THE AGE WHICH GLORIFIED GREAT DRAMATISTS

ELIZABETHAN ERA

                   "This thinking activity is given by Prof. Dilip Sir Barad on Elizabethan-era dramas, where he has asked us to express our viewpoints by applying logic, reasoning, and a nuanced understanding of drama especially as represented in films."

    1. Rewriting the Last Monologue of Doctor Faustus with Insights from Bhagat Singh’s ArgumentsReflect on the concluding monologue of Marlowe’s ' incorporating insights from Bhagat Singh’s essay "Why I am an Atheist". Consider how Singh’s perspectives on freedom, oppression, and revolutionary thought can offer new dimensions to Faustus’s final lament.

          

Why Bhagat Singh Was an Atheist :

      

• Bhagat Singh, one of India’s greatest revolutionaries, became an atheist because he believed in reason, justice, and human effort rather than in religion or divine power. He explained his thoughts in a powerful essay titled "Why I Am an Atheist", written in 1930 while he was in jail. He argued that a true revolutionary must think critically and not depend on miracles or superstitions. He had read the works of thinkers like Karl Marx and Lenin, who inspired him to believe that religion often holds back progress and is sometimes used to control people. Bhagat Singh saw the deep suffering in society poverty, injustice, and British cruelty and questioned how a just and kind God could allow such misery. He believed that humans must take responsibility for changing the world, rather than praying for divine help. Many people thought he became an atheist because he was afraid of death, but he strongly denied this, saying that his beliefs were the result of deep thought and personal conviction. For Bhagat Singh, atheism was not just about rejecting God, but about standing up for truth, equality, and human dignity.

1. Rejection of God 

In his essay, Bhagat Singh boldly writes:

“I deny the existence of an Omnipresent, all-knowing, all-powerful God.”

For Singh, rejecting God is not an act of arrogance, but a logical step. He argues there is no evidence to support the idea of a supreme being controlling everything. He does not turn to God even in his last moments. Instead, he relies on his inner strength and reason.

In the rewritten monologue, Faustus too says:

“I totally reject the existence of an Omnipresent, all-powerful, all-knowing God... This damnation is here not because of divine justice, but because of my own choices.”

This line shows a major shift in Faustus’s thinking. In the original play, he begs God for mercy in his last hour. But here, inspired by Singh’s clarity, he no longer looks to God for rescue. He accepts that his suffering is not a punishment from God but the result of his own actions.

• Both voices reject divine power as the reason for their fate. They stand alone, using their own minds, not prayer, to face the truth.

2. Cause of Their Fate – Personal Responsibility

Bhagat Singh blames no god for the British rule. He says:

“It is not God’s will that we are slaves, but our lack of courage and apathy.”

He believes that oppression continues only because people do not fight back. Singh believes in action, not fate.

In the rewritten Faustus speech, he echoes this thought:

“It was not God’s consent that I became bound, but my ambition and my apathy.”

This is a powerful turning point. Faustus does not cry about being cheated by the devil. He owns up to his failure. He says clearly that his downfall is his own doing, just like Bhagat Singh says colonial slavery continues because of people’s fear and inaction.

•  Both Singh and Faustus understand that freedom and suffering are human-made, not gifts or punishments from God.

3. Reason vs. Blind Belief

One of the strongest themes in Bhagat Singh’s essay is the power of reason. He believes that a truly free person is one who questions beliefs, even if it means going against society. He writes:

“Blind faith is disastrous... Reason should be the guiding principle of life.”

He even says that if someone believes in religion after deep reasoning, it’s okay but blind belief without questioning is dangerous.

Faustus, in this reimagined speech, says something very similar:

“I prided myself on my intellect, yet failed to apply Reason... I should have challenged the old beliefs, questioned every tenet.”

Faustus admits that he followed dark magic and superstition instead of using his great knowledge to question what was right. He knows that had he used reason, he might have avoided this path.

•  Both highlight that reason is key to human growth, and blind belief  whether in religion or power is a road to disaster.

4. Final Moments: No Prayer, No Fear

A friend once told Bhagat Singh that he might turn to God before dying. His answer was:

“Never shall it happen.”

“To pray in fear is to degrade oneself.”

For Singh, prayer in fear is a sign of weakness. He prefers to meet death with honesty, not illusion.

Faustus, in the original play, begs for mercy. But in this rewritten version, he says:

“I will not succumb to the opiate of desperate prayer.”

