01. LEC052010. Joji and Macbeth

Annie V. Verghese

LEC052010

Analysis of a Regional Adaptation of Macbeth: Joji

            Joji (2021), directed by Dileesh Pothan and written by Shyam Pushkaran, is a Malayalam film inspired from Shakespeare’s Macbeth. Fahadh Faasil, Baburaj, Unnimaya Prasad, Shammi Thilakan play pivotal roles in the film. Macbeth, one of the best tragedies by Shakespeare has several regional adaptations but Joji is the latest one and it is very loosely adapted unlike the other adaptations like Maqbool (2003), Throne of Blood (1957). Joji is set in the countryside of the northern part of Kerala and revolves around the deeds driven by the greed of the titular character played by Fahad. This is the major point of intersection in Joji and Macbeth as greed is the tragic flaw of Macbeth that leads to his downfall.

            Joji and Macbeth could be compared with aspects like the characters, dialogues, scenes, actions on the basis of their similarities and differences. First the eponymous characters of both the works can be examined. Joji, an engineering dropout, is depicted as a lazy, irresponsible youngster whose only ambition is to live a rich life without moving his finger. He is the youngest son of a wealthy landowner, Kuttapan Panachel. Macbeth is a respected protagonist and is portrayed not as a failed man like Joji, who spends most of his time sleeping. Their similarity occurs only in their blind ambition that results in a spree of murders.    

            Another major character is Kuttapan, who resembles King Duncan of Macbeth. He is a staunch patriarch and does not consider his three sons mature or rather “masculine” enough. So, he is portrayed as an authoritative and daunting character unlike Duncan who is like a saintly father. Duncan admires and promotes Macbeth whereas Kuttapan is not seen favouring either of his three sons.  Similarly, Jomon has an interesting characterisation as his role can be viewed as parallel to Malcolm as well as Banquo. Though Jomon is killed unlike Malcolm, he is the eldest son of Kuttapan and is filled with rage when he finds out that Joji murdered their father, like Malcolm who comes in the end along with Macduff to seek revenge against Macbeth. Since Jomon has a son Popy and doubts Joji for the patricide, his character also reminds the audience of Banquo. Although the murder of Jomon is unplanned unlike that of Banquo, his behaviour makes Bincy and Joji uneasy. “When dad was around, we had to fear him only…now it’s like…” (Joji 01:01:36-01:01:39).

            The character of Lady Macbeth can be attributed to Bincy in Joji. But Bincy is the sister-in-law of Joji, that is, the wife of the second son of Kuttapan, Jaison. Also, she is depicted as mysterious and unfathomable with her poignant silence. It can be inferred from her dialogues that she does instigate Joji into killing Kuttapan to some extent (Joji 00:42:41-00:42:57), but she is not evocative like Lady Macbeth. The shot where Bincy finds out for the first time that Joji is replacing Kuttapan’s medicines with the wrong ones is a brilliant one employing the mirror (Joji 00:50:53). Joji sees Bincy in the mirror and this could be interpreted as the mirror reflecting their desire which was the same; death of Kuttapan. Also, the scene succeeding it shows Bincy washing clothes (Joji 00:51:20) and it could reveal the washing off of her hands from the responsibility of the crime. Washing of hands is a predominant scene in Macbeth (Mac.5.1.30-50).

            The characters equivalent to the witches and scenes involving the omens and prophesies have not been incorporated in Joji though Dr. Felix might have traces of the role of the witches. He does not prefer doing the operation that the hospital suggests for Kuttapan as he thinks it is futile (Joji 00:33:15-00:33:27), but the operation improves Kuttapan’s condition. After getting drunk he calls Joji “a millionaire” (Joji 00:27:41) which fuels Joji’s greed.

            There are other significant elements in the film that can be associated with the play. Joji too has illusions like Macbeth as he is haunted by guilt. He mistakes a button for a medicine (Joji 01:34:11) and he dreams about his father (Joji 01:13:42-01:14:07). The sticker on the door to Joji’s bedroom reads “Joji’s Palace” (Joji 01:34:00) and it could symbolise his desire to be rich and powerful like a king. The allusion to a kingdom arises even earlier when Joji addresses himself as one of the subjects in Kuttapan’s kingdom (Joji 00:48:14). There is a dining table scene (Joji 01:02:45-01:08:32) probably alluding to the banquet scene in Macbeth (Mac.3.4), though the events taking place are entirely different. The scene where Bincy asks Joji to wear a mask and come out for the funeral is a crucial one as it not only implies literally but also metaphorically (Joji 00:55:12). This seems similar to how Lady Macbeth supports Macbeth until she becomes deranged.

