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Koel Chatterjee Phd Thesis Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. For Dad, who taught me to reach for the stars and go on every adventure. Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard While there has been a lot of research on Shakespeare on stage in India, comparatively little research exists on Shakespeare in Indian Cinema. This thesis is the first full length examination of the evolution of Bollywood Shakespeares, a genre which is influencing Shakespearean adaptations on stage and screen globally and leading to renewed interest in interpreting Shakespeare for modern multicultural audiences. It examines the impact that Shakespeare has had on the Hindi film industry by setting Vishal Bhardwaj’s Shakespeare Trilogy within the broader historical context of adapting, assimilating and culturalizing Shakespeare in northern India through an examination of five Shakespearean adaptations in the Hindi film industry from the 1980s till the current decade – Angoor (1984), Qayamat Se Qayamat Tak (1988), Maqbool (2004), Omkara (2006) and Haider (2014). The thesis is divided into two parts: the first part focuses on the neglected prehistory of Bollywood Shakespeares, while Part Two focuses on the work of Vishal Bhardwaj. Building on the foundation laid by Poonam Trivedi and Rajiva Verma, this thesis classifies the three stages of Shakespeare adaptations in India broadly as the Imitation Stage (from the 1880s to the 1950s), the Adaptation and Assimilation Stage (1960s to the 1990s) and the Deconstruction Stage (from 2000 to date).1 Chapter One: Angoor (1982): A Hindi Comedy of Errors, charts the stages of adaptation of Shakespeare in India by examining two appropriative precursors of this popular adaptation of The Comedy of Errors and discussing the adaptation decisions made by Gulzar to bring Shakespeare into the Hindi film mainstream. Chapter Two: Qayamat Se Qayamat Tak (1988): Romeo and Juliet in Bollywood examines the effects of liberalisation and the exposure to Western Shakespeare adaptations on Hindi cinema through an examination of an adaptation of Romeo and Juliet which had a landmark impact on the Hindi film industry and made the tragic genre commercially successful in an industry known for happy endings. Chapter Three: 1 See Poonam Trivedi, '"Filmi" Shakespeare', Literature-Film Quarterly, 35.2 (2007), pp 148-158, Rajiva Verma, 'Shakespeare in Hindi Cinema', in India's Shakespeare: Translation, Interpretation and Performance, ed. by Poonam Trivedi and Dennis Bartholomeusz (Pearson Education India, 2005), pp 240 – 259 and Rajiva Verma, 'Shakespeare in Indian Cinema: Appropriation, Assimilation, and Engagement', in The Shakespearean International Yearbook: Volume 12: Special Section, Shakespeare in India, ed. by Tom Bishop and others, (Ashgate Publishing, Ltd., 2012), pp 83 – 96. Maqbool (2004): The Mumbhai Macbeth, analyses an adaptation of Macbeth set within the world of the Mumbai mafia and discusses how Bhardwaj uses Shakespeare to express current socio-political concerns by focusing on the Muslim gangster stereotype. In Chapter Four: Omkara (2006): The Moor of Meerut, the focus shifts to the Hindu gangster in the Indian heartland, political corruption and the status of women in India through an adaptation of Othello. Chapter Five: Haider (2014): The Kashmiri Hamlet, looks at the violence of the state by translocating Hamlet to the rotten state of Kashmir and depicting Hamlet both as an individual and as the Kashmiri people. This thesis, through the course of an examination of the work of three directors spanning four decades, demonstrates how Bollywood Shakespeares evolved within the middle-of-the-road sub-genre. These chapters demonstrate how the genre benefited from collaborative tensions and genre subversions as well as experimentation with music and language and the locating of Shakespeare within specific geographical sites that allowed for the indigenisation of the Bard, leading to the establishment of the Bollywood Shakespeare film as global cinema. Table of Contents Part I Introduction: Shakespeare, India and the Hindi Film Industry 1 - 45 Chapter 1 Angoor (1984): A Hindi Comedy of Errors 46 - 78 Chapter 2 Qayamat Se Qayamat Tak (1988): Romeo and Juliet in Bollywood 79 - 120 Part II Chapter 3 Maqbool (2004): The Mumbhai Macbeth 121-167 Chapter 4 Omkara (2006): The Moor of Meerut 168-205 Chapter 5 Haider (2014): The Kashmiri Hamlet 206-240 Conclusion: Shakespeare Reframed 241-253 Bibliography 255-295 Appendix i: Map of India: Languages i Appendix ii: Scheduled Languages in India in Descending Order of Speakers’ Strength ii Appendix iii: Filmography: Indian Shakespeare Films iii - ix Appendix iv: Glossary x - xv Introduction: Shakespeare, India and the Hindi Film Industry Introduction: Shakespeare, India and the Hindi Film Industry ‘Hindi filmwalas have helped themselves to such humongous doses of Shakespeare — there is no cliché in Hindi cinema that is not borrowed from the man, and I often wonder what popular Hindi cinema would have been like without Shakespeare’s source material’. Naseeruddin Shah1 The first Eastern interpretations of Shakespeare on film to attract global attention were the work of Akira Kurosawa who was a defining figure in the cinematic intercultural exchange between post-war Japan (and indeed eastern cultures more broadly) and the west. His cinematic renditions of Macbeth – Kumonosu-Jo/ Throne of Blood (1957), Hamlet – The Bad Sleep Well (1960) and King Lear – Ran (1985) are remarkable in their use of Shakespeare to interrogate modern Japanese culture and society. This Shakespeare ‘trilogy’ has influenced many subsequent Shakespeare adaptations across the world, including the work of Vishal Bhardwaj, which is the focus of Part II of this thesis. In terms of the sheer number of non-Anglophone cinematic adaptations of Shakespeare, however, it is India which leads the way. Andrew Dickson makes this assertion without any statistical proof2; the filmography at the end of this thesis, shortly to be published in Shakespeare and Indian Cinemas edited by Poonam Trivedi and Paromita Chakravarty, is the first comprehensive listing of Indian Shakespeare adaptations on film. It undeniably proves that the vast archive of Indian Shakespeare films dating back to the 1920s surpasses cinematic adaptations of Shakespeare in any other 1 Naseeruddin Shah, And then One Day: A Memoir (Penguin Books Limited, 10 November 2015), p 154. 2 Andrew Dickson, Worlds Elsewhere: Journeys Around Shakespeare's Globe (Henry Holt and Company, 2016), p xxv. 1 Introduction: Shakespeare, India and the Hindi Film Industry individual non-Anglophone country. Yet it is only recently that Indian Shakespeare films have begun to attract global attention as a genre with the release of Vishal Bhardwaj’s so-called ‘Shakespeare Trilogy’ (Maqbool/Macbeth, 2004; Omkara/Othello, 2006; Haider/Hamlet, 2014). Indian postcolonial literary criticism has delved into the relationship between India and Shakespeare quite exhaustively with eminent scholars such as Gauri Viswanathan, Jyotsna Singh, Harish Trivedi and Ania Loomba mapping and analysing the influence and absorption of Shakespeare within indigenous performance traditions across India.3 In the following section of this chapter, I will briefly review the wealth of scholarship which exists on Shakespeare and India in order to construct a theoretical framework to support the case studies of Bollywood Shakespeare films in the body of this thesis.4 What is surprising, however, is that despite the presence of Shakespeare adaptations in the Hindi film industry since the era of silent film, and despite the popularity of non-Anglophone Shakespeares across the world, comparatively little international critical attention had been devoted to cinematic adaptations of Shakespeare in India until the global critical and commercial success of Bhardwaj’s films.
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