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Maqbool
Theatrical release poster
Directed byVishal Bhardwaj
Screenplay byVishal Bhardwaj
Abbas Tyrewala
Story byVishal Bhardwaj
Abbas Tyrewala
William Shakespeare
Based onMacbeth by
William Shakespeare
Produced byBobby Bedi
StarringIrrfan Khan
Tabu
Om Puri
Pankaj Kapur
Naseeruddin Shah
CinematographyHemant Chaturvedi
Edited byAarif Sheikh
Music byVishal Bhardwaj
Distributed byKaleidoscope Entertainment Pvt. Ltd.
Yash Raj Films[1]
Release dates
  • 10 September 2003 (2003-09-10) (Toronto International Film Festival)
  • 30 January 2004 (2004-01-30) (India)
Running time
132 minutes
CountryIndia
LanguageHindi

Maqbool is a 2003 Indian Hindi-language crime drama film directed by Vishal Bhardwaj, starring Irrfan Khan, Tabu, Pankaj Kapur, Naseeruddin Shah, Om Puri, Piyush Mishra, Murali Sharma, and Masumeh Makhija in an adaptation of the play Macbeth by Shakespeare.

The plot of the film is based on that of Macbeth with regard to events and characterisation. The film did not perform remarkably at the box office, but won director Vishal Bhardwaj international acclaim. Apart from directing it, he had also composed the background score and songs for the film. Bhardwaj then moved on to adapting William Shakespeare's Othello in his 2006 film Omkara which won him further critical success. He then directed Haider in 2014 adapting Hamlet, leading to what is now called his Shakespeare trilogy.[2][a]

The film had its North American premiere at the 2003 Toronto International Film Festival. Though the film failed to garner much of an audience during its theatrical run in India, critics were appreciative and considered as a Cult film over the years. [3]Pankaj Kapur went on to win a Filmfare Award for Best Actor (Critics) and a National Film Award for Best Supporting Actor. The film was screened in the Marché du Film section of the 2004 Cannes Film Festival.[4]

Plot

[edit]

The film is based on William Shakespeare's Macbeth, with the Mumbai underworld as its backdrop. Miyan Maqbool (Irrfan Khan) is the right-hand man of Jahangir Khan (alias Abba Ji) (Pankaj Kapur), a powerful underworld don. Maqbool is grateful and feels a close connection and personal indebtedness to Abba Ji. Seeing their close relationship but also sensing Maqbool's ambition, two corrupt policemen (Om Puri and Naseeruddin Shah) predict that Maqbool will soon take over the reins of the Mumbai Underworld from Abba Ji.

Nimmi (Tabu) is Abba Ji's mistress, but she and Maqbool are secretly in love. Nimmi encourages Maqbool's ambitions and persuades him to kill Abba Ji to take over as Don. Maqbool is torn between his love for Nimmi and his loyalty to Abba Ji, but he begins to prepare the ground for becoming a Don by ensuring that others in the line of succession cannot interfere. Finally, Maqbool murders Abba Ji in cold blood while he is in bed at night, with Nimmi next to him. Maqbool gets away with the murder and takes over as Don, just as planned, but both he and Nimmi are haunted by guilt, seeing Abba Ji's ghost and unable to wash the blood from their hands. There is also suspicion, within the gang, of Maqbool's role in the death of Abba Ji, and eventually the lovers meet a tragic end.

In addition to the portrayals of the three tragic heroes, the film offers performances by supporting cast members, in particular Om Puri and Naseeruddin Shah. The two open the film in their roles as black comic relief corrupt police inspectors-cum-astrologers, predicting the fall of Abba Ji—who has them on his payroll—and the rise and fall of Maqbool. Contrary to the original play, the corrupt cops are not just passive soothsayers. In an effort to sustain what they refer to as "balancing forces," they are also actively involved in shaping events, like aiding in providing information to Abba Ji's enforcers to wipe out a rival gang, using subtle nuances in coercing Maqbool to shift loyalties, deliberately botching an "encounter" attempt on Riyaz Boti (Macduff) and subsequently setting up an alliance between a rival politician (the incumbent one was backed by Abba Ji) and a fleeing Guddu (Fleance) and Riyaz Boti against Maqbool.

