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A Rose by Any Other Name: Shakespeare and the Cinematic Bridge of Love

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A Rose by Any Other Name: Shakespeare and the Cinematic Bridge of Love A Rose by Any Other Name: Shakespeare and the Cinematic Bridge of Love Submitted to the School of Interdisciplinary Studies (Western College Program) in partial fulfillment of the requirements for the degree of Bachelor of Philosophy Interdisciplinary Studies Cameron Berner Miami University Oxford, Ohio 2009 APPROVED Advisor ________________________________ Dr. Chris Myers ii Submitted to the Miami University Honors and Scholars Program in partial fulfillment of the requirements for graduation with University Honors with Distinction Approved by: ________________________________, Advisor Dr. Ronald B. Scott ________________________________, Advisor Dr. Christopher A. Myers ________________________________, Reader Dr. William H. Newell Accepted by: ________________________________, Director University Honors Program iii ABSTRACT This project analyzes love in William Shakespeare’s Romeo & Juliet. As part of a case study and practical application of the natural harmony between the cinemas of Hollywood and Bollywood several filmic adaptations are discussed, including Romeo & Juliet (1968) directed by Franco Zeffirelli, William Shakespeare’s Romeo + Juliet (1996) directed by Baz Luhrmann, and Qayamat Se Qayamat Tak (1988) directed by Mansoor Khan. This project advocates for American appreciation of the foreign cinema of Bollywood (Mumbai, India) based on the understanding of the universal human experience of love. iv Table of Contents Introduction . 1 Part One: The Bridge of Love. 6 Chapter One: Fated Love . 7 What is love and how does it happen? . 7 Types of Love . 11 Interpreting Love . 16 Fated Love . 24 Part Two: The Most Excellent and Lamentable Tragedy of Romeo & Juliet . 28 Chapter Two: The Bard . 29 Who was Shakespeare? . .29 Shakespeare and Love . .35 Universality . .37 Chapter Three: The Star-Cross’d Lovers . 43 A Tale of Fated Love . 43 What’s in a name? . 46 Tragedy of Character or Tragedy of Fate? . 49 Adaptability of the Star-Cross’d Lovers . .52 Part Three: Shadows on a Silver Screen . .55 Chapter Four: Cinema . .56 Chapter Five: Hollywood . 60 Chapter Six: Bollywood . 64 The Hindi Cinema . .64 What makes a Bollywood movie? . 66 Global Appeal . .72 Part Four: Creative Exploration of the Star-Cross’d Lovers . 74 Chapter Seven: Exploratory Study . 75 Purpose . .75 Survey . .75 Survey Results . .78 Discussion Group . 85 Discussion Group Results . 88 Closing Remarks . .90 Conclusion . 92 Chapter Eight: Conclusion . 92 Bridging the Gap . 92 Bollywood and Hollywood . 95 Cinema’s Natural Evolution . .97 Star-Cross’d Cinemas? . .99 Works Cited . 101 Appendix . .108 Introduction 2 Introduction “Here’s much to do with hate but more with love.” ~Romeo & Juliet1 The story of Romeo & Juliet is almost as well known as the name of the writer that popularized it, William Shakespeare. A young couple meets, falls in love, discovers that they are from feuding families, gets married anyway, and eventually kill themselves. It is a classic love story that has been adapted and produced on the stage, the screen, the television, in books, songs, and so forth for almost as many years and times as there are stars in the night’s sky to have cross’d these young lovers by. It is beloved not only by the English from which it originated, but by people all over the world, especially in its widely disseminated cinematic incarnations. This project explores the ability of cinematic productions to cross cultural bounds, being enjoyed by various peoples of the world even when they have little to no previous training or exposure to the foreign cinematic tradition being enjoyed. Were cultures completely individualized, were there nothing universal about the experience of being a human – i.e. if humans were solely a product of their cultural upbringing – such an interaction would be impossible. People would not be able to share ideas nor even relate to one another as a result of an insurmountable cultural gap. This however, has proven untrue as people are able to relate to one another. Giving practical and applicable reasoning for this otherwise mystifying phenomenon, this project contends that people are able to relate to each other rather easily – at least when they are inclined to do so – because all humans experience love. 1 (Shakespeare 1993: I.i.173) 3 We experience it differently, true, but its experience is an inherent part of our existence. Because of this universal understanding, people are able to identify with one another. Within the scope of this project, the worldwide followings of both the American Cinema (Hollywood) and the cinema of Mumbai, India (sometimes referred to as Bollywood) are specifically considered. It is observed that an individual is able to relate to a story as a witness to either the conveyance or denial of love, no matter what cinema originated that particular portrayal. For example, even individuals not brought up in American culture