            The sinister feel created by the cinematography and the background music heightens the tragic effect of the film. But there are elements of dark humour in the film like asking permission to drive the car to the injured and unconscious father (Joji 00:15:45) and bursting of crackers for the funeral (Joji 00:57:18). This could be similar to the drunk porter scene in Macbeth which is like a comic relief but alludes to the evil acts (Mac.2.2). In terms of the mood and the portrayal of the shades of greed, the film has adhered to the play fairly well and without the label of a Shakespeare adaptation, the film brings to mind contemporary issues like the murders committed by Jolly Joseph.

Works Cited

Joji. Directed by Dileesh Pothan, Performance by Fahadh Faasil and Unnimaya Prasad. Bhavana Studios, Working Class Hero and Fahadh Faasil and Friends, 2021. Amazon Prime Video.

Shakespeare, William. Macbeth. Calicut University, 2000.

LEC052003 , Macbeth and Maqbool

"Macbeth" and "Maqbool " 

Afsana Begum Chowdhury

LEC052003

DR Joseph Koyippally

June 17, 2021 

Macbeth full titled  The Tragedy if Macbeth. This is a famous shakesparean tragedy ,it is 

 thought to have been first performed in 1606 . It dramatises the damaging physical and psychological effects of political ambition on those who seek power for its own sake. Of all the plays that Shakespeare wrote during the region of James I , who was patron of Shakespeare's acting company Macbeth most clearly reflects the playwright's relationship with his sovereign.It was first published in the Folio of 1623, possibly from a prompt book  and is Shakespeare's shortest tragedy.

Shakespeare’s Macbeth lives in twenty-first

century India in the form of Vishal Bhardwaj’s Maqbool. The centre/margin construct that forms the core of Maqbool provides us with an opportunity to ponder over our own historical moment, a moment fraught with interminable violence and hatred inspired by the politics of

difference. Bhardwaj provides us with the possibility, in both Maqbool (based on Macbeth) and Haider (based on Hamlet), that Shakespeare could be directly related to the saga of relentless religious violence that plagues some South Asian countries to date. Vishal Bhardwaj’s Maqbool reimagines Shakespeare’s Macbeth as a struggle for power within the hierarchy of organized crime in Mumbai. The film, however, may also be seen as a glimpse into a fiercely patriarchal Islamic set-up by an equally fierce Hindu gaze. This tale of Sha￾kespeare in a twenty-first century setting creates a sense of all-consuming foreboding

whereby the polarization of Hindus and Muslims becomes more than a power game: it becomes symptomatic of Indian society where wily politicians and shrewd policemen, render a state’s law machinery into a den of horrific violence. This article attempts to show that beneath the overt narrative difference between the play and the film lurks a similar political reading of both the texts. The film opens with the illusion of “other” as the “center”. But gradually with numerous instances of illegitimacy like the mock-family structure, the half caste protagonist, the illicit relationships, and above all, the entire space of the film peopled predominantly by the Muslims made illegitimate by consigning it to the mafia world, we realize that the “other”, initially projected as the “center” here is not merely castigated, but defeated, defeated not from without, but from within.

By situating the reader’s experience at the heart of the interpretative process, Kott (1967) in Shakespeare Our Contemporary, asserts that Shakespeare’s plays remain contemporary because of the apparently fluid, but actually static, historical

conditions of time and place, conditions that plague both a sixteenth-century viewer as well as a twenty-first century viewer:

“… for Shakespeare history stands still. Every chapter opens and closes at the same point.... Every great Shakespearean act is

merely a repetition” (Kott, 1967: 6). This is one of the reasons why Shakespeare is contemporary, the reason why his works are

extensively adapted on-screen.A literary text is made up of a series of signs that may lead to countless possible interpretations and may give rise to a plethora of adaptations. We can never assume that one director has said everything about one literary text and has exhausted all other possibilities of interpretations. In each on-screen adaptation we witness a wide range of critical interpretations or, to borrow Stam’s (2000: 62) words, “creative mistranslations”, at work .