Cast

[edit]
Actor Character in the film Character in the play
Irrfan Khan Miyan Maqbool Macbeth
Tabu Nimmi Lady Macbeth
Pankaj Kapur Jahangir Khan (Abbaji) Duncan I of Scotland
Om Puri Inspector Rajkumar Pandit Witch (Weird Sisters)
Naseeruddin Shah Inspector R.S. Purohit Witch (Weird Sisters)
Piyush Mishra Kaka Banquo
Ankur Vikal Riyaz Boti Macduff
Ajay Gehi Guddu Fleance
Masumeh Makhija Sameera, Abbaji's daughter Malcolm
Shammi Narang Mr. Vikas Bhosle
Pubali Sanyal Riyaz Boti's wife Lady Macduff
Master Raj Riyaz Boti's son Macduff's son
Gyanchand Rikhi Mughal Macdonwald
Manav Kaushik Asif Cawdor
Murali Sharma D.C.P. Davsare
Vinod Nahardri Chinna
Abbas Tyrewala Sadiq Chikna
Deepak Dobriyal Thapa
Firdaus Irani Usmaan
Vivek Mishra Tawde
Mohini Mathur Badi bi
Jaywant Wadkar Palekar
Jitendra Shrimali Palekar's P.A.
Shweta Menon Mohini Prasad
Bhupinder Sharma Mohini's secretary
Ramratan Sen Ahmed
Shankar Nihati Kaka's murderer
Dibyendu Bhattacharya Chinna's killer
Nadeem Khan Badi bi's killer
Richa Nayer Doctor
Sanjay Bhutiyani Custom Officer
Dayashankar Pandey Masterji

Production

[edit]

Irrfan Khan was selected to portray the lead role after attempts to sign Kamal Haasan, Akshay Kumar and Kay Kay Menon failed.[5] In 2023, Vishal Bhardwaj revealed that the team had reached advanced discussions with Kamal Haasan, but the actor wanted the film to be a bilingual shot in Tamil and Hindi, with separate actors brought in for the Tamil version. Vishal Bharadwaj was unwilling to compromise on making the film just in Hindi, with Naseeruddin Shah also noting his reluctance to work with Kamal Haasan.[6]

Reception

[edit]

Maqbool received universal critical acclaim. Rediff described the film as "a visual gallery that is an intelligent blend of dark, tragic overtones and comic, satirical undertones".[7] Variety wrote that while the visuals are great, audiences might need an understanding of Macbeth to fully enjoy the film.[8] India Today described it as a "haunting operatic tragedy".[9] Outlook said that it "effectively transported the essence of the story to the milieu of the Bombay underworld of our times".[10] Deccan Herald described the film as "Brooding, tragic and brilliant. 'Maqbool' with its satrical [sic] undertones is cinema at its best".[11]

Soundtrack

[edit]
Maqbool
Soundtrack album by
Vishal Bhardwaj
Released2004
RecordedNirvana Studio
GenreFilm soundtrack
LabelMusic Today

The soundtrack features eleven songs composed by Vishal Bhardwaj with lyrics by Gulzar.

No.TitleLength
1."Ru-Ba-Ru" (performed by Daler Mehndi, Rakesh Pandit, Sabir Khan, Dominique)5:53
2."Jhin Min Jhini" (performed by Sadhana Sargam, Ustad Sultan Khan, Anuradha Sriram, Rakesh Pandit)5:32
3."Rone Do" (performed by Rekha Bhardwaj)5:02
4."Dheemo Re" (performed by Ustad Sultan Khan)3:18
5."Maqbool Theme" (instrumental)1:34
6."Rukhe Naina" (performed by Sanjeev Abhyankar)5:14
7."Chingari" (performed by Rekha Bhardwaj)4:26
8."Rin Din Din" (instrumental)1:36
9."Nirvana" (instrumental)1:53
10."Shoonya" (instrumental)1:58
11."Jhin Min Jhini (extended)" (performed by Sadhana Sargam, Ustad Sultan Khan, Anuradha Sriram, Rakesh Pandit)6:24

Further reading

[edit]

