View of CONSANGUINITY BETWEEN LITERATURE (ARTS) AND CINEMA (MEDIA) WITH SPECIAL REFERENCE TO PLAY ‘OTHELLO’ BY SHAKESPEARE AND ITS CINEMATIC ADAPTATION ‘OMKARA’ BY VISHAL BHARDWAJ

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ACCENT JOURNAL OF ECONOMICS ECOLOGY & ENGINEERING Peer Reviewed and Refereed Journal (International Journal) ISSN-2456-1037

Vol.04,Special Issue 07, (RAISMR-2019) November 2019, Available Online: www.ajeee.co.in/index.php/AJEEE

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CONSANGUINITY BETWEEN LITERATURE (ARTS) AND CINEMA (MEDIA) WITH SPECIAL REFERENCE TO PLAY ‘OTHELLO’ BY SHAKESPEARE AND ITS CINEMATIC ADAPTATION

‘OMKARA’ BY VISHAL BHARDWAJ Ms. Rachana Bairagi

PhD Research Scholar, School of Languages, DAVV, Indore

Abstract - Study of art comprises other art forms of entertainment like – Painting, Drama, Dance, Architecture, Literature and Cinema. The society we live in is partially or fully captivated with the true essence of art and entertainment. Since the beginning of civilization human being have keen desire and urge for entertainment. With time the gradual shift in mode of expression has been observed and now it shows a true relationship between literature and cinema though sharing two different mode of expression. Literature like other art forms plays a vital role in society and like literature cinema too is a mirror image of society. Both portraying two different genres convey the same thing with certain modification or alteration. The present paper is an approach towards interrelationship between literature and cinema with special reference to Shakespeare‟s tragedy Othello and its cinematic adaptation Omkara by Vishal Bhardwaj. The main objective of the paper is to focus upon varied facets of transformation from one medium (Print) to another medium (Visual). The study also focuses on during transformation what are the similarities and differences it brings during the transformation process. It also depicts when any piece of literature undergoes in adaptation process and its output as a movie based on it remains an independent form of art though it is being adapted from other art form (literature).

Keywords: Consanguinity, Alteration, Trans-mutation, Cinematic Adaptation, Interrelationship.

1. INTRODUCTION

Cinema and Literature are different art forms. As an art form of expression literature was popular in 18th and 19th century. But cinema as another mode of expression established itself in 20th century. Literature and cinema as an independent mode of expression convey the same message but with difference in presentation and medium. But at the same time they remain independent art form though showing inter-textual relationship.

Earlier medium of entertainment for masses were Painting, Dance, Drama, literature and later as advancement in terms of technology occurred, emergence of cinema took place as an independent entertainment industry. And with time many film directors in demand of best story turned the pages from great literary master pieces whether it is novel, short story, drama, poetry, biography or autobiography, history or true event of the time.

With the very beginning of cinema their source materials were from literature. The first silent movie by Phalke, the father of Indian cinema, was Raja Harishchandra (1913), taken from story of Raja Harishchandra from epic. Since then filmmaker of the time till today are taking the source material from great literature. This interdependency portrays compact bond and relationship between literature and cinema. Moreover, literature has always been a great inspiration for cinema all over the world. In India, especially, epics like Mahabharata and Ramayana have been created and recreated on the silver screen several times. Novels of renowned Bengali writers, Gujarati writers, Urdu writers, and English writers are made into films every now and then.

The Oxford Dictionary of English Explains the verb „to adapt‟ as “make (something) suitable for a new use or purpose, modify; become adjusted to new conditions; alter (a text) to make it suitable for filming, broadcasting, or the stage” (Adapt. Oxford). Thus the meaning of adaptation is to adapt or alter. It is a process which involves varied technical craftsmanship and skills. Cinematic adaptation of any literary piece is a transformational process which is based on second author (director) and its creative imaginative skills. Though it is adaptive process from original text but it is an independent art form when transformed from print to audio-visual medium.

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2 2. SHAKESPEARE’S OTHELLO

Othello is one of the great tragedy among Shakespeare's other tragedies like Hamlet, King Lear, and Macbeth. Other plays are generally set against affairs of state but Othello is set in a private world. The play can be described as “Tragedy of Character”. The play portrays true relationship of two central characters. Written in 1604, Othello is one of Shakespeare's most highly concentrated, tightly constructed tragedies, with no subplots and little humor to relieve the tension.

