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Univerzita Karlova / Charles University Universidade Do Porto / University of Porto

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Univerzita Karlova / Charles University Universidade Do Porto / University of Porto Univerzita Karlova / Charles University Universidade do Porto / University of Porto Filozofická fakulta / Faculty of Arts (Prague) Faculdade de Letras / Faculty of Arts and Humanities (Porto) Ústav anglofonních literatur a kultur / Department of Anglophone Literatures and Cultures (Prague) Departamento de Estudos Anglo-Americanos / Department of Anglo-American Studies (Porto) Text and Event in Early Modern Europe (TEEME) An Erasmus Mundus Joint Doctorate Ph.D. dissertation The Shakespeare Salesman Saksham Sharda Supervisors: Professor Martin Procházka (Charles University) Professor Rui Carvalho Homem (University of Porto) 2018 English Abstract The Shakespeare Salesman The Shakespeare Salesman offers a comprehensive analysis of Vishal Bhardwaj’s Shakespeare trilogy that consists of the films: Maqbool (2003), Omkara (2006), and Haider (2014). The trilogy only recently being completed, previous attempts to study Bhardwaj’s work have been confined to chapters in books, with their analysis often relegated to the understanding of a greater theme about the industry as a whole, and hence this work intends to accord due space to Bhardwaj’s films by making them the centre of the discussion. The analyses of these films show that Bhardwaj’s work is torn between issues of authenticity, fidelity, and originality, often leading to what the thesis defines as “narrative crises” that are resolved with thought-provoking, at times problematic, but largely unique methods. Hence each of the three chapters, accorded to the respective film being discussed, focuses on the said crisis. By focusing specifically on these aspects the argument does not, by any means, intend to lessen or mis-portray the achievements, contribution and importance of Bhardwaj’s work. On the contrary, all the space that this thesis can afford is accorded to these ‘problems’ precisely because they have hitherto not been aptly discussed, as the primary subject, in previous literature regarding Bhardwaj’s work. The argument of the thesis concludes that instead of presenting Shakespeare to the Indians as a universal value, like some Shakespeare ‘salesmen’ that precede him have done, Bhardwaj seems to shun the ‘universality’ and present Shakespeare with his own unique method of salesmanship. A method that inherits some of the advantages and disadvantages inherent in the adaptations/productions of Shakespeare in India that come before Bhardwaj…but also, significantly, a method that produces its own unique set of complexities and problems which this thesis has tried to examine, appreciate and to which, most importantly, this thesis has tried to do justice. Czech Abstract Obchodník se Shakespearem Práce přináší celkovou analýzu shakespearovské trilogie indického filmového režiséra Vishala Bhardwaje, Maqbool (2003), Omkara (2006) a Haider (2014). Vzhledem k tomu, že tato trilogie byla dokončena teprve nedávno, předchozí pokusy o výklad Bhardwajova díla se omezují na kapitoly v kolektivních monografiích, často ve vztahu k obecnému tématu filmového průmyslu. Na rozdíl od nich se tato práce ve svém celku soustřeďuje na Bhardwajovy filmy. Analýza tří výše zmíněných filmů ukazuje, že Bhardwajovo dílo zápolí s problémy authenticity, věrnosti Shakespearovým textům i originality, což často vede k situacím, které práce popisuje jako „narativní krize“ a které Bhardwaj řeší myšlenkově podnětným, občas problematickým, ale vesměs jedinečným způsobem. Všechny tři kapitoly se proto zaměřují na tyto krize, což ale nevede ke snižování nebo zkreslování kvalit, přínosu a významu Bhardwajova díla. Naopak, práce se ve svém celku věnuje řešení těchto problémů právě proto, že se jim dosud v odborné literatuře o Bhardwajových filmech nedostalo patřičné pozornosti jako zásadním tématům. Práce vyúsťuje v závěr, že Bhardwaj, místo toho, aby Shakespeara uváděl do Indie jako univerzální hodnotu, jak to dělali někteří shakespearovští „obchodníci“ před ním, se zjevně vyhýbá tomuto pojetí a ztvárňuje Shakespeara svou jedinečnou metodou, která mu přináší též komerční úspěch. Tato metoda spojuje výhody i nevýhody předchozích indických adaptací a inscenací Shakespeara, ale zároveň vytváří jedinečné spojení složitých problémů, které se práce snaží uchopit, prozkoumat a zhodnotit. 