Footnotes

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Maqbool

View on Grokipedia
from Grokipedia
Maqbool is a Indian Hindi-language crime drama film directed by , serving as a modern adaptation of William Shakespeare's tragedy transposed to the criminal underworld of . The story centers on Miyan Maqbool (played by ), the loyal right-hand man to the powerful ganglord , known as Abbaji (), whose ambition is ignited by prophecies from two corrupt policemen and his illicit relationship with Abbaji's mistress, Nimmi (Tabu). This leads to a tale of betrayal, murder, and inevitable downfall as Maqbool seizes power, only to be consumed by paranoia and guilt. Theatrically released in on 30 2004, the film features a screenplay co-written by and , with by Hemant Chaturvedi that captures the gritty, rain-soaked ambiance of Mumbai's underbelly. Critically for its innovative fusion of Shakespearean themes with Bollywood sensibilities, Maqbool explores motifs of fate, loyalty, and moral decay through stylized violence and poetic dialogue, earning praise for the lead performances—particularly Khan's brooding intensity and Tabu's seductive menace. It premiered at the 2003 and received multiple awards, including the National Film Award for Best Supporting Actor (), solidifying 's reputation as a director of literary adaptations. The film's score, composed by himself, blends traditional Indian elements with orchestral tension to underscore the tragic inevitability of its narrative.

Overview

Plot

Set in the gritty Mumbai underworld, Jahangir Khan, known as Abba Ji, reigns as the formidable ganglord, commanding loyalty from his inner circle. His most trusted lieutenant is Maqbool, a ruthless yet devoted enforcer who handles the gang's operations with unwavering fidelity. Maqbool harbors a secret affair with , Abba Ji's mistress, whose growing resentment toward her position fuels her ambition for Maqbool to usurp power. She repeatedly urges him to assassinate Abba Ji, promising a future where they rule together as equals. Two corrupt policemen on Abba Ji's payroll, Inspectors and Purohit, serve as enigmatic prophetic figures, blending with cryptic foretellings that foreshadow Maqbool's ascent. Their predictions, delivered amid the chaos of and , plant seeds of destiny in Maqbool's mind, foreseeing his rise to dominance while hinting at inevitable ruin. Influenced by 's persuasion and these omens, Maqbool executes Abba Ji in a meticulously planned , smothering him in his sleep to mimic a natural death. With Abba Ji eliminated, Maqbool assumes control of , consolidating power and marrying to legitimize their union. As don, Maqbool's initial triumph unravels into , haunted by visions of Abba Ji's and the weight of his treachery. Suspecting disloyalty among his ranks, he orchestrates the killings of potential rivals, including senior member Kaka, and attempts to eliminate high-ranking Riyaz by ordering the policemen to stage a , though Boti escapes. These murders, intended to secure his , only deepen the gang's fractures, as Abba Ji's daughter Sameera and her suitor Guddu begin plotting revenge, viewing Maqbool as the architect of their losses. , meanwhile, grapples with pregnancy and escalating madness, tormented by guilt over their sins and the unborn child's uncertain fate. The prophecies of the policemen prove prescient as betrayal closes in; Guddu allies with remnants of the old guard, including Riyaz , leading to a climactic on Maqbool's stronghold. Amid the gunfire, succumbs to her despair, dying in Maqbool's arms after giving birth. Betrayed and cornered, Maqbool is fatally shot by Riyaz during the chaos, fulfilling the underworld's and ambition's downfall.

Cast

The film Maqbool boasts an renowned for their nuanced performances in Indian independent cinema, with lead roles drawing from established theater and veterans to portray the intricate power dynamics of the underworld. stars as Maqbool, the loyal enforcer to a who grapples with rising ambition and moral conflict, his brooding intensity lending depth to the character's internal turmoil. portrays , the seductive and manipulative mistress who drives much of the intrigue, embodying a complex blend of vulnerability and cunning. plays Jahangir 'Abba Ji' Khan, the authoritative ganglord whose paternal yet ruthless demeanor anchors the narrative's hierarchical tensions. Key supporting roles further enrich the film's Shakespearean adaptation, with the ensemble's chemistry amplifying the themes of betrayal and fate. appears as Inspector Purohit, one of two corrupt, prophetic policemen serving as modern Weird Sisters, whose cryptic interventions propel the plot. complements this as Inspector Pandit, the other officer whose opportunistic involvement heightens the sense of inevitable doom. enacts Kaka, Abba Ji's trusted advisor akin to , providing steadfast counsel amid escalating rivalries. takes on Riyaz Boti, a rival leader whose vengeful arc underscores the . Other notable contributions include as Thapa, a member adding to the criminal world's dynamics. This collective portrayal creates a taut interplay of motivations, where each character's influences the group's volatile equilibrium.