Although he adapted the plot of his play from the sixteenth-century Italian dramatist and novelist Giraldi Cinthio's Gli Hecatommithi, Shakespeare related almost every incident directly to the development of Iago's schemes and Othello's escalating fears.

The play begins with Iago‟s Complain to Roderigo. The complaint was that Othello has replaced Iago and promoted Cassio to be his Lieutenant. He decided to get revenge from Othello. Iago asked Roderigo to disclose Desdemona‟s father, Brabantio about Othello and Desdemona‟s secret marriage. Desdemona‟s father opposed because Othello was a Moor.

Brabantio was against of their marriage as they share differences. Brabantio confronted Othello and the argument was brought to the Duke. Before duke the couple explains their true love to which Duke convinced. And he permitted Desdemona to go to Cyprus with Othello.

On the other-hand Iago misinterpreted Othello that his wife is unfaithful. Iago out of revenge knitted a plot against Othello and tried many ways to convince him about his wife Desdemona that she had an affair with Cassio. Iago planted fake conspiracy to persuade Othello. Iago secretly kept Desdemona‟s handkerchief in Cassio‟s room. Cassio gave it to his mistress Bianca. Bianca was having possession to handkerchief. This was disclosed before Othello to prove illicit relationship between Cassio and Desdemona. Initially, Othello refused charges against her but later, believed it to be true. Othello could not tolerate the unfaithfulness by his wife and asked Iago to kill Cassio and Desdemona. Othello was convinced but Iago did not stop here.

As Iago was ordered to kill Cassio and Desdemona, he convinced Roderigo to kill Cassio.

Roderigo‟s attempt to murder Cassio was a failure one, instead Roderigo injured but Othello heard crying out side which was of Roderigo but Othello thought Iago has killed Cassio and he turned home to kill Desdemona.

Othello reaches the sleeping Desdemona first. He kisses her, wakes her, and accuses her again. Over her protests that she loves him and is innocent, he smothers her. Emilia enters and Desdemona revives for a moment, declaring her guiltless but saying, as she dies, that Othello is innocent of her death. Iago and others enter, and Emilia defends Desdemona‟s innocence, recognizing that Iago is behind the tragedy. Othello sees the truth and tries to kill Iago. Iago kills Emilia and flees; Othello condemns himself and commits suicide. The play ends here with death of both protagonist- hero and heroine as-

 “Gratiano, keep the house And seize upon the fortunes of the Moor, for they succeed on you. To you, lord governor,

 Remains the censure of this hellish villain: The time, the place, the torture, O, enforce it!

 Myself will straight aboard, and to the state

 This heavy act with heavy heart relates.”1 (Shakespeare, Othello, Page no-196-197, Print).

Theme of the play clearly defines jealousy, lust for power, possession, Blind belief and selfishness. How these materialistic possessions ruined others happy go world has been crafted by Shakespeare outstandingly?

3. VISHAL BHARDWAJ’S OMKARA

Omkara movie can be said as modern version of Shakespeare‟s Othello. The movie revolves around central character “Omi”, “Omkara” who is a leader of a criminal gang. The gang works for Tiwari Bhaisaab, a local politician. For political and criminal activities Omi had two most trusted like Right and Left hand companion Ishwar “Langda” Tyagi and Keshav “Kesu Firangi”

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The film opens with Langda Tyagi. He challenges groom, Rajju to stop Omkara not to kidnap Dolly Mishra, the bride. But he was a failure and the wedding never happens. The bride was daughter of most respected lawyer and an influential personality, Raghunath Mishra caught Omi and was forced on gunpoint to return his daughter. Tiwari Bhaisaab mediates between the two. Bhaisaab, resolves the situation by disclosing her father that she went willing with Omi and was not kidnapped. She also confidently shares her feelings towards Omi and this moment greatly embarrassed her father and before departing completely he warns Omi that if she can deceive her father, she may also in time deceive him.

Omi‟s efforts made Bhaisaab‟s political career at height and as result Omkara was selected for candidate in next election. Omi appointed Kesu as his second in command. Langda was also looking for the same appointment but did not recognize by Omi which was ultimately great suffer for him. Langda could not bear this insult and plotted against Omi out of rage. He invited Kessu for drink knowing that he cannot hold it. The session ends with Rajju and Kessu‟s confrontation which forced Omi to think about his decision of choosing Kessu over Langda.