This is a bold change. Faustus, now, does not cry out to the heavens. He faces the truth even if that truth is his own failure.

•  Both show courage in facing death, refusing to lie to themselves for comfort.

5. Accepting Responsibility 

Bhagat Singh says that blaming God or fate is an escape from responsibility. He urges people to change themselves and fight injustice.

Faustus echoes this when he says:

“This hell is of my own making.”

He no longer blames Mephistopheles or God. He owns his mistakes, showing a maturity we don’t see earlier in the play.

•  Both recognize that true change begins with self-awareness, not external blame.

6. Dignity at Death

Bhagat Singh died with calmness and bravery, even while facing execution. He wrote:

“Circumstances are harsh, but I need no opiate to meet my end.”

In other words, he did not need false hope or divine comfort. He was ready to die as he lived: with dignity, honesty, and clarity.

In this new monologue, Faustus mirrors that tone. He no longer begs, but says:

“I will meet this end, not with God’s mercy, but with the full, unvarnished truth.”

His final moments are no longer full of panic. They are filled with awareness and a sense of peace through truth, much like Bhagat Singh’s final hours.

• Both show that death, when met with truth and courage, becomes meaningful not tragic.

Conclusion :

       By rewriting Faustus’s final monologue with Bhagat Singh’s ideas, we turn a tale of helpless regret into a moment of powerful self-awareness. Faustus, though fictional, becomes a character who teaches us what Bhagat Singh believed: Freedom is not given by God it must be taken by reason, truth, and courage.

      Both men one real, one fictional show us different sides of human choice. One chooses power and repents too late. The other chooses sacrifice and stands proud. But in the end, both reach the same truth: that it is not God who judges us, but our own actions and beliefs.

    Let Faustus’s final speech, inspired by Bhagat Singh, remind us that the bravest thing we can do is to live truthfully and die without illusion.

    2. comparative analysis of Geoffrey Chaucer, Edmund Spenser, and William Shakespeare. Focus on their poetic styles, themes, contributions to English literature, and their influences on subsequent literary traditions.

Comparative Analysis of Chaucer, Spenser, and Shakespeare as Poets

English literature has grown and developed over time because of the creative works of many great poets. Among them, Geoffrey Chaucer, Edmund Spenser, and William Shakespeare stand out as literary giants. Though they lived in different centuries, each played a powerful role in shaping English poetry.

Let’s compare them based on their poetic styles, themes, contributions, and influence on future literary traditions in simple and clear language.

1. Time Period and Background

• 
  Geoffrey Chaucer (c. 1343–1400) lived during the Middle English Period. He is often called the Father of English Poetry because he was one of the first major poets to write in English rather than Latin or French.

• 
  Edmund Spenser (c. 1552–1599) lived in the Elizabethan Age. He was known for his deep moral values and love for classical literature. He wanted to create a great English epic and was close to Queen Elizabeth I’s court.

• 
  William Shakespeare (1564–1616) lived during the Elizabethan and Jacobean Ages. He is considered the greatest writer in the English language, known for both his poetry and his plays.

2. Poetic Style

• Chaucer’s style is known for using rhyming couplets (two lines that rhyme) and iambic pentameter. He wrote in Middle English, making literature more accessible to the common people. His storytelling method was realistic and often humorous.

• Spenser’s style was more formal and musical. He created the Spenserian stanza (9 lines, with a unique rhyme scheme) and often used archaic (old) words to give his poetry a medieval feel. His style is rich in imagery, symbolism, and moral messages.

• Shakespeare’s style is famous for blank verse (unrhymed iambic pentameter) and the Shakespearean sonnet (14 lines with a unique rhyme scheme). He was a master of metaphor, wordplay, and emotional expression, blending poetry and drama perfectly.

3. Themes in Their Poetry

• Chaucer’s themes include:

  • Human nature – the good and bad in people.

  • Corruption in society, especially in religious institutions.

  • Love and relationships, often with irony or humor.

  • Class differences and social behavior.

• Spenser’s themes include:

  • Moral virtue and Christian values.

  • Chivalry, heroism, and justice.

  • Allegory – stories with deeper spiritual or political meaning.

  • Praise of Queen Elizabeth I and English pride.

• Shakespeare’s themes include:

  • Love, jealousy, ambition, betrayal, fate, and death.

  • Inner struggles of the mind and heart.

  • Political power and human weakness.

  • His poetry speaks to universal emotions that still connect with people today.

4. Major Works

• Chaucer: The Canterbury Tales, Troilus and Criseyde, The Book of the Duchess.