Development

Adaptation from Macbeth

Vishal Bhardwaj's decision to adapt William Shakespeare's into Maqbool stemmed from his longstanding fascination with the playwright, which originated during his early career in theater. As a young musician and theater enthusiast in the 1980s, Bhardwaj frequently engaged with Shakespearean works, finding their universal themes of ambition, power, and guilt particularly resonant for contemporary storytelling. He chose as his first Shakespeare adaptation because its compact structure and psychological depth lent themselves well to transposition into an Indian narrative, allowing him to explore moral corruption within a familiar socio-cultural framework. In Maqbool, maintains core structural parallels to while reimagining the characters to fit an Indian milieu. The protagonist Maqbool mirrors as a loyal enforcer driven to by ambition; embodies Lady Macbeth's manipulative influence and eventual descent into madness; Abba Ji represents as the patriarchal crime lord whose murder propels the plot; and Purohit, portrayed by and as two corrupt police inspectors, consolidate the roles of the into prophetic manipulators; Kaka, played by , parallels as Maqbool's steadfast comrade whose lineage (through his son) threatens the usurper's legacy; and Riyaz Boti parallels Macduff as the avenger who brings about Maqbool's downfall. These mappings preserve the tragedy's essence of prophecy-induced ambition leading to downfall, ensuring thematic fidelity to Shakespeare's exploration of fate versus . To enhance cultural relevance, relocated the story from medieval to the gritty underworld of 1990s , transforming feudal royalty into a syndicate rife with and , which reflects India's urban criminal hierarchies. Prophecies, rather than being delivered through apparitions, are provided directly by the two corrupt cops, who actively influence events as prophetic manipulators and narrators, modernizing the supernatural element to align with realism in an Indian . Additionally, the incorporation of Muslim names (such as Maqbool, , and Ji) and customs, including references to Islamic rituals and familial dynamics, grounds the narrative in Mumbai's diverse Muslim underworld, adding layers of cultural authenticity without altering the play's psychological core. Bhardwaj conducted extensive research into Shakespearean texts, revisiting multiple editions of to capture its linguistic nuances and thematic subtleties, and consulted with literary experts and Shakespeare scholars in to balance with . This rigorous preparation ensured that Maqbool not only indigenized the play but also honored its original dramatic tension, as Bhardwaj noted in reflections on the project's conceptual origins.

Screenplay and pre-production

The screenplay for Maqbool was co-written by director and , with the collaboration beginning in 2001. Tyrewala focused on crafting the dialogues to capture the authenticity of Mumbai's , drawing from his background in and to infuse the script with gritty, localized vernacular that reflected the criminal milieu. Pre-production progressed with the script reaching finalization by mid-2002, during which secured producers Bobby Bedi and under the banner of Kaleidoscope Entertainment. The estimated budget was set at 3.25 crores, emphasizing cost-effective planning centered on realistic locations to evoke the film's seedy, urban atmosphere. Early storyboarding was conducted for pivotal scenes, such as the sequence, to map out the visual rhythm and tension without relying on elaborate sets. Key challenges during this phase involved balancing the essence of Shakespeare's Macbeth with Bollywood conventions, including an initial avoidance of songs to maintain the tragedy's somber tone, though they were later integrated to heighten emotional undercurrents like desire and betrayal. Bhardwaj and Tyrewala navigated these tensions by prioritizing narrative fidelity while incorporating Indian cinematic elements, ensuring the adaptation resonated with local audiences without diluting the source material's psychological depth.