Adaptations vary with the passage of time and with alteration of location. But somehow there continues a persistent “dialogue”

between the source text and the adapted text as well as between the “receivers” of the two, because the historical moments, to

borrow from Kott, keep repeating themselves, disregarding time, space and culture. This article attempts to show how Vishal Bhardwaj, despite spatial, temporal and cultural distances,“creatively mistranslates” Shakespeare’s Macbeth and yet remains faithful to its basic theme. Bhardwaj’s own fascination for cinematic projection of social disorder, especially his portrayal of the crime world in Maqbool (2004), Omkara (2006), Kaminey (2009) and Haider (2014), as well as his love of threatened characters unsurprisingly made him turn to Shakespeare. Shakespeare’s plot-driven plays of lust, murder and intrigue with a tight form and structure may well be

read as nothing less than intense psychological crime thrillers. Thus Bhardwaj took his first apprehensive, yet firm, step towards cinematic Shakespeare with Maqbool.

Work cited 

Mondal Subarna , " All the King’s men and all the King’s women:  reading Vishal Bhardwaj’s Maqbool as a “creative mistranslation” of Shakespeare’s Macbeth" - published-2017

1. LEC052019. Joji and Macbeth

Joji and Macbeth 

    Joji is the 2021 Malayalam movie directed by Dileesh Pothan who contributed a variety of movies into Mollywood and written by syam Pushkaran. The movie was released on Amazon Prime Video on April 7, starring Fahadh Faasil, Unnimaya Prasad, Baburaj and others. Since then it raised a lot of debates and discussion regarding its connection to Shakespeare’s Macbeth. It is said to be an adaptation of the tragedy. But as the movie begins, we are able to quickly realise this isn’t a literal adaptation of the play. 

    The story of the movie revolves around Joji an engineering dropout and the youngest son of the rich Panachel family. He has a lot of dreams about becoming rich. But his father Kuttappan, a dominant figure controls him and he has super command over everyone in the family. As the story progresses Joji plans the murder of his father in order to inherit the huge wealth. He successfully executes his plan even though his sister-in-law Bincy is aware about the crime. In the course of events, Joji is encircled by a number of crimes and in the end he ends up in suicide.

    As we look into the characters, Faasil’s Joji—the film’s Macbeth—is the son, King Duncan is the brutish patriarch Kuttappan (Sunny PN). The Banquo figure is his elder brother, Jomon (Baburaj), and Bincy (Unnimaya Prasad)—Lady Macbeth—is not his wife but his brother Jaison’s. Though we cannot see the moving woods, the sleep walking of Lady Macbeth, the witches in the movie, it has certain elements of Macbeth. As in the play, the extreme greed is the driving force that urges Joji to commit crimes. But unlike Macbeth in the play, Joji is not guilty of his crimes. The Lady Macbeth in the movie is a silent partner in crime even though she makes subtle comments to prompt the villain to commit crime. The father figure in the movie, Kuttappan, is a cruel person but the father figure in the play, King Duncan is a kind hearted old man.

    In Shakespeare’s play, we’re impressed by Macbeth before we even meet him; he is brave and a worthy gentleman. But the movie portrays Joji from the very beginning itself as an unworthy fellow. Furthermore, Bincy gets a far more empathetic portrayal. Her actions are driven by the frustrations of being a voiceless worker in a huge house rather than greed as in the original play. Even though the counterparts of the witches in the play is not vividly seen in the movie, the character Dr. Felix anticipates the climax and calls Joji “a millionaire”( 00:27:42)- a kind of prophecy. It can be connected to the act of the witches of the play.

    Literary adaptation is the adapting of a literary source (e.g. a novel, short story, poem) to another genre or medium, such as a film, stage play etc., To get an original story adapted into another medium the concept, character, story, dialogue, and action are the things to taken into consideration. If we analyse Joji as an adaptation of Macbeth, it is certain that it is not a literal adaptation. It can be said as inspired by Macbeth. This fact is also gains significance because the writer Syam Pushkaran has said that he hadn’t read the play instead he watched the movie Maqbool, a more justifiable adaptation of Macbeth.

    William Shakespeare, the greatest writer of all time has written a number of works which have everlasting significance and a universal appeal. That is why his works find place even today after four centuries of its publication in various forms of literature, movie, drama and art. In short, Joji is an excellent crime drama film inspired from Macbeth set in the cultural and social background of Kerala.

Works consulted

Joji. Directed by Dileesh Pothan, Performance by Fahadh Faasil and Unnimaya Prasad. Bhavana Studios, Working Class Hero and Fahadh Faasil and Friends, 2021. Amazon Prime Video.