1 Table of Contents Introduction (p. 3) The Merchant of Shakespeare (p. 15) The Merchant’s Daughter (p. 34) The Parsi Merchants (p. 44) Vishal Bhardwaj: A New Merchant (p. 52) A Tragedy Rehearsed (p. 64) Reflective Notes (p. 68) Chapter I - An Empowered Duncan (p. 74) Kurzel’s Macbeth (p. 76) ‘Bollywood’s’ Macbeth (p. 84) Jahangir’s Macbeth (p. 90) Bhardwaj’s Macbeth (p. 106) Chapter II - A Hybrid Othello (p. 115) White Skin, Black Masks (p. 120) Black Skin, Black Cast(e)s (p. 127) ‘Near-Black’ Skin, ‘Near-Black’ Castes (p. 141) Chapter III - A Hamstrung Hamlet (p. 152) The Reluctant Fundamentalist (p. 162) Ritual, Remembrance, Revenge, and Religion (p. 169) The Ghost as a Jihadist Recruiter (p. 179) Setting a Mousetrap for the Indian Audience (p. 187) Hamlet Hamstrung (p. 200) 2 Conclusion (p. 211) List of Illustrations (p. 218) Bibliography (p. 222) 3 Introduction This thesis offers a comprehensive analysis of Vishal Bhardwaj’s Shakespeare trilogy that consists of the films Maqbool (Macbeth 2003), Omkara (Othello 2006), and Haider (Hamlet 2014). Considering the fact that Bhardwaj finished making this trilogy at the time the thesis was started, and that he has announced no further plans to direct any more Shakespeare films in the near future, this dissertation views the aforementioned films as comprising a neat group that can offer insight into the salesmanship of the film versions of Shakespeare’s plays in relation to Bhardwaj, and in relation to Bollywood itself. The trilogy only recently being completed, previous attempts to study Bhardwaj’s work have been confined to chapters in books, with their analysis often relegated to the understanding of a greater theme about the industry as a whole, and hence this work intends to accord due space to Bhardwaj’s films by making them the centre of the discussion. And not least because the films, in many ways, differ quite significantly from other Shakespeare adaptations in Indian cinema. Through the course of these three films, it will be shown, Bhardwaj’s work is torn between issues of authenticity, fidelity, and originality, often leading to what will later be defined as “narrative crises” that are resolved with thought-provoking and unique results. Hence each of the three chapters, accorded to the respective film being discussed, focuses on the said crisis and the aim of the thesis, on a whole, is to examine, appreciate and do justice to the unique set of complexities and problems that Bhardwaj’s method of adaptation produces. By focusing specifically on these aspects the argument does not, by any means, intend to lessen or mis-portray the achievements, contribution and importance of Bhardwaj’s work. On the contrary, all the space that this thesis can afford is accorded to these ‘problems’ precisely because they have hitherto not been aptly discussed, as the primary subject, in previous literature regarding Bhardwaj’s work. There have, in other words, been enough studies on Bhardwaj’s excellent transposition, and differentiation, of the functions of the main characters, 4 the plot, and the setting in comparison to Shakespeare’s play, as well as on the extensive cultural and political diversity displayed by the works. The argument of this thesis, however, does not seek to repeat an analysis of these transpositions (and it is for this reason the chapters do not go into these in detail) but, instead, looks specifically at the inconsistencies in these transpositions, relates them to the aforementioned narrative crises in all three films, and tries to do justice to their uniqueness and complexity. To offer a brief typology of these ‘narrative crises’ then: Bhardwaj’s relationship with the aforementioned issues is firstly characterized by an enthusiastic and bold liberation from Shakespeare (his plot, characters, or language). He does this by realizing in his films the varying interpretive possibilities present within the texts, whether it be in his bold reshaping of Duncan’s character (in Maqbool), or in his substitution of caste for race in Omkara (2006), or in his interpretation of Hamlet’s madness and his consequent actions as terroristic in Haider (2014). This, secondly, is followed by a narrative crisis point: the ‘empowered’ Duncan’s death, which seems to rob the film of its drive.1 The colour-driven racialization of caste in Omkara, proceeding from Bhardwaj’s use of lighter skinned actors for upper-caste roles as well as his preservation of colour motifs from Shakespeare’s play, which ends up creating an ahistorical and incredible colour-caste fusion that is essentially a non-issue in India. And finally an inadvertent endorsement of terrorism in Haider which the narrative of Hamlet as a terrorist was bound to lead to. The third and final step in Bhardwaj’s work, this thesis would argue, involves a resurgence of the Shakespeare text to neatly close the narrative instead of allowing the narrative 1 As in the case of the ‘empowered’ Duncan reference, through the course of this Introduction there will be references to concepts that are discussed in greater detail in the individual chapters where each of Bhardwaj’s three Shakespeare films are examined separately. These ‘teasers’ here exist in order to give the readers an overarching picture of the argument and to also pique their curiosity. 5
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