. The script is an amalgamation of text from Henry IV part I and II, Henry V, Richard II and The Merry Wives Of Windsor. The film has sparked debates over whether it was better than Welles’ Citizen Kane and whether Welles identified with Falstaff’s character. Some also argue Welles identified Falstaff’s character with his father’s. The film, like many of Welles’ work is a low budget project but the noir lighting, cinematography and vivid images take it to a new level. The film, however, is disputed not only critically but also has ownership conflicts – which make its availability difficult.
Throne of Blood (1957)
Yet another adaptation of Macbeth, Akiro Kurosawa captures the essence of a European literary classic and internalises it to suit his setting in ancient Japan. The film exhibits the tragedy of Macbeth, but it goes beyond just the portrayal of the link between ambition and corruption. It has been critically acclaimed to be Kurosawa’s comment on Japan’s post-war imperialism. An old work of literature put in a new context of eastern culture with unmatchable craftsmanship by a great filmmaker. The film’s highlight is a sequence which is arguably the greatest death scenes ever pictured in the history of cinema.
Romeo + Juliet (1996)
This modern day retelling of a famed love story is an abridged version of Shakespeare’s Romeo & Juliet. Bass Luhrmann transforms this piece of classical literature into something so contemporary that, at times, it comes as a cultural shock. The film maintains Shakespearean dialogue but the setting and the costumes are modern. When the characters draw their swords, they actually draw guns that are manufactured by Sword. The Capulet and Montague family heads get first names which are missing from the original play and a few plot details like the final death scene have been altered. But, the essence of Romeo And Juliet, the romance, has been beautifully portrayed by the leads Leonardo Di Caprio and Claire Danes.
Merchant of Venice (2004)
Unlike Macbeth or Romeo & Juliet, Merchant of Venice hasn’t been a muse of many filmmakers; this, being the first time it was put on celluloid. It follows the text reliably and only adds a few nuances to make it visually convincing. Michael Radford, the director, believes that Shylock was Shakespeare’s first ever tragic hero who suffers the consequences of his own doing. Shylock therefore, is portrayed as a complete villain but with a hint of victimisation which becomes dominant towards the end. The exquisite cinematography and medieval costumes enhance the setting and Al Pacino as Shylock makes puts up a character before you that angers you and eventually drowns you in sorrow.
Published in DNA After Hrs (Pune) on September 7, 2012
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