University of Delhi South Campus

Department Of English

Term Paper By: Nakhat Perveen M.A. Previous 1st Sem ARSD College, UDSC

Mentor: Christel Rashmi Devadawson

SHAKESPEARE IN BOLLYWOOD
Nakhat Perveen William Shakespeare was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist whose work is liked by all film-maker to bring down on screen. According to Robert Hamilton Ball, Shakespeare’s dramas were considered ideal material for cinema in the early 20th century because the presence of Shakespeare on film raised the contemporary estimation of film. Almost all of his works have been adapted on screen in Hollywood and all other film industries. Hollywood has produced around 300 movies based on Shakespeare’s plays and characters. Films based on tragedies like Hamlet, Othello, King Lear, Macbeth, Romeo and Juliet etc., have got very good response by the audience on the silver screen. In Bollywood also many directors adopted the work of Shakespeare. But Vishal Bhardwaj through his films showed that he is the true fan of Shakespeare and knows well how to do justice with the work of such a big writer on silver screen. His film Maqbool (2003) based on Macbeth, and Omkara (2006) based on Othello left very remarkable impression on audience’s hearts. Maqbool had its North American premiere at the 2003 Toronto International Film Festival. Though the film failed to entice much of an audience during its theatrical run in India, critics were appreciative and Pankaj Kapoor went on to win a Film fare Award for Best Actor (Critics) and a National Film Award for Best Supporting Actor. While Othello showcased at the 2006 Cannes Film Festival along with a book on the making of Omkara. It was also selected to be screened at the Cairo International Film Festival, where Vishal Bhardwaj was awarded for Best Artistic Contribution in Cinema of a Director. The film also won three awards at the Kara Film Festival, an award at the Asian Festival of First Films, three National Film Awards, and seven Film fare.

In this paper I have taken movie called Omkara based on Shakespeare’s famous tragedy, Othello. Many movies have been made on this tragedies viz. O in 2001 by Tim Blake Nelson, Othello in 1952 by Orsan Welles, Othello in 1955 by Russian director Serdei Yutkeivich and many more but Omkara by Vishal Bhardwaj is unmatchable Hindi version of the play. So I tried to explore how Vishal Bhardwaj tries to map the story of Othello set against the backdrop of the wars between Venice and Turkey that raged in the latter part of the sixteenth century with Bahubalis somewhere in feudal corridors of rural Uttar Pradesh. I have also tried to analyse how racial discrimination depicted in Othello was moulded by him into the Indian caste system. The language he used in his film is also incredible and amusing. The dialogues (written by the Vishal Bhardwaj himself) add sizeably to the grotesque as the sweet urban dude is here transformed into a foul-tongued diabolic vermin with not a shred of shame or remorse. But nonetheless grand stature of characters ensnared in their own web of crime deceit and little or no punishment from any man-made law. In the original play, Othello's ''tragic flaw'' is his jealousy, his inability to take things at face value, a quality that Iago provokes to the hilt. So, it’s really amusing to see how in Vishal Bhardwaj’s film, Omkara, in spirit, stays true to that central theme and weaves all other conflicts around it. Vishal Bhardwaj has made the story his own and ends up humanizing Shakespeare's characters with the necessary folklore and ethnic charm that is unique to an Indian setting. So It is really amusing to see what happened to Othello when it came in Bollywood?

Omkara (2006) is film depiction of English Literature greatest tragedies, Othello by William Shakespeare. Throughout the film we never get an idea that this film is an adaptation because the story is woven into local factors such beautifully that you start thinking it as an original only and one must give its credit to writers of the film. Today also Omkara is one of the most controversial and the most commercially successful among all the other Othello films made. Omkara is a Bollywood film production from India, which not only won many applause from audiences around the world but also raised eye-brows of many Shakespeare purists. However, one of the most important points to be considered about Omkara, is that it is directed by Vishal Bhardwaj. Vishal Bhardwaj is well- known in India for transforming renowned western novels and plays into films. “In the past, Indian literary classics like Devdas have been used as screenplays, but nobody tried to use world literature. I love all the works of Shakespeare, so I started with him” explains the film-maker, Vishal Bhardwaj about why he chose the works of William Shakespeare. Although the basic plot in Omkara is very much similar to Othello, there are some notable differences, not just to fit the screen time issue, but to keep up the cultural and racial value for its audience, who are mainly Indian.

