Gilauri khaya karo miyan........ . Review on Maqbool

...........zuban kabu mein rehti hai!!!! The scene depicting a menacing Pankaj Kapoor thrusting a paan in the mouth of a hapless politician was one of the several forceful ones in this wonderful movie called ''Maqbool''.

Focus of review:

By now almost everybody knows that the movie was an adaptation of the Play ''Macbeth'' by Shakespeare; hence I will not try to analyze the similarities and differences in the movie vis-à-vis the original play.

The movie explores certain very Indian dimensions, while trying to retain the background of play. Also it is one of the very few movies in which a supporting actor's role has been etched in a far greater detail than that of the protagonist. Above aspects will be primarily discussed in the review.

Plot:

An underworld aged Don (Abbaji) played by Pankaj Kapoor trusts his right-hand man Maqbool to the hilt and has a paternal affection towards him. Maqbool also understands and reciprocates his trust. The twist in the tale is caused by Nimmi, the mistress of the aged Don, for whom Maqbool has fallen. Nimmi hates Abbaji and propels Maqbool to take over the control of Mumbai underworld as well as of her by finishing off Abbaji. How Maqbool's lust and ambition overtake his love and loyalty for his master and how his inner conflict pushes him to a slow & steady death has been brought about in this movie.

Relationship of Abbaji, Maqbool and Nimmi:

Above three relationships form the gist of the Indianization of Macbeth or the background of Maqbool. The screenplay has been adjusted according to Indian sensibilities.

If Maqbool wants to kill Abbaji, it is not only for power; it is also for the woman. In the movie rarely does Maqbool imagine himself as the head of Mumbai underworld but again and again he is seen hating Abbaji when he (Abbaji) touches Nimmi. Sometimes directly and mostly subtly he is seen to be disturbed as Abbaji touches the woman he love or rather lusts for. Infact the lust and desire to take ownership of Nimmi is far greater than the desire to lead the gang.

Infact it is this aspect of making Nimmi as Abbaji's mistress that the Indianization part comes in. In a subtle manner an unmistakable incestuous relationship develops between the two scheming young people. In my view the screenplay writers rightly adjudged that if Maqbool had killed his father like figure only for power, the enormity of his crime would have been reduced. It might have affected a western sensibility where loyalty between master and follower is given quite a importance. However for an Indian mindset killing a father like figure for lust of a woman is as bad a thing as can be thought of. It is this aspect that almost raises the enormity of his crime.

Further the movie explores beautifully the relationship between the mentor and his protégée. Jahangir trusts Maqbool fully. He loves him like his own son. This love and affection of his father-figure torns Maqbool with conflict. He feels ashamed of himself. Irrfan's eyes speak volumes in these scenes.

The role of Pandit and purohit:

As mentioned above these two characters bring an element of drama, theatre into the movie and are the unmistaken link to the great play in this adapted movie. Naseer and Om Puri have been simply brilliant. They bring about an environment of nastiness in the movie. Their provoking predictions further propel the devil in Maqbool. Their unscrupulous attitude and clownish devilry fills the audience with hatred as well as with fearful anticipation. As one by one their horrible prediction come to be true, Maqbool starts loosing his balance. In short, it was this element, which was most Un-Indian, and many viewers would have been irritated by their affected acting style.

More Focus on the role of Jahangir Khan:

No actor is bigger than the movie or the plot, is an oft-repeated almost hackneyed maxim. However, in Maqbool Director Vishal Bhardwaj has fallen prey to excellent acting of Pankaj Kapoor. The character of Abbaji has been etched in such a detailed manner that one really cannot but appreciate it. However, by doing this, he has compromised with the characterization of the lead protagonist Irrfan. In fact Maqbool is not the story of Maqbool, it is the story of Jahanagir Khan.........

Behind all his power the Don is completely besotted by his mistress Nimmi. He knows that he has to fulfill all her whims and fancies. The way he expresses his irritation: Saari Kayanat Hamare pass hai yeh bitte bhar ki ladki nahin sambhalti hamse......... (I have all the worldly possessions in my control, but I cannot find a way to control this woman). Kapoor's pauses, his baffled and irritated postures and then his above confession are just too good to miss.

The outcome of this detailed etching of Jahangir's character comes on the protagonist and somehow the inherent conflict of Maqbool remains could not come out to that extent as was desirable. In my view it was a folly of the director alone that an average person wants to see more of Abbaji, not so much of Maqbool.

Effect of Godfather:

There was just one scene in which I hated like hell. It was actually a meaningless scene and was an exact copy of scene of the classic Godfather, when he rejects the lucrative proposal. This left a bad taste in my mouth and somehow lessened the quality of the movie.

I found some scenes rather very well enacted Tu mere rubaru hai, the song is extremely well shot.....Tabu's deliberate stepping on a thorn just to make Irrfan touch her feet is as sensuous a scene as ever.