• Spenser: The Faerie Queene, Amoretti (sonnet sequence), The Shepheardes Calendar.

• Shakespeare: Sonnets, Venus and Adonis, and many poetic passages in plays like Hamlet, Macbeth, Romeo and Juliet, and Othello.

5. Contributions to English Literature

• Chaucer:

  • Elevated English as a literary language.

  • Introduced realistic characters and storytelling in poetry.

  • Showed the beauty of diverse voices in society.

• Spenser:

  • Created a new poetic form (Spenserian stanza).

  • Combined Christian values, myth, and imagination.

  • Wrote a national epic (The Faerie Queene) to honor England.

• Shakespeare:

  • Revolutionized poetry and drama by blending the two.

  • Gave the world a rich emotional vocabulary.

  • His sonnets are models of love, time, beauty, and loss.

6. Influence on Later Literature

Each poet shaped the way future generations of writers thought and wrote.

• Chaucer inspired:

  • Satirical poets like Dryden and Pope.

  • The structure of storytelling seen in later fiction and novels.

  • The use of social commentary through poetry.

• Spenser influenced:

  • Romantic poets like Keats, Shelley, and Byron.

  • Writers interested in allegory, fantasy, and moral vision.

  • Use of symbolism and mythology in poetry.

• Shakespeare inspired:

  • Almost all modern playwrights, poets, and authors.

  • Exploration of complex emotions and human psychology.

  • Countless films, plays, poems, and novels across the world.

7. Lasting Impact on Literary Traditions

Their works have shaped major literary movements and traditions:

• Chaucer’s narrative and character-based poetry led to the development of the realistic novel in later centuries.

• Spenser’s idealism and rich allegorical method had a strong influence on Renaissance and Romantic poetry, especially in the way nature, virtue, and fantasy are used.

• Shakespeare’s emotional and dramatic style created a model for psychological depth in literature, influencing not only poetry and plays but also modern fiction, cinema, and popular culture.

 Conclusion

Geoffrey Chaucer, Edmund Spenser, and William Shakespeare each contributed something unique and essential to English poetry:

• Chaucer brought realism and humor.

• Spenser brought morality and imagination.

• Shakespeare brought emotion and universal truth.

They did not just write poems they built the foundation of English literature. Their poetry is still read, studied, performed, and loved across the world. They continue to inspire modern writers and shape literary traditions, proving that true poetry never grows old.

4. Best Bollywood Adaptations of Shakespeare Explore the best Bollywood adaptations of Shakespeare’s works. Discuss how these adaptations interpret and transform the original plays for an Indian audience.

Bollywood Adaptations of Shakespeare: Focus on Maqbool

➡Introduction: Shakespeare in Bollywood

William Shakespeare’s plays have had a universal appeal for centuries. His powerful stories, complex characters, and timeless themes like love, ambition, betrayal, jealousy, and power are relevant across cultures and generations.

Bollywood has creatively adapted several of Shakespeare’s plays by setting them in Indian cultural, social, and political contexts. These adaptations are not word-for-word copies, but reinterpretations that retain the spirit and themes of the originals while giving them a local Indian flavor.

One of the finest and most praised adaptations is Vishal Bhardwaj’s Maqbool (2003) a modern Indian retelling of Shakespeare’s Macbeth.

→.Original Play: Macbeth by William Shakespeare

• 
  
  
  

•   Genre: Tragedy

•   Main Plot: Macbeth, a brave Scottish general, hears a prophecy from three witches that he will become king. Driven by ambition and manipulation from his wife, he murders the king and begins a path of guilt, paranoia, and destruction.

• Themes:

  • Blind ambition

  • Guilt and conscience

  • Fate vs. free will

  • The corrupting nature of power

  • Supernatural influence

→Bollywood Adaptation: Maqbool (2003)

• 
  Director: Vishal Bhardwaj

• Based on: Macbeth

• Setting: Mumbai’s underworld (gangster world)

• Main Characters:

  • Maqbool (Irrfan Khan) – Macbeth

  • Nimmi (Tabu) – Lady Macbeth

  • Abbaji (Pankaj Kapur) – Duncan, the Don

  • Two corrupt policemen (Naseeruddin Shah & Om Puri) – the witches

→How Maqbool Transforms Macbeth for Indian Audiences

1. Setting Shift: From Scotland to Mumbai Underworld

• Macbeth is set in medieval Scotland, with kings, castles, and battles.

