Maqbool - Movie Review

Published: October 27, 2009

By JENNIFER HOPFINGER

Starring Irrfan Khan, Tabu, Pankaj Kapoor

Director Vishal Bhardwaj’s first foray into the world of Shakespeare is nothing short of astounding—Maqbool is one of the finest adaptations of Macbeth ever produced. His interpretation, while faithful to the story, is no slave to it, and he spins an enthrallingly distinct version of the Scottish play. The elderly king here is an Indian mob boss called Abbaji (Pankaj Kapoor), Macbeth is his underling Maqbool (Irrfan Khan), and Lady Macbeth is Abbaji’s wicked mistress Nimmi (Tabu), who goads Maqbool into supplanting Abbaji and claiming her as the reward.

Equal credit for this masterpiece goes to lead actors Irrfan Khan and Tabu, who dig deep into the warped psyches of Maqbool and Nimmi and flesh out these disturbed characters with original, mesmerizing portrayals—no easy task, as theirs is one of the most demented love-hate relationships in all of literature. Nimmi’s motivations for manipulating Maqbool’s insecurities, emasculating and tempting him, are complex and myriad. Abbaji is old and unattractive, beginning to tire of her demands, and perhaps soon to be replaced as boss anyway; Maqbool is a more appealing lover, whom she can more easily control, and a suitable replacement for Abbaji. She does it for survival, for power, for sex, or perhaps merely for the evil thrill. Maqbool starts out as an obedient, grateful, and competent subordinate (he’s in charge of extorting Bollywood stars). He has a glimmer of ambition and Nimmi stokes into a roaring blaze. She makes him want what she wants, and with as much fierce drive. At the same time, he becomes consumed with desire for her as well as jealousy of his boss. Her psychological game is a success—he makes a frightening transformation into a savvy, ruthless leader—but it’s at the expense of her sanity. Bhardwaj improves upon the play by adding a reason for the lady’s otherwise inconsistent, guilt-induced descent into madness: the uncertain paternity of her unborn child.

Instead of three witches, there are two comical astrologers—who are corrupt policemen in cahoots with the mob—wonderfully portrayed by two of India’s finest actors, Om Puri and Naseeruddin Shah. The men believe they must contribute to the cosmic balance of power and they intentionally influence the course of events. (While three is a significant number in the West because of the Christian trinity, two is a significant number in Eastern thought, with its emphasis on balance. Bollywood films of Western stories often reduce traditional trios to pairs.)

The director followed-up Maqbool with an electrifying version of Othello, Omkara (2006).

Maqbool is rated Must See.

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