1. LEC052038 MACBETH AND MARMAYOGI

RUTH JOHN S

LEC052038

DR. JOSEPH KOYIPPALLY

16 JUNE 2021

 

MACBETH AND MARMAYOGI

Marmayogi is a Tamil movie released in 1951. It is an adaptation of Vengeance by Marie Corelli and Macbeth by William Shakespeare. M. G. Ramachandar, Anjali Devi and Madhuri Devi starred in it. The movie revolves around the story of Urvashi, the mistress of the king, Marmayogi. She, along with her lover, plan and kill the King by pushing him off a boat. The succeed and she wields power in her hands. The reign is filled with terror and she also kills everyone who may threaten her position, including her lover and the two princes of the king by setting fire to their palace. Meanwhile a Sage comes to the kingdom with his son, Veerangan and daughter, Kala. He joins the queen as an advisor. Years later, Veerangan grows to be the Army commander. Around the same time, there is a group of rebels in the countryside who oppose the evil reign of the Queen. They are led by Karikalan. Fearing his growing power, the queen orders his capture and they send Kala to as a spy. She ends up falling in love with him.

As days go by, the queen is scared by a ghost that regularly visits her to warn her of her impending doom. She orders for the capture of the rebel. Kala and Karikalan’s followers are captured. Karikalan undertakes a mission to rescue Kala and the other. He also receives a divine signal to capture the queen too. He succeeds in his mission and brings the queen to his hideout. She confesses to her crimes when the Ghost visits her there too. Just as she is about to be executed, Veerangan arrives with the army to save the Queen. She orders the execution of everyone. It is also revealed that the divine signals were in fact from the sage. The traitor, along with the rebels are about to be executed, when the sage reveals that Veerangan and Karikalan are brothers. He also removes his disguise to reveal himself as the King Marmayogi. He had escaped the attempts to kill him along with his sons and the commander’s daughter.  He left one of sons behind in the forest and had returned to the kingdom in disguise. Seeing the King alive, the queen dies of shock.  The king and his children return to the throne.

When compared with the original play, Macbeth by Shakespeare, we can only see a few elements of the play reflected in the movie. The plot against the King, the element of the ghost haunting the queen are some of the similarities. The queen is more similar to Lady Macbeth than she is to Macbeth. Both of them share the same greed for power and take the lead in plotting the murder. She also sees the apparition because of her guilt. Karikalan can be compared to Macduff who rallies an army to get back the throne. Therefore, once cannot consider the movie as an adaption, but rather as a movie that uses the certain elements from Macbeth.    

01. LEC052011. Michael Madana Kama Rajan and comedy of errors

ANU S

LEC052011

DR.  JOSEPH KOYIPPALLY

16 JUNE 2021

                Michael Madana Kama Rajan and Comedy of Errors

                       Michael madana kama rajan  is a 1990 Indian Tamil language comedy movie. it

 was directed by Singeetam Srinivasa Rao and written by Kamal Hasan with Crazy Mohan

penning the dialogues. This movie is inspired from Shakespeare play Comedy of Errors.  

Some elements are as similar as in the play, some are different. now we are going to

 broadly  discuss about the similarities and differences between the play and the movie.

                    The play Comedy of Errors is about the separation of two different twins which

 means two pair of twins having different parents, here in the movie is about the separation 

 of quadruplets who belongs to single parents. in the play, the family was separated in the

 ship wreck, here in the movie they were forcibly separated by the antagonist who is the

 brother of the quadruplets father. There is no antagonist role is in the play, the play is 

going in the flow of the life and situations. But in the movie, everything happened because

 of the antagonist, who is with full greed on his brothers property.

                    Both in the movie as well as play, they were separated in the childhood and

reunited at their young age. the other twins in the play is the slave of Antipholuses. These 

slave character is played in the movie, in the name of Bheem, who is the servant of madan.

And the role of Antipholus is equally played by four Kamal Hasan charater. Like in the

 play they are united at the end of the drama.

                    Director used the story line and made some changes according to

 contemporary  audience, this movie became blockbuster hit in the box office. like the play ,

 it starts with lots of confusions which are resolved at the end. This movie is not mere the

 adaptation of the play, but its inspired from it.