Production

Casting process

Vishal Bhardwaj approached casting for Maqbool by prioritizing actors from and theater backgrounds to infuse the adaptation with emotional depth and authenticity, rather than relying on mainstream commercial stars. He initially considered high-profile names such as , , and for the lead role of Maqbool, but these did not materialize due to scheduling or compatibility issues. The pivotal casting of as Maqbool came after 's original choice of was vetoed by , who had been approached for a supporting role and expressed reluctance to work with Haasan. then turned to Khan, viewing it as a calculated risk given Khan's emerging reputation in independent films, which ultimately proved a masterstroke for the character's introspective intensity. Tabu was directly offered the role of by , who selected her for her commanding screen presence suited to the character's manipulative allure. Tabu recalled being pleasantly surprised by the offer, as she wondered if saw her in such a bold, sexually empowered part, marking a departure from her prior roles. Pankaj Kapur was chosen as Abba Ji (Jahangir Khan) for his proven ability to portray authoritative, patriarchal figures with nuanced menace, drawing from his extensive work in serious drama. For the roles of the prophetic yet bumbling cops, Inspectors Purohit and Pandit, Bhardwaj cast veterans and , leveraging their stature in to blend comic relief with ominous foreshadowing. Convincing these established actors for relatively smaller, unconventional parts posed a challenge, as they held strong opinions on the script; Bhardwaj addressed this through collaborative table reads and improvisational sessions to refine dialogues and build ensemble dynamics. Supporting roles involved auditions to ensure fit, with improvisations during rehearsals enhancing the raw, naturalistic performances. wrapped up by late 2002, including chemistry tests between Khan and Tabu to solidify their fraught romantic tension, ahead of .

Filming and post-production

for Maqbool commenced in late 2002 and spanned approximately 50 days, with the initial 25 days dedicated to shooting in to authentically capture the film's underworld setting. The production then shifted to for another 25 days, where a historic was used for key interior scenes to provide a more realistic and atmospheric backdrop than a makeshift set in would have allowed. Specific locations included the Mahim for a pivotal scene depicting a public greeting during Eid, emphasizing the film's integration of urban religious and criminal elements. Police station sequences, central to the narrative's portrayal of , were filmed in real facilities to heighten the gritty realism of the story's underbelly. Cinematography was handled by Hemant Chaturvedi, who employed Arriscope format to frame the chaotic and shadowy world of Mumbai's criminal landscape, contributing to the film's tense, immersive visual style. This approach underscored the adaptation's raw depiction of power struggles, though the production navigated logistical difficulties in securing permissions for sensitive urban sites amid the city's bustling environment. Post-production focused on refining the film's intimate scale, with editing by emphasizing rhythmic pacing to mirror the escalating paranoia and betrayal in the plot. The production encountered significant hurdles, including budget constraints that nearly derailed the shoot; director relinquished his combined fee of ₹30 for directing, writing, editing supervision, and composing the music to cover costs and maintain artistic integrity. His multifaceted involvement intensified the schedule, as balancing compositional duties with on-set direction extended the timeline for intense dramatic sequences.

Release

Theatrical release

Maqbool had its world premiere at the 2003 in the Discovery section on September 10. The film was subsequently screened at the on October 5, 2003, and at the Bangkok International Film Festival on January 25, 2004. In , the film received an 'A' (adults only) certification from the (CBFC) on December 24, 2003, owing to its content involving violence and strong language. It was released theatrically on January 30, 2004, distributed by Kaleidoscope Entertainment, targeting urban multiplexes in major cities amid its mature thematic elements. The marketing efforts included trailers that underscored the film's adaptation of William Shakespeare's Macbeth, set in Mumbai's underworld, alongside posters spotlighting leads and Tabu in intense, shadowy compositions. International distribution followed with subtitled versions in select markets, enhancing its appeal at global festivals and limited theatrical runs abroad.

Box office performance

Maqbool was produced on a of ₹3.25 . The film collected ₹2.98 nett at the Indian , falling short of recovering its costs and resulting in a financial loss for the producers. Its worldwide gross stood at the same figure, ₹2.98 , as overseas earnings were negligible beyond limited festival screenings. The movie's commercial underperformance was classified as a flop by industry trackers. Released on 30 2004, it faced stiff from mainstream Bollywood releases such as Khakee (23 ) and (30 ), which drew larger family and mass audiences with their star-studded casts and conventional narratives. Additionally, the film's mature themes, including violence, profanity, and , earned it an , restricting access for family viewers and limiting its appeal in a market dominated by all-ages entertainers. The timing exacerbated these challenges, coinciding with a post-holiday lull in theatrical attendance when audiences preferred staying home after festive season excesses. Despite the initial struggles, Maqbool's niche positioning as a Shakespearean adaptation in the underworld found favor in urban centers. Overseas, its reach remained confined to international film festivals, such as the in 2003, rather than commercial markets.

