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The Female Agency in the Cinematic Adaptation of Macbeth

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The Female Agency in the Cinematic Adaptation of Macbeth ISSN 2249-4529 www.pintersociety.com GENERAL SECTION VOL: 9, No.: 2, AUTUMN 2019 REFREED, INDEXED, BLIND PEER REVIEWED About Us: http://pintersociety.com/about/ Editorial Board: http://pintersociety.com/editorial-board/ Submission Guidelines: http://pintersociety.com/submission-guidelines/ Call for Papers: http://pintersociety.com/call-for-papers/ All Open Access articles published by LLILJ are available online, with free access, under the terms of the Creative Commons Attribution Non Commercial License as listed on http://creativecommons.org/licenses/by-nc/4.0/ Individual users are allowed non-commercial re-use, sharing and reproduction of the content in any medium, with proper citation of the original publication in LLILJ. For commercial re- use or republication permission, please contact [email protected] 28 | Un/Sexing Women in Maqbool… Un/Sexing Women in Maqbool: The female agency in the cinematic adaptation of Macbeth Kirti Sachdeva Abstract: The brutality of Lady Macbeth is immemorially remembered and debated. Lady Macbeth, in the Elizabethan England, shocked the audience with her violent aspirations and unimaginable crimes, not common to women. In the twenty first century India, Vishal Bhardwaj, relocates and repurposes Lady Macbeth for the Indian audience in his cinematic adaptation of Macbeth namely Maqbool. The leading character is placed within the world of the underworld and while, resonating with the violence of Lady Macbeth, she also foregrounds the social, political, cultural and economic trappings of her context. The present paper studies the cinematic adaptation of the powerful female characters - Lady Macbeth and the three witches vis-à-vis the chosen film in the Indian context and focusses on the different degrees of struggle and assertion the three women- Nimmi, Mohini and Sameera- put across in their own capacity and within the given circumstances. Key Words: Cinema-adaptation, Macbeth, Maqbool, Vishal Bhardwaj, women-subjectivity, Elizabethan England, underworld, Mumbai. *** Lady Macbeth is hailed as one of the classic Shakespearean tragic heroines, upsetting the conventional definition of womanhood and escalating the tragic suffering essential to a tragedy. The recreation of Lady Macbeth and the three witches by Vishal Bhardwaj in his film Maqbool, opens avenues to engage with the question of female agency, sexuality and marriage within the larger Indian social code, economic conditions, political orientation and cultural milieu of the twenty-first century India. The three female characters in the film Maqbool- Nimmi, Mohini and Sameera – symbolise different degrees of struggle and assertion in their own capacity and within the given circumstances. While Lady Macbeth and the three witches catalyse the tragedy and play an instrumental role in disturbing the Patriarchal power hierarchy, Nimmi, Mohini and Sameera act out of their contextualized positions in dealing with the convoluted patriarchal power structures. The present paper proposes to study how Vishal Bhardwaj, while adapting Shakespeare for Indian cinema, interprets the bard and relocates his plays in the Indian context. With the specific focus on the theme of gender, the present paper examines the film Maqbool, a cinematic adaptation of Shakespeare’s Macbeth by Director Vishal Bhardwaj- and the portrayal of the powerful female characters akin to Lady Macbeth and the three witches, in an Indian context, vis-à-vis the chosen film. The process of Adaptation has a history of being scrutinized from various perspectives. The initial discourse on adaptation had its preoccupation with the issue of fidelity. Considered the most appropriate criteria for evaluating adaptation, the fidelity discourse conceived the success of adaptation based on its ability to recreate textual details. Critics like George Bluestone, Andre Bazin, Robert Stam, Brian Mcfarlane, Thomas Leitch, Linda Hutcheon, Julie Sanders, etc. have extensively theorized on adaptation. Deriving my understanding of adaptation as an active process of interpretation from Linda Hutcheon’s theory, the present paper perceives adaptation as an amalgamation of the source within the innovative and imaginative mind of the adapter. It is a fusion of the essence of the original text Lapis Lazuli: An International Literary Journal 29 ISSN 2249-4529 AUTUMN 2019 with the subjectivity of the author, blending with cultural, social and political baggage of the adapter’s identity that trespasses the spatial and temporal boundaries. The Female Energy: The Three Wired Sisters, Nimmi and Lady Macbeth In Macbeth, the three witches - or the weird sisters- represented the potential female energy that was considered as a corrupting force at the time of the reign of James I, and posed a threat to the quintessential patriarchal structure of that time. As a result they were labelled as social outcast and were believed to reside in forests and other isolated regions. They had dark personalities and whatever was evil to others qualified as good