Having discredited Kesu, Langda now moves the second phase of his plan into action.

He then convinces Kesu to plead his case with Dolly, Omi‟s new wife-to-be. Langda implicates that Kesu‟s visits to Dolly are anything but innocent, hinting that an affair has sprung up between the two. Dolly carelessly drops a kamarbandh, an ornate waist belt worn by Indian women, which is in turn stolen by Langda‟s wife, Indu. The stolen belt makes its way to Billo Chamanbahar as a token given by Kesu--eventually taken as hard evidence of Dolly‟s perfidy.

The film reaches its tragic climax on Omkara‟s wedding night. Consumed by a jealous rage, Omi strangles his new wife to death and orders Langda to shoot Kesu; fortunately, Kesu is only hit in the arm. Indu, hearing the sounds of gunfire bursts into the room where she finds Omi sitting beside the remains of Dolly, stricken with guilt at having killed his wife. Indu recognizes the kamarbandh and she confesses that she was the one who stole the kamarbandh. Both Indu and Omi come to the understanding that they have been played for fools by the treacherous Langda. Indu slits Langda‟s throat in outrage and a heartbroken Omi kills himself, leaving a wounded Kesu and broken Indu to look on at three corpses.

The last scene from the movie can be narrated as- “Dolly looks at Omi, they hold a look for a moment or two. All of a sudden Omi shoves the pillow on her face and pushes her down violently. He cries profusely as he suffocates her to death. Dolly struggles from under the pillow for breath but after a while her body calms down.” (Omkara, Vishal Bhardwaj, page no159).

4. PARALLELISM AND POINT OF DEPARTURE BETWEEN PLAY OTHELLO AND MOVIE OMKARA

Othello is based on theme of jealousy and hatred. The adaptation of it still creates great interest among audiences. The process of Transformation of Othello into Omkara is like heart transplantation. The play Othello had more clear structure from the very beginning.

The story differs in political backdrop rather than war, as political understanding was more relevant and close to Indian audience. Theme of power, the black color, and jealousy were used effectively in both play and movie.

A brilliant storyboard by Meghna Gulzar converted the Indianite setting for a great movie. A Shakespeare play could have powerful dialogues and powerful performances. But the ambience, the combined effort and handling of so much talent is what separates the play and the movie.

5. CONCLUSION

Cinematic adaptation not limited itself and hence it touched the great Shakespearean tragedy into Hollywood and Bollywood too. English movies were always known for their rich source of cinematic adaptation from other genre of literature, such as novels, short stories, dramas and poetry but Hindi movies also tried hard for the success in the same domain. Movies by Indian film director Vishal Bhardwaj is the best example of it. Bhardwaj is not only a great director of Hindi cinema but screen writer, producer, music composer and playback singer also. His Shakespearean adaptation is generally known as trilogy as – Othello adapted into movie

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Omkara, Macbeth becomes Maqbool and Hamlet turned into Haider. All three tragedies were greatly and cinematically adapted by Vishal Bhardwaj with his innovative creative imagination and geniuses. Apart from Shakespearean tragedy he produced movies like- 7Khoon Maaf and the Blue Umbrella adapted from Ruskin Bond‟s short stories. The present research paper is an attempt to highlight adaptation process from Othello to Omkara.

A film should not be a copy of the literature. It should be independent in its characteristics and techniques that are motivational enough for the audience to enjoy. A film is thrice removed from reality as first taken from source material, second converted into script and third screenplay or storyboarding. During three step process of transformation from print to audio-visual medium, it is quite possible that the literary master piece without alteration cannot be transformed. Hence, direct translation from literature to film is not possible. It requires certain changes due to demand of different medium. It has an impression of reality even in the written form and once it comes on the silver screen it enhances its qualities to a greater extent than it does in the written form.

Both the medium expresses their meaning in such a way whether it is similarity or difference, remains an independent art form. In written text feelings, emotions and thought process is narrated through words and style of author but in film visual scene is created with cinematic techniques. The power of audio and visual has a long lasting visual memory on the audience over the power of written words.

REFERENCES

1. http://www.oxfordlearnersdictionaries.com

2. Othello‟, Shakespeare, Updated edition: edited by Norman Sanders, Cambridge Universities press, 2003, print.

3. „Omkara‟- „The Original Screen Play‟, Vishal Bhardwaj with Robin Bhatt and Abhishek Chaubey, Harper Collins Publishers: India, 2014, print.