Reception

Critical response

Upon its release, Maqbool received widespread critical acclaim, earning a 100% approval rating on based on seven reviews and an average score of 8.0 out of 10 on from over 14,000 user ratings. Critics praised director Vishal Bhardwaj's innovative adaptation of Shakespeare's , highlighting his skillful transposition of the tragedy to Mumbai's underworld, where themes of ambition and betrayal unfold amid gritty realism. Variety described it as a "clever idea" that blends Bollywood aesthetics with the Bard's narrative, noting the film's evocative visuals and strong ensemble performances. Irrfan Khan's portrayal of the tormented protagonist Maqbool was lauded for its brooding intensity, while Tabu's dual role as the manipulative Nimmi drew acclaim for adding layers of psychological depth and sensuality to the archetype. Pankaj Kapur's commanding presence as the aging crime lord Abba Ji was frequently cited as a standout, contributing to the film's atmospheric tension through subtle power dynamics and moral ambiguity. Some reviews pointed to minor flaws, such as occasional sacrifices of dramatic tension in favor of stylistic flourishes, which could disrupt the pacing in quieter moments. In , reception was mixed domestically, with appreciation for its artistic merits but criticism for lacking mainstream elements like songs and high-octane action, leading to limited commercial appeal. Internationally, however, the was more enthusiastically received for its bold Shakespearean reinterpretation, gaining recognition at festivals and among global audiences familiar with the source material. By 2025, marking over two decades since its release, Maqbool has solidified its status as a in Indian , influencing discussions on innovative storytelling and character-driven dramas that transcend commercial formulas.

Accolades

At the 51st National Film Awards in 2004, Maqbool received recognition for its performances and technical aspects, with winning the award for Best Supporting Actor for his portrayal of Jahangir Khan (Abbaji). The film earned several nominations and a win at the in 2005, including a win for Best Actor (Critics) for . It was also nominated for Best Actor for , Best Actress for Tabu, and Best Director for . Maqbool garnered accolades at other major Indian award ceremonies, including the 6th International Indian Film Academy (IIFA) Awards in 2005, where it won Best Screenplay (shared by and ) and Best Story (). At the 2005, won the Critics Award for Best Actor – Male, and received the Best Dialogue award. The film also had nominated for Best Performance by an Actor in a Negative Role at the Star Screen Awards 2005. Overall, Maqbool accumulated 10 wins and 19 nominations across various categories, highlighting its impact on acting, writing, and direction.

Soundtrack

Composition

Vishal Bhardwaj composed the music for Maqbool, initiating the process during the film's pre-production in 2002 as he transitioned from his directorial debut Makdee to this adaptation of Shakespeare's Macbeth. His approach emphasized a fusion of qawwali, folk, and Western elements to evoke the tense, shadowy atmosphere of Mumbai's underworld, incorporating Hindustani classical structures alongside rustic poetry and tragic violin motifs for emotional depth. Recording sessions occurred in studios, where Bhardwaj collaborated with prominent vocalists including , , , and Ustad Sultan Khan to deliver the five primary songs, deliberately restrained in number to prioritize narrative momentum over commercial song sequences. This selective integration ensured the music served the drama without overshadowing the plot's Shakespearean intensity. The background score played a crucial role in heightening suspense, relying on percussion and stark instrumentals like the "Maqbool Theme" to underscore pivotal moments such as ominous foretellings and betrayals, while the absence of an interval song preserved the story's unbroken flow. Bhardwaj faced the challenge of seamlessly weaving these elements into the film's rhythm, using orchestration to amplify thematic tension without interrupting the intrigue-driven progression.

