MAQBOOL (Hindi, 2003, 126 minutes) Directed by Vishal Bhardwaj Produced by Bobby Bedi; Screenplay: Abbas Tyrewala and Vishal Bhardwaj; Dialogues: Vishal Bhardwaj; Lyrics: Gulzar; Music: Vishal Bhardwaj; Cinematography: Hemant Chaturvedi Films with criminal protagonists permit directors and audiences to vicariously experience lifestyles involving extraordinary levels of danger, violence, and ill-gotten luxury, secure in the expectation that they will (normally) be atoned for in the end. Although detective and crime dramas in Bombay cinema began appearing in the silent films of the 1920s, a criminal antihero was relatively rare (with the exception of occasional films featuring noble dacoits or rural bandits; cf. GUNGA JAMUNA, 1961) until the 1970s, when such a role, usually explained as the result of childhood trauma or deprivation, became associated with the emerging “superstar” persona of Amitabh Bachchan (cf. DEEWAR, DON). In MAQBOOL, Vishal Bhardwaj tells a very similar story, enacted by a similar set of character types, of the rise and fall of a powerful don. Unlike SATYA’s (largely) Hindu milieu, however, the mob here is predominantly Muslim—a fact that is ostensibly faithful to the demographics of a significant part of the Mumbai underworld—and the mise-en-scene and plot deftly evoke the residue of courtly and feudal tastes and ostentatious but Sufi-flavored piety displayed by its self-made “kings,” as well as their adoration by the city’s Muslim underclass.

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Against this rich cultural backdrop, the director has cleverly (if somewhat freely) adapted, right from the common Islamic name of its antihero, Shakespeare’s archetypal tale of unchecked ambition and its fateful consequences. Aided by a smart script, restrained pacing, and uniformly remarkable performances from his principals, Bhardwaj has crafted a justly acclaimed film ( India Today declared it the best of 2003) that works both as a gangster drama and as a new, and insightful, cultural transposition of and commentary on Macbeth. The story begins, needless to say, on a stormy night.

Shakespeare’s three “weird sisters” are transposed into two thoroughly corrupt but comically bumbling Hindu cops, Purohit and Pandit (Naseeruddin Shah and Om Puri), who dabble in the occult. Even as they assist the criminal gang to which they are beholden in wiping out a rival clan, they detect, via the kundal charts used by Indian astrologers, propitious signs for the potential ascent of its second-in-command, Maqbool (Irfan Khan), to eventually supplant his master, the “king of kings” Jahangir Khan, better known as “Abba-ji” (“revered father,” extraordinarily portrayed by Pankaj Kapoor in a Filmfare Award-winning performance that might be termed Brando-esque were it not so thoroughly steeped in Indo-Muslim mannerisms). The first appearance of the recurring kundal motif, casually traced by Pandit’s finger on the misted windowpane of a van in which he and his buddy interrogate and then dispatch a member of the rival faction, is a brilliant cinematic moment that effectively evokes the theatrical archetype even as it literally etches the ominous and sanguine outline of the ensuing tale. Macbeth is the shortest by far of Shakespeare’s tragedies, and there has long been scholarly controversy over whether the extant script is complete, and some have even questioned whether its antihero, driven to fateful action by a dormant ambition stirred by the weird sisters’ prophesy and his wife’s prodding, is adequately motivated to betray and murder his master, the old King Duncan. Bharadwaj implicitly enters this debate by giving his Maqbool several additional incitements. The most prominent of these is lust, for Lady Macbeth here is the beautiful Nimmi (Tabu), a prostitute who is initially encountered as the latest in a series of Abba-ji’s mistresses, though it is clear that she has had a past liaison with Maqbool and nurses an ongoing passion for him, which he shares but rigidly suppresses. She soon provides him with a further motive by revealing that his high position in the gang may be imperiled by the rise of the young Guddu (Ajay Gehi), the son of Maqbool’s Hindu crony (and the film’s Banquo), Kaka (Piyush Mishra).