• Maqbool is set in modern-day Mumbai, replacing royalty with gangsters and dons.

• The throne becomes the crime empire, and the crown is control of the mafia.

2. Characters Reimagined for Indian Culture

• Maqbool is a loyal henchman of the mafia don Abbaji. Just like Macbeth, he is tempted by a prophecy and by the woman he loves.

• Nimmi, the mistress of Abbaji, plays the Lady Macbeth role. She manipulates Maqbool emotionally and sexually to kill Abbaji and take his place.

• The three witches are represented by two corrupt policemen, who speak in mysterious, humorous, and symbolic ways. They predict the future and reflect moral decay in the system.

3. Themes in Indian Context

• Ambition: Maqbool’s hunger for power mirrors the ambitions of people caught in crime and politics in India.

• Guilt and Conscience: Maqbool and Nimmi suffer intense psychological torture, shown through visions, silence, and fear true to Shakespeare’s idea of guilt.

• Love and Lust: The forbidden love affair between Maqbool and Nimmi adds emotional complexity, matching Indian storytelling traditions.

• Corruption and Fate: The use of corrupt policemen instead of witches reflects how modern India sees fate through politics and power games.

4. Cultural Adaptation

• Indian values like loyalty, honor, and respect for elders are woven into the story.

• The film includes Muslim characters, Urdu poetry, and Indian rituals, making it deeply local and authentic.

• Instead of Shakespeare’s monologues, Maqbool uses visual storytelling—body language, silence, and setting to express inner conflict.

→Why Maqbool is One of the Best Shakespeare Adaptations in Bollywood

• It remains true to the core emotions and tragic journey of Macbeth, while completely transforming the setting and tone for Indian viewers.

• The film blends Shakespearean tragedy with Indian gangster cinema, creating a story that feels both classical and contemporary.

• Powerful performances by Irrfan Khan, Tabu, and Pankaj Kapur bring depth and realism to the adapted characters.

• Vishal Bhardwaj’s direction, music, and screenplay keep the dark mood and moral conflict alive throughout.

1. Maqbool (2003) – Based on Macbeth

• Director: Vishal Bhardwaj

• Plot: Set in the Mumbai underworld. Maqbool is the right-hand man of mafia don Abbaji (like King Duncan). Just like Macbeth, Maqbool is manipulated by his lover (Nimmi) into murdering his boss and taking over.

• Themes: Ambition, guilt, fate vs. free will.

2. Omkara (2006) – Based on Othello

• Director: Vishal Bhardwaj

• Plot: Set in the heartland of Uttar Pradesh. Omkara (Othello) is a political enforcer who falls prey to jealousy and manipulation by Langda Tyagi (Iago), suspecting his lover Dolly (Desdemona).

• Themes: Jealousy, betrayal, racial/class divides.

3. Haider (2014) – Based on Hamlet

• Director: Vishal Bhardwaj

• Plot: Set in conflict-ridden Kashmir. Haider (Hamlet) returns home to find his father missing and his mother married to his uncle. The film explores revenge, identity, and political unrest.

• Themes: Revenge, madness, existentialism, betrayal.

4. Ram-Leela (2013) – Inspired by Romeo and Juliet

• Director: Sanjay Leela Bhansali

• Plot: A passionate love story between Ram and Leela from two rival crime families. A modern Indian twist on the tragic romance of star-crossed lovers.

• Themes: Forbidden love, family feud, tragedy.

5. Qayamat Se Qayamat Tak (1988) – Loosely inspired by Romeo and Juliet

• Director: Mansoor Khan

• Plot: A tragic love story of Raj and Rashmi from rival families. It brought back the romantic tragedy genre in Bollywood.

• Themes: Young love, family opposition, fate.

6. Issaq (2013) – Based on Romeo and Juliet

• Director: Manish Tiwary

• Plot: Set in Banaras with a backdrop of Naxalite violence. Not as successful, but another desi adaptation of Shakespeare’s tragic romance.

7. 10ml Love (2012) – Based on A Midsummer Night’s Dream

• Director: Sharat Katariya

• Plot: A quirky comedy involving love potions and romantic confusion—similar in tone and plot to the original play.

• Themes: Fantasy, mistaken identities, love triangles.

5. Differentiating Literary Periods .Differentiate the general characteristics of Renaissance literature from those of other literary periods, such as the Reformation, Restoration, Neoclassical, Romantic, Victorian, and Modern literature. Highlight the unique features, themes, and stylistic elements of each period.