The most notable change in Vishal Bhardwaj’s Omkara is that the original names of some of the important characters are changed into Indian names. In Othello, some of the names of the main characters are Othello, Iago, Cassio, Desdemona, Rodrigo, Emilia and

Brabantio. Although there are other characters in Othello but these characters are the most important ones and the whole story basically revolve around them. But in Omkara, these names Othello, Iago, Cassio, Desdemona, Emilia and Brabantio are changed into Omkara, Tyagi, Kesu, Dolly, Indu and Waakil-Saab. Such changes are obvious, as the target audience of the film are of Indian origin, and it is an acceptable change as the names are used to fit the cultural boundaries of the Indian movie industry. Regardless of all the changes with the names, Vishal Bhardwaj make them sound similar as much as possible to the original ones. Such contrast is done, so that the Shakespearean critics and purist around the world can relate to his film. The original names could not have been used in an Indian film, as these names are of Italian origin. Instead, Vishal Bhardwaj uses Indian names that sound very much like the original ones in Othello; names that neither can be criticized by Indian audience nor by Shakespeare purists from around the world.

One of the most important scenes of Othello is the first scene that gives an idea of what the whole play will be like. In the original play, it begins in the city of Venice, at night; Roderigo is having a discussion with Iago, who is angered for being passed over as Othello's lieutenant. Iago is aware that the daughter of Branbantio, a Venetian nobleman of some stature, has run off with Othello, the black Moor. While Brabantio know nothing of this coupling, Iago decides to enlist Roderigo, who lusts after Desdemona and awaken Brabantio to tell him that his daughter is gone. This summary makes it clear that the coupling of Othello and Desdemona will bring many clashes of people in the play. It also gives an outlook of Iago’s double-crossing personality which will cause immense trouble to others in later parts. Vishal Bhardwaj’s film, however, starts on a sunny winter morning, and here Tyagi (Iago) is

having a discussion with Raju (Rodrigo). Tyagi, until the middle of the film, is actually a very devoted and obedient follower of Omkara, the political mobster who works for Bhaisaab (Duke), a political figurehead of the region. Tyagi tells Raju, who is on his way to marry Dolly (Desdemona) that, she has run away with Omkara. Tyagi tells Raju to go and tell Waakil-Saab, the father of Dolly and a respected lawyer in the region, that Dolly has eloped with Omkara. The significance of change in the opening act of Omkara is that Tyagi (Iago) is not regarded as the double-crossing personality from the beginning. He is actually regarded as a loyal and obedient friend of Omkara’s who was given the order by Omkara himself to tell Raju about the incident. Although the true reason for Tyagi`s treachery is fully shown in the film in later scenes, when Omkara appoints Kesu as his Bahubali (lieutenant). This change of plot in the film is one of the most noticeable differences from the original play.

Racial stereotyping is common in Shakespeare`s plays. In Othello, there are many instances when Othello is racially stereotyped by his ethnicity and his country of origin. In the original Othello, the racial divide between Othello and Desdemona is portrayed in intentionally shocking language. Iago tells Brabantio that: 'Zounds, sir, you're robb'd; for shame, put on your gown; Your heart is burst, you have lost half your soul; Even now, now, very now, an old black ram Is tupping your white ewe. Arise, arise; Awake the snorting citizens with the bell, Or else the devil will make a grandsire of you: Arise, I say. (87-93)

In calling Othello ‘Barbary horse’ and ‘black ram’, Iago associates animalism with Othello and blackness. Yet as much as Iago’s persuasiveness, and Othello’s own later selfconstruction, makes Othello carnal, exotic or monstrous, he is also human and sympathetic, vulnerable to Iago’s manipulations partly because his difference makes him an

easy target. Perhaps this racial issue of Othello makes the play very unique from all other Shakespeare`s work. In Omkara, Vishal Bhardwaj is very much successful in portraying this essential element to the audiences. The famous dialogue “Jo ladki apni bap ki nai hui, wo kisi aur ki kya hogi” (the girl who is not loyal to her can’t be loyal to anyone) and “kahin tere is roop ke piche koi tantr-mantr to nai hai” (Is there any magic hidden behind your beauty?) are still remembered by the audience.