 

01. LEC052025. Joji: Reawakening Macbeth with a Poignant Social Critique in 21st Century Kerala.

Julia Mathew

Dr. Joseph Koyippally

LEC052025

June 15, 2021

Joji: Reawakening Macbeth with a Poignant Social Critique in 21st Century Kerala

    William Shakespeare’s Macbeth has seen two major adaptations in cinema so far – Vishal Bhardwaj’s Maqbool, and Akira Kurosawa’s Throne of Blood (Rangan, Baradwaj, "Joji Movie Review").  Joji (directed by Dileesh Pothan), a 2021 Malayalam film based on Macbeth,  is barely an adaptation, as the makers of the film themselves claim: “the film's narrative is not a direct adaptation of Macbeth. We were deeply inspired by it…” (The Indian Express). Therefore, it would be futile to criticise Joji for not adhering to Macbeth’s plotline as closely as its predecessors did. Joji is brilliant in its own right, especially for its life-like subtlety as opposed to the drama of the royal setting of Macbeth. Drawing out the similarities and differences between Shakespeare’s Macbeth and Shyam Pushkaran-Dileesh Pothan-Fahadh Faasil’s Joji, I would like to offer a comparative analysis of the two to prove that Joji is an exceptional (loose) adaptation of Macbeth, perfect for its contemporary audience. 

    Joji’s setting is a wealthy landowner’s household situated in a vast, lush rubber plantation in 21st century Kerala, whereas Macbeth’s setting is a royal, martial 16th century Scotland.  Joji does not offer one on parallels for each and every character in Macbeth, but Joji’s characters are arguably more complex and well-rounded  than Shakespeare’s characters (who tend to be personifications of human qualities – greed (Macbeth, Lady Macbeth) , loyalty (Banquo, Macduff), love (King Duncan), etc. The ‘King Duncan’ of Joji is Panachel Kuttappan, who is introduced in the movie as a giant, muscular man, doing pull ups. He is not seen smiling once, and he is verbally and physically abusive to his sons. He is the terrifying image of the tyrannical patriarch, in stark contrast to King Duncan, who calls to mind the image of a loving father.  Banquo in Joji can be appropriated to Jomon’s character, who is the elder brother of Joji. However, Jomon is no equivalent of Banquo: the only similarity between them is their loyalty towards Duncan/Kuttappan, but even this loyalty is questionable in Jomon’s case – One, Jomon is tied to Kuttappan in gratitude as the latter took care of his divorce expenses, whereas Joji and Jaison, Kuttappan’s other two sons have been turned down even when they begged for money. Two, Jomon taking the liquor bottle of the bed-ridden Kuttappan, is not too far from Jaison using Kuttappan’s geyser, or Joji, going on an online shopping spree with his father’s money – the relationship between this father and his sons is founded on money. 

    Bincy, a possible equivalent of Lady Macbeth, is Jaison’s wife (Joji’s sister-in-law). She is almost like a servant in the household, cooking and cleaning after them, and a passive, silent observer. Lady Macbeth, on the other hand, enjoys the luxury of being a Queen; she is a strong influence on Macbeth. However, Bincy is a strong woman in her own right – her strength is displayed in her loud silence, encouraging nods, and passive applause for Joji’s crime by turning her head away. If one is looking for a grey area to justify any crime, it should be Bincy’s – all she wants is to escape the servitude in her husband’s household. 

    All of Kuttappan’s sons are frustrated by their ultra-macho father, but none more than Joji. Joji is indeed tough competition as Macbeth’s parallel. While Macbeth is a successful, noble warrior, Joji is a “second rate loser”, as Kuttappan tags him. Joji’s desire for power is somewhat pathetic: his teenager nephew Popy, and Gireesh, his father's worker are his only ‘inferiors’. Even Joji’s weapon is humiliating: an air gun! Joji, slender and weak, unlike his father and brothers, is a clear misfit in the family; he is haunted by his own inadequacies (he is an engineering college dropout) and constantly frustrated by his own failure. This is fueled by his father who abuses him emotionally and physically – suspecting that he has stolen money, Kuttappan asks him to “eat, shit and shut up” (Joji, 11:10-11:13)  and crushes his chest, and in another instance, strains his neck to the point of breathlessness. Joji’s motive in his father’s murder is not a one-dimensional love for money, rather an attempt to reclaim his personhood, unlike Macbeth, whose only concern was power and wealth.