Track listing

The soundtrack album for Maqbool was released in 2003 by , comprising five principal vocal tracks composed by with lyrics by , totaling approximately 24 minutes. The songs feature diverse playback singers and are strategically placed in the film to underscore emotional and narrative tension in the setting.
No.TitleSinger(s)LengthNotes
1Jhin Min Jhini, , Ustad Sultan Khan, Rakesh Pandit5:30Upbeat folk-inspired track played during a celebratory sequence, reflecting the facade of joy amid gang dynamics.
2Ru Ba Ru (Tu Mere Rubaru Hai), Rakesh Pandit, Sabir Khan, 5:51Qawwali-style song performed at a gathering, serving as a prophetic commentary on fate and power struggles.
3Rone Do4:59Lullaby-like rendition sung by the character to her lover's boss, evoking themes of guilt and deception.
4Dheemo ReUstad Sultan Khan3:17Instrumental piece with vocal elements, used as background for intimate and tense romantic intrigue between leads Maqbool and .
5Chingari4:01Haunting track highlighting emotional fallout and inner turmoil following pivotal betrayals in the plot.

Legacy

Influence on Vishal Bhardwaj's work

Maqbool (2003) marked the beginning of Vishal Bhardwaj's acclaimed Shakespearean trilogy, adapting William Shakespeare's to the Mumbai underworld and paving the way for subsequent films Omkara (2006), based on , and Haider (2014), inspired by . This debut adaptation established Bhardwaj's distinctive approach to transposing Western literary classics into contemporary Indian socio-political contexts, blending gritty realism with thematic depth to explore ambition, loyalty, and moral decay. The film's critical reception, particularly its premiere at the where it garnered praise and secured international distribution rights from producer Anant Singh, solidified Bhardwaj's reputation as an innovative director capable of bridging Bollywood and global cinema. The success of Maqbool, despite modest box-office returns, elevated Bhardwaj's status from a music to a "star filmmaker," enabling access to larger budgets and high-profile casts in his later works. For instance, Omkara featured actors like and Kareena Kapoor, while Haider starred alongside returning collaborators such as Tabu, reflecting the increased commercial viability post-Maqbool. This evolution refined Bhardwaj's directorial style, particularly in his integration of music—composed by himself—and the incorporation of regional dialects; Omkara employed vernacular to authenticate its rural gangland setting, and Haider incorporated Kashmiri inflections to heighten the film's tense atmosphere in the conflict-ridden valley. These elements built on Maqbool's foundation, where Bhardwaj's original score and Urdu-inflected dialogue underscored the underworld's intrigue, fostering a more immersive, location-specific narrative technique across the trilogy. On a personal level, Maqbool boosted Bhardwaj's international profile, leading to sustained collaborations that shaped his oeuvre, including lyricist Gulzar's contributions to the soundtracks of all three trilogy films and repeated partnerships with actor in Maqbool, Saat Khoon Maaf (2011), and Haider. Thematically, Maqbool's exploration of power struggles and betrayal resonated through the series, with recurring motifs of familial disloyalty and —seen in Omkara's jealousy-fueled rivalries and Haider's mother-son treachery—demonstrating Bhardwaj's consistent focus on human frailty amid systemic violence. This thematic continuity, rooted in Maqbool, not only influenced his narrative choices but also cemented his legacy in adapting Shakespeare for Indian audiences.

Cultural impact

Maqbool played a pivotal role in the resurgence of Indian adaptations of Shakespearean works, particularly by localizing the Bard's tragedies within contemporary desi contexts, thereby inspiring subsequent films such as Vishal Bhardwaj's own Haider (2014), an adaptation of Hamlet set against the Kashmir conflict. This approach demonstrated Bollywood's capacity to infuse classical literature with indigenous socio-political nuances, elevating perceptions of Indian cinema's engagement with global literary traditions abroad. The film has achieved cult status among cinephiles and scholars, bolstered by its availability, including a DVD release in 2004 and ongoing streaming on platforms like and as of 2025. Academic studies have extensively analyzed its portrayal of the Mumbai underworld, examining how it blends with the gritty realism of syndicates in . In 2025, Maqbool was honored at the 50th as one of 50 films that shaped its legacy, with a special screening underscoring its lasting influence on global cinema. By foregrounding themes of unchecked ambition and systemic corruption within the Mumbai , Maqbool contributed to post-2003 media discourses on the moral decay and power dynamics in India's criminal underbelly, resonating with real-world events like the evolving narratives around in Bollywood and beyond. On the global stage, Maqbool expanded Shakespeare's accessibility in through its subtitled and translated versions during international screenings, having been featured at over a dozen prominent film festivals, including the 2003 and the 2004 Film Festival's section. These expositions highlighted Indian parallel cinema's innovative reinterpretations of Western classics, fostering dialogues on universal themes like power and .