Although India is not a country of different ethnicities, it is known for its caste/class divides system which continues even today. The old caste system is more common in northern parts of India, especially in Uttar Pradesh where the whole film takes place .In the film, Omkara is a half-caste rabble person, who is constantly degraded by opposing people of the film for having a mother of lower caste. He is often referred as Adha-Brahmin which means half-caste, an insulting slang of some sorts in Utter Pradesh . Omkara also proves to be insecure in his half-caste status so he ends up causing a big tragedy at the end of the film. This class/caste aspect of the film stands out for any audience who have not read or learned about the original Othello in the original play. Furthermore, it is Omkara`s own insecurity of his half-caste status which plays a big role in leading him to his downfall; it makes him the monster and people accuses him of being just like Othello in the original play .Thus the black Moorish General of Venice, Othello, is justifiably transformed into a half-caste Mobster Omkara of Utter Pradesh in the film. Thus, the parallelism of Omkara and Othello are shown in the film.

The tragedy-filled climax at the end of Othello is perhaps the most important scene in the entire play. At the dramatic ending of Othello, Iago`s notorious plot is given away to Othello by his own wife, Emilia. Iago sees his wife as an obstacle so he kills her. He kills her not out of anger but for other reasons as Emilia becomes an obstacle for Iago and his cunning plan. Iago's merciless killing of Emilia and Roderigo is a proof of Iago`s true bestial side. And this is where the most biggest and striking change occurs in Vishal Bhardwaj’s film. In the film, it is Indu (Emilia) who takes the life of Tyagi after she finds out what Tyagi has done. Such change in the film can only be explained by looking at the fact, that for a modern audience, conveying a sense of justice will profit the film-maker. This change in the plot of the film causes many Shakespeare enthusiasts to criticize Vishal Bhardwaj’s depiction of Othello. Vishal Bhardwaj controls the inter-relations with enormous skill. Every character exists through his or her bonding with his immediate surroundings. Every relationship is fullblooded and passionate. Every friendship and enmity crackles and hisses with serpentine intensity. Every roar of the gun is a battle-call. Omkara is no ordinary work of art. It's a fullblown treatise on the politics of the human heart. Male and female bonding is paramount to Vishal Bhardwaj's plot. This is a film, which is as picturesque as it's sensuous. If the scenes of gang-war is in-our-face, the love scenes don't flinch away from the truth about these carnal creatures of the night who love and hate in equal measures. In his amazing understanding of both Shakespeare’s tragic resonance and UP's ruinous politics, the director is next to none. He spills the beans in swirls of authentic colours. The cast and crew pitch in their might with pliable strength. The cinematography (Tassaduq Hussain) capturing the fading rusty browns of UP's damned alleys, the editing (Meghna Manchanda) cutting the

shots with an arresting alacrity, and the sound (songs and background score by Vishal Bhardwaj) mixing the pain and passion of hearts in fright… all add up to a roster of remarkable fertility.

Omkara is not a “perfect” depiction of the Shakespeare’s classic original. The film does have many similarities. The cultural, racial and class values of the target audiences, who are mainly Indian, are respected and put into considerations very nicely. But the finesse with which Vishal Bhardwaj is able to transform and integrate the sixteenth-century western play into a modern Indian tragedy film, with an audience of totally different ethnic and cultural backgrounds, is amazing. What is even more surprising is how Vishal Bhardwaj is able to portray some of these essential elements such as stereotyping, jealousy, dialogues, honesty, plotting(by Iago), in his film. He is even successful in portraying some of the important scenes such as the first scene while making some an acceptable change in the end scenes of Omkara. Moreover, the transformation of a sixteenth century Bard’s classic into a modern Indian tragedy movie is perfect . The film is embellished with some top-notch performances that did justice to the characters in the original play. Nothing in this film is a prop. Except of course life which stands mute testimony to the dance of death that these grand-children of Shakespeare performs on a no-man's-land… Or shall we say, a known-man's land, since the directors seem to know Shakespeare and UP- politics equally well. Overall, the film does justice to Shakespeare and his masterpiece, Othello.

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