can still relate to and comprehend (at least on a basic level) the sights and sounds of a Hollywood production. The same is true for Bollywood, though someone may not have been raised in the Republic of India, may not speak Hindi, it is still possible to interpret the movements and gesticulations, tonal qualities and vocal inflections, and the actors and actresses’ other forms of verbal and non-verbal communication. The fact that there can be striking differences in cultural constructions of meaning is not denied. Nixon learned this lesson the hard way when he gave what he believed to be the “peace” sign in Asia, but some intentions may be conveyed and understood universally. A kiss may mean something far more intimate from one cinema (and culture) to the next, but the emotion and exchange which it signifies is universally understood – love. It may indicate passionate, romantic love to some while others view it as indication of innocent adoration, but its base significance remains unchanged. In truth, all the stories in the world can be boiled down to tales of different types of love – friendship, parental, romantic, et cetera. It is through this universal understanding or rather experience of the human emotion of love that this project explores the relationship between Hollywood and Bollywood – two titans of cinema. 4 This project is written is to explain how an American viewer is able to appreciate the cinema of Mumbai. As a practical application, it specifically analyzes the universal adaptability of the themes established in the writings of William Shakespeare. Though some meanings have been lost in the centuries since their original creation, as they undoubtedly are in such a cultural exchange as well, the preeminent genius of Shakespeare is evident in the fact that several of his themes succeed in transcending both time and culture. A Rose by Any Other Name compares incarnations of his Romeo & Juliet in the cinemas of Hollywood and Bollywood and their ability to be enjoyed equally by the average American viewer.2 Of course, the universality of love is only one of the potentially many factors determining how close Bollywood is to Hollywood, and how different individuals receive cinematic productions. Though some may not consider it to be the most important factor, its ubiquitous experience does permit individuals to relate to one another. Thus, a bridging of cultures in a cinematic exchange is established. As a note, I will loosely interchange the name of the cinema with that of its major geographical base throughout this project. For example, even though there are production companies in New York, Miami, Chicago, et cetera, I am specifically referring to Hollywood when referring to the American cinema as it remains the dominant and unsubstantially disputed seat of American movie making. The same goes for the interchangeable use of Mumbai, the Mumbai cinema, and Bollywood. This cinema, however, will not be referred to as the “Indian cinema” as there are other, entirely 2 Though the degree and type of this enjoyment, of course, is different for each individual 5 independent cinemas in this billion-person nation, so even though Bollywood is the dominant cinema of the Republic of India, it is not an uncontested assignment. Furthermore, “Bollywood” itself is a disputed term. Several filmmakers spurn the title, arguing that it has abruptly reduced the “multiple cinematic traditions within India and the diverse ranges of themes addressed . to one all-encompassing stereotype of the ‘masala musical’” (Punathambekar 2005: 153). In the context of this project, however, Bollywood is used as a positive term in direct correlation to the overall global reception of this film tradition. It is not here seen as an inferior imitation of the American cinema from which its name is partially derived, but as a peer – a goal of this project being to advocate for a mutual appreciation of the two cinemas by American viewers. ~ Love is everywhere. It is a ubiquitous part of the human experience that can be used to bridge the seemingly vast separation between the cinemas of America and Mumbai. The relative similarities of these cultural titans will be analyzed using adaptations of William Shakespeare’s Romeo and Juliet. Through the universality of human emotions, barriers of culture, language, and even cinematic convention can be transcended so that the average, native viewer of one cinema can appreciate, if not participate in, the development of story as portrayed through the lens of the cousin cinema. 6 Part One The Bridge of Love 7 Chapter One Fated Love What is love and how does it happen? Love. It is something that people have discussed, wrestled against, been crushed by, and blessed with for ages. For as long as history has been recorded (and probably further back unto the dawn of mankind), minds both great and small have endeavored to understand love. Speakers have talked about it, musicians have sung about it, and authors have written about it. Aristotle said love “is composed of a single soul inhabiting two bodies” (Lanford & Lanford 2008).
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