Renaissance vs Other Literary Periods – Detailed Thematic Comparison

The Renaissance Age (1500–1660) was a turning point in literary history. It marked the revival of classical knowledge, a rebirth of human curiosity, and the rise of individuality and artistic expression. Below is a deep dive into how this age differs from other major literary periods.

 1. Renaissance vs Reformation Age (16th Century)

About Reformation:

• Originated as a religious movement challenging the Catholic Church.

• Led by figures like Martin Luther and John Calvin.

• Literature was mostly religious prose, sermons, and Bible translations.

Key Features:

• Themes: Salvation, sin, divine authority, religious truth.

• Language: Simple, accessible for ordinary people.

• Purpose: To reform, instruct, and spread God’s message.

Contrast with Renaissance:

• Renaissance writers like Shakespeare and Spenser focused on secular themes, like love, power, ambition, and beauty.

• Reformation literature aimed to correct moral decay through religion, while Renaissance explored human nature and artistic beauty.

•  Renaissance celebrated life, Reformation warned about afterlife.

2. Renaissance vs Restoration Age (1660–1700)

About Restoration:

• Came after the return of King Charles II to the throne.

• Known for liberal behavior, fashion, and indulgence.

• Literature turned to satire, realism, and political commentary.

Key Features:

• Drama: Comedy of manners, witty dialogues, sexual humor.

• Language: Clever, polished, sarcastic.

• Popular forms: Satire, prose plays, political essays.

Contrast with Renaissance:

• Renaissance drama was deep, philosophical, and tragic (e.g., Hamlet, Doctor Faustus).

• Restoration drama was light, witty, and socially critical (e.g., The Way of the World by Congreve).

• Renaissance embraced idealism, Restoration mocked human folly.

 3. Renaissance vs Neoclassical Age (1660–1798)

About Neoclassicism:

• Inspired by ancient Roman and Greek values but focused on discipline and structure.

• Emphasized rationality, decorum, and moral clarity.

• Valued form and balance over creativity.

Key Features:

• Genres: Epic poetry, satire, fables.

• Writers: Alexander Pope, Jonathan Swift, Dr. Johnson.

• Literature was more critical of society and polished in style.

Contrast with Renaissance:

• Renaissance poetry (e.g., Spenser’s Faerie Queene) was ornate and symbolic, celebrating myths and imagination.

• Neoclassicism was controlled and rule-bound, favoring logic over emotion.

•  Renaissance was free-flowing, Neoclassicism was rule-following.

4. Renaissance vs Romantic Age (1798–1837)

About Romanticism:

• Reacted against the industrial revolution and Neoclassical rigidity.

• Valued emotion, nature, and the inner self.

• Glorified the individual spirit and the natural world.

Key Features:

• Themes: Freedom, rebellion, beauty of nature, childhood innocence.

• Poets: Wordsworth, Shelley, Keats, Byron.

• Style: Musical, emotional, rich in imagery and symbolism.

Contrast with Renaissance:

• Renaissance celebrated the worldly and classical, Romanticism focused on the spiritual and natural.

• Renaissance poets wrote about kings, myth, and politics; Romantics wrote about shepherds, birds, and dreams.

•  Renaissance is intellectual, Romantic is emotional.

5. Renaissance vs Victorian Age (1837–1901)

About Victorian Literature:

• Reflected the challenges of industrialization, urban life, and social inequality.

• Often moralistic and focused on social reform.

Key Features:

• Genres: Realistic novels, long narrative poetry, serialized fiction.

• Writers: Charles Dickens, Thomas Hardy, Alfred Tennyson.

• Themes: Poverty, women’s rights, workhouses, morality.

Contrast with Renaissance:

• Renaissance was imaginative and ideal, Victorian literature was realistic and concerned with social issues.

• Renaissance characters aimed for heroism, Victorian characters struggled with daily life.

•  Renaissance is artistic, Victorian is practical.

6. Renaissance vs Modern Age (1901–1945)

About Modernism:

• Born from the trauma of World Wars and a changing world.

• Focused on alienation, fragmentation, and psychological complexity.

Key Features:

• Writers: T.S. Eliot, James Joyce, Virginia Woolf.

• Style: Stream of consciousness, symbolism, shifting perspectives.

• Themes: Identity crisis, broken traditions, loss of meaning.

Contrast with Renaissance:

• Renaissance art was harmonious and structured; modernism is chaotic and experimental.