    On the one hand, you feel more pity for Joji than for Macbeth, because Kuttappan was an authoritarian tyrant, whereas Duncan was a loving friend and father-figure. Macbeth’s murder of Macduff’s household was an unnecessary fit of rage, whereas Joji killed Jomon to save himself. However, Joji is a more fear-evoking anti-hero. Joji’s inch-by-inch murder of his father (by replacing his father’s medicine) is more horrifying than Macebeth’s bloody dagger. The image of the air gun that oozes sap from the rubber tree in one of the first scenes, coupled by the haunting classical music create a sense of impending doom – this  is a more powerfully horrifying image than the weird sisters. Joji also ascends into madness like Macbeth (one night, he dreams that he fishes his father’s head), but his madness is more subtle, and life-like, and therefore more horrifying. It is also interesting that Jaison takes Joji’s sudden spirituality for madness – again, this is more powerful than the visions in Macbeth– especially for a modern audience. When he confides in Bincy, her reaction is not a senseless blaming spree like Lady Macbeth, but a chilling truth statement – “the dead will not return, beware the living” (Joji, 1:17:08 – 1:17:12). The guilt of Macbeth and Lady Macbeth which is at the core of Macbeth is absent in Joji: neither Joji nor Bincy shows any sign of guilt, at any point in the movie. The lack of guilt in Joji may take away from the pity we feel about the human condition when we hear Lady Macbeth’s famous line, “All the perfumes of Arabia will not sweeten this little hand” (Macbeth, 5.1.51). However, this lack of guilt also has the power to evoke fear. If Macbeth offers catharsis via pity, Joji offers catharsis via fear.  

    By the end, Joji calls to mind the image of the pop-cult character, “Joker” – smiling as he plays with his father’s paralysed arm, and even as he types into the Google Search bar ways to kill himself. In the last scene of the movie in which Joji lies paralysed in a hospital bed after his failed suicide attempt, when the police offers ask him to blink in answer to the question whether he admits his crimes, we see a wide-eyed Joji staring at the policemen. This scene creates a sense of irresolution: perhaps it is a metaphor for the never-ending patriarchal tyranny. 

  If Macbeth may blame Lady Macbeth or the weird sisters for his crimes, Joji blames society. As he mentions in his "non-suicide note, death sentence", it is society that leads him to become this monster – every time Kuttappan insults him, Joji has to hide his growing intolerance and hatred for his father under the mask of familial, religious, and societal decorum: the toxic expectations about masculinity, the measurement of success on the basis of wealth (or in the Malayali context, being an engineering graduate). There is more than little truth in Jomon’s curse for society at 1:20:03. 

The subtlety of Joji is its strength, its silence its loudness. There is no question about the greatness of Shakespeare’s Macbeth. But, by its non-adherence to Macbeth’s plotline, Joji does not become a poor adaptation, but a captivating, mind-boggling experience - especially when compared to other movie adaptations of Macbeth. Joji is a perfect modern adaptation for a 21st century audience as it throws light upon the ugly mix of greed and toxic masculinity. 

LEC052031 Macbeth and Seemaddha

LEC052031

Macbeth and Seemabddha

(similarities and dissimilarities)

Bard of Avon,William Shakespeare was an English playwright, poet, and actor, widely regarded as the greatest writer in the English language and the world's greatest dramatist.Shakespeare produced most of his known works between 1589 and 1613.His early plays were primarily comedies and histories.Macbeth is an anomaly among Shakespeare's tragedies in certain critical ways and it was first performed in 1606.Shakespeare wanted to caution against abuses of power and the instability which follows from political violence which reflected in Macbeth plays.Shakespeare’s plays have been adapted hundreds of times by artists,directors, writers around the world.Seemabaddha film is one of them.

Seemabaddha is a social drama bengali film directed by Satyajit Ray in 1971. It is based on the novel Seemabaddha by Mani shanker mukherjee.The Film tells a story of a very rich successful young man shyamal chtterjie.and the credibility of his sister in law who believes him and admires too.In the Film there is extramatial affairs,lobbyism,corporate corruption, flirting and even communism.It cautious us to be vary and not to blinded using power by greed.Such thought provoking performances and the narrative leads to instropection.

Shyamal is an ambitious Marketing Manager in a British firm in Calcutta, manufacturing fans. He’s married to Dolan, and lives in a company flat. He aspires to become the company director. For this he has to compete with a colleague who has a relative in the board of directors.