to them. They were difficult to be gendered and resonated masculinity. Critic A.C. Bradley in his work titled Shakespearean Tragedy states that “The Witches, that is to say, are not goddesses, or fates, or, in any way whatever, supernatural beings. They are old women, poor and ragged, skinny and hideous, full of vulgar spite, occupied in killing their neighbours’ swine or revenging themselves on sailors’ wives who have refused them chestnuts” (293). Though they appeared to be women, they had beard. They added the supernatural element in the play through their prophecy. Their roles show similarities with the roles performed by Nimmi and Lady Macbeth. All of them try to subvert the patriarchal structures. The witches disassembled Scotland’s power hierarchy by tempting Macbeth with the possibility of the throne. This led to the creation of political chaos and unrest especially pertaining to the fact that the witches represented the marginalized and the socially condemned position. Similarly Nimmi acts out of her belittled position in order to bulldoze the dominance of the authority figure both at the domestic and the political front. After this act of hers, she is also reduced to the status of an outcast. Lady Macbeth manifests the discontent arising out of her limitations as a woman and demolishes the structure around her. Critic Ram Bilas Sharma in his work titled Essays on Shakespearean Tragedy, locates the tragedy of Macbeth within the temperament of its period. He describes the conflict of many renaissance intellectuals and states, “they were ambitious, they wanted all the good things of the world, from magic to the throne of Duncan but they were not unscrupulous enough to realize their ambition without an inner struggle” (197). He further points out towards the concept of unnatural deeds associated with Lady Macbeth, highlighting the unconventional choices she made in the Elizabethan age. The violence by Lady Macbeth is seen by the critic as an important motif in “raising the tragedy to new heights” (186). Just as the witches who appropriate masculine qualities, so Lady Macbeth asks the spirits to unsex her. All three of them employ the nearest man in order to destroy the patriarchal authority- the witches use Macbeth, Nimmi uses Maqbool and Lady Macbeth employs her husband Macbeth. All of them tempt the men by using different discourses, either of vulnerability or of the sense of lack, insecurity, jealousy, threat or greed. They all are perceived as deviant forces corrupting the intentions of the men. All three come across as very strong personalities in themselves voicing out the consequences of inequality that ultimately leads to destruction and chaos, yet unfortunately results in succession of another patriarch. Both Lady Macbeth and Nimmi become insane by the end and are unable to decipher the reality around them, thus meeting with grave consequences. For the conventional patriarchal audience, their deaths becomes important since they have been rendered “impure” and only death can chastise them. It is symbolic of Nimmi’s martyrdom for the audience: she is penalized and disciplined for her infidelity towards her husband and for taking his life. Therefore, her death is rationalised as a self-punishment in the eyes of the society in which she loses her status. In Shoma Chatterji’s words “they must pay for this defiance and ‘freedom to love who they choose’ with their lives” (207). Nimmi becomes an outsider since the social, cultural and moral milieu does not accommodate her. Therefore, life becomes meaningless for her as the parallel world that she had created for herself comes across as unreal. 30 | Un/Sexing Women in Maqbool… However the struggles of Lady Macbeth and Nimmi opens portals to address the marginalized position of women that puts them on the path of unfair means in order to secure justice and equality for themselves when the society fails to do so. Women oscillate between the categories of the pure and the profane. These binaries have stringent consequences for women. Friedrich Nietzsche’s concept of the Apollonian and Dionysian temperaments in his work The Birth of Tragedy From the Spirit of Music, is pertinent in understanding the ‘identity creation’ of women in the film Maqbool. The character of Sameera represents Apollonian temperament since her actions are confined within the matrix of social codes and manifest the constitution of Abbaji’s domestic sphere. Before going ahead with her union with Gudu, both had to go through the wrath and trial of Abbaji and both showed conformation with the system. Adherence to the norm for fulfilment and legitimization of their relation becomes their mode of conduct. Sameera possesses the Apollonian qualities of moderation, control, analysis, clarity, order and reason as dictated by the social conventions of her context. The scene where Gudu is brutally beaten by his father becomes emblematic of Sameera’s indoctrination since she does not protest nor tries to save him instead submits herself to the mercy and the final verdict of Abbaji. The marriage and its ceremonies are respectively performed and executed to legitimize their relation in an orderly manner.
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