• Renaissance saw humans as great beings, Modernism portrayed them as confused and searching.

• Renaissance is hopeful and rich, Modernism is doubtful and fragmented.

conclusion

The Renaissance stands out because it was the age that reintroduced the world to beauty, knowledge, creativity, and the value of the individual. While later ages responded to their own historical challenges, the Renaissance gave the foundation for freedom in thought, literature, and art that every later period either followed, questioned, or rebelled against.

6. Review of  Hindi Film Adaptation of Shakespearean Play Macbeth  Reviewing Hindi film adaptation Maqbool and its discussion on  how the adaptation retains the essence of the original play while infusing it with cultural and contextual elements relevant to Indian cinema.

Introduction: Shakespeare in Indian Cinema

Vishal Bhardwaj’s Maqbool is a standout example of how Shakespearean drama can be powerfully reimagined for Indian cinema. Based on Macbeth, the film retains the original play’s essence its focus on ambition, power, guilt, fate, and moral downfall while seamlessly infusing it with cultural, religious, and social elements relevant to Indian audiences. Set in Mumbai’s criminal underworld, Maqbool transforms a royal tragedy into a gritty gangster saga without losing its emotional and philosophical depth.

Plot and Character Parallels

The story follows Maqbool, a loyal right-hand man to mafia don Abbaji (a modern day King Duncan). Driven by ambition and his relationship with Abbaji’s mistress Sameera (Lady Macbeth), Maqbool is persuaded to commit murder to rise to power. This betrayal of both duty and love sets off a tragic chain of events. Sameera, like her Shakespearean counterpart, eventually succumbs to guilt and hallucinations, haunted by blood and the cries of a child powerful symbols of moral collapse.

Modern "Witches": Pandit and Purohit

Instead of the three witches from Macbeth, Maqbool introduces two quirky yet sinister astrologers Pandit and Purohitwho deliver cryptic prophecies. These characters reflect the Indian belief in fate and destiny, replacing supernatural elements with spiritual manipulation. Their predictions, such as "the sea will drown you," are fulfilled both literally and symbolically, echoing the theme of fate versus free will in a culturally relevant manner.

Theme of Guilt and Madness

The psychological torment of both Maqbool and Sameera is at the heart of the film. After the murder, they are consumed by fear, guilt, and hallucinations. Maqbool sees blood on sheets and hears ghostly cries, while Sameera spirals into madness. These vivid depictions mirror Shakespeare’s tragic vision and highlight the universal psychological consequences of unchecked ambition and moral compromise.

The Balance of Power: A New Motif

A repeated phrase in the film “It’s critical to maintain the balance of power. Fire must fear water” emerges as a powerful motif. Unlike the divine right of kings in Macbeth, power in Maqbool's underworld is fragile and constantly shifting. This idea reflects the political tension and code of survival in mafia life, offering a grounded and contemporary take on Shakespeare’s royal struggles.

Cultural and Cinematic Context

What sets Maqbool apart is how it recontextualizes Macbeth within Indian culture. The film uses rich Urdu dialogues, religious symbolism (like Islamic funeral rites and astrological references), and haunting music rooted in Indian classical traditions. The setting dark, shadowy interiors, narrow lanes, and rain-soaked streets creates a claustrophobic atmosphere that enhances the emotional weight and moral decay of the characters.

Conclusion: A Tragedy Reborn

Maqbool is not just a translation of Macbeth it is a bold reinterpretation that respects Shakespeare’s vision while speaking directly to Indian sensibilities. Through its powerful performances, symbolic imagery, and cultural authenticity, the film shows how classic literature can be reinvented to reflect new worlds and social realities. Bhardwaj's Maqbool is a cinematic triumph that proves the universality of Shakespeare’s themes and the potential of Indian cinema to engage with global literary heritage in a meaningful and artistic way.

My personal view on Maqbool in short:

• As a girl watching Maqbool, it’s not just about gang wars and Shakespeare it’s about human emotion and inner conflict. Sameera stood out to me the most. She isn’t just a side character or love interest; she’s powerful but also painfully human. Her ambition feels raw, but her guilt hits even harder. When she starts breaking down, seeing blood and hearing a crying baby, it’s not just drama it’s a reminder that even the strongest people carry silent emotional weight. Sameera’s story shows how ambition can consume you from the inside, and that’s so relatable in a world where people are always chasing success but sometimes lose themselves in the process. Her pain, her pressure, her unraveling it’s deeply human, and honestly, it stays with you.