His sister-in-law Tutul arrives from Patna to spend a few days with them. She has been a great admirer of the ideologist Shyamal and was envious of her sister’s marriage with him. Tutul is Shyamal’s conscience. Shyamal shows her the delights of city life – the cocktail parties, the clubs and horse racing.

Life goes on smoothly for Shyamal until he learns that a consignment of fans meant for exports is defective. There is not much time to rectify the fans. It could result in cancellation of the export contract and an end to his dream of becoming a director.

Hopeless, Shyamal takes Tutul in confidence though not his wife. Late at night, he hatches a plan with the labor officer to provoke a strike at the factory. A factory watchman is badly injured and a lockout is declared. The export contract is saved.

Shyamal becomes a director but he has fallen low both in the eyes of Tutul and his own.A joyous Shyamal begins to climb the stairs. As he ascends his steps become slower. When he reaches the top, both physically and metaphorically, his joy has vanished. Tutul who has witnessed fall of her hero, sits beside him, they exchange glances. Without making a sound Tutul removes the watch that he had gifted her. She places it on the table. We see Shyamal from above a ceiling fan, with his head bowed in his hand and Tutul fading away.

Though Macbeth and Seemabadho is totally different in story but the content is same purpose which is corruption, betrayal,power,greedness.

In Macbeth, there is good position in king Duncan's palace. But he has no actual power like king. So, a lust came into his mind and wanted to become king and take advice from his wife. Mainly he did commit listening to his beloved. In the movie shyamal chakrabarti also wanted to take more power and become director of British company.He also made conspire against his company by taking advice from his sister-in-law.

In Macbeth, because of power macbeth made a plan with his sister-in-law  to  killed the king and he did then he became king.In the seemabadho film, Shyamal also hatched a plan with labour officer to provoke a strike in the factory. As a result, a worker was injured.After that he became director of his company.

In macbeth, macbeth was totally lost hearing his wife but In the film he listened his wife's sister tutul who is much fond of shaymal.And at last shaymal also fallen down. Tutul wanted to made a uncertain love relation with shaymal.Here Tutul is resemble to lady macbeth.

Shyamalendu is eager to impress his visiting sister-in-law, Tutul with the trappings of his success, introducing her to a rarefied world of country clubs horse racing, and cocktail parties. Having already  himself from his old-fashioned parents by arranging separate accommodations for them in another part of Calcutta  Shyamalendu has already shown his willingness to put the interests of the company before his own—a willingness that is tested when an international contract that he had negotiated is jeopardized by the late discovery of a factory defect on products that that had been set for immediate shipment.In the macbeth, there is a character Banquo who can replace Talukder. Banquo also wanted to take power and tried  to become king. Here, Talukder also wanted to get promotion from his company by taking illegal step.

Dolan(wife of shaymal) portrayed  as a housewife almost in a stupor of luxury, is a sight to behold.In a sense she is the opposite of Lady Macbeth, her ambition never overarches and destroys Shyamal.But In macbeth, Lady macbeth, his wife only reason of macbeth's  destruction. 

In the film,the son of shayamal was far away from home from the childhood. He was admitted in the boarding school. In the macbeth there is no child. But We can gues there may be had, by hearing some dialouge from lady macbeth. But there is no assurancy.In the film, the protagonist belongs to calcatta, the settings which is different from macbeth. But there content and circumstances represent the same image to spectators.

At the end,in the film Tutul left him because she realized that whatever shyamal did is not accpated and it is impossible for her to stay with him.The story is end with Invisible tutul, so we can understand that she left and shayal was in a ruin.In macbeth,Lady macbeth is also understand and in the end she was ashamed whatever she did. That's why she became mentally sick and ambivalence in good and bad.At the end she was died. In mabeth, Macbeth was died by maduff But in the film here is no macduff character and shaymal was not died. Director put him in the image of lost, frustration.He was ruined liked macbeth.

Shakespeare’s plays always have universality with continual adaptations, reinterpretations and explorations in various forms. It’s a fact, the number of film adaptations of his works in Bengali cinema is quite less.But Seemabaddha is not actually an adaptation, Some contemporary elements are there in the film which is Shakespeare draws in his plays. Some vital content we can connect with Shakespeare play's motive.

Works cited

http://www.firstpost.com/entertainment/seemabaddha-satyajit-rays-indictment-of-the-corporate-rat-race-and-what-it-makes-of-us-4139883.html

Seemabaddha,directed by Satyajit Ray in 1971