References

  1. https://www.imdb.com/title/tt0379370/
  2. https://www.rottentomatoes.com/m/maqbool
  3. https://variety.com/2003/film/reviews/maqbool-1200538293/
  4. https://asianmoviepulse.com/2023/08/film-review-maqbool-2003-by-vishal-bhardwaj/
  5. https://www.webindia123.com/movie/awards/national/award2003.htm
  6. https://www.imdb.com/title/tt0379370/plotsummary/
  7. https://magiclanternsepiadrc.wordpress.com/2024/01/18/irrfan-khans-maqbool-unraveling-the-tapestry-of-tragedy/
  8. https://www.tandfonline.com/doi/full/10.1080/25723618.2020.1844932
  9. https://borrowers-ojs-azsu.tdl.org/borrowers/article/download/165/327?inline=1
  10. https://www.reddit.com/r/bollywood/comments/1j1pizr/i_dont_quite_understand_maqbool/
  11. https://rituparnasandilya.wordpress.com/2014/04/23/murder-and-morality-in-maqbool/
  12. https://www.republicworld.com/entertainment/bollywood/maqbool-ending-explained-irrfan-khan
  13. https://www.imdb.com/title/tt0379370/fullcredits/
  14. https://www.rottentomatoes.com/m/maqbool/cast-and-crew
  15. https://u.osu.edu/shakespearepostcolonies/interviews-and-transcripts/vishal-bhardwaj/
  16. https://borrowers-ojs-azsu.tdl.org/borrowers/article/view/168/333
  17. https://www.nature.com/articles/palcomms20172
  18. https://ijels.com/upload_document/issue_files/39IJELS-110202322-Acomparative.pdf
  19. https://www.rediff.com/movies/2003/nov/06vishal.htm
  20. https://www.academia.edu/887695/_Maqbool_by_Vishal_Bhardwaj_Asian_Shakespeares_on_Screen_Two_Films_in_Perspective_Special_issue_edited_by_Alexander_C_Y_Huang_Borrowers_and_Lenders_The_Journal_of_Shakespeare_and_Appropriation_4_2_2009_
  21. https://indiancine.ma/ASUF/info
  22. https://borrowers-ojs-azsu.tdl.org/borrowers/article/download/169/336
  23. https://www.rediff.com/movies/2004/jan/29vishal.htm
  24. https://theprint.in/pageturner/excerpt/how-irrfan-khan-landed-role-of-maqbool/411201/
  25. https://www.hindustantimes.com/entertainment/bollywood/tabu-was-surprised-when-vishal-bharadwaj-offered-maqbool-to-her-nimmi-was-such-a-powerful-character-owns-her-sexuality-101712760071741.html
  26. https://www.bollywoodhungama.com/news/features/20-years-maqbool-kamal-haasan-original-choice-irrfan-khans-role-vishal-bhardwaj-forgo-rs-30-lakhs-fees-shoot-bhopal/
  27. https://www.mid-day.com/entertainment/bollywood-news/article/vishal-bhardwaj-i-had-to-forgo-my-fees-to-shoot-maqbool-in-bhopal-exclusive-23325219
  28. https://www.filmapia.com/scout/news-views/vishal-bhardwaj-shakespeare-triology
  29. https://images.assettype.com/filmcompanion/2022-10/9ff0fb3a-994a-4899-abc3-07ac49524dfe/Maqbool_Script_Film_Companion.pdf
  30. https://indianexpress.com/article/entertainment/bollywood/vishal-bhardwaj-sacrificed-rs-30-lakh-fees-to-make-maqbool-reveals-he-hasnt-earned-a-single-penny-from-the-film-to-this-day-9070509/
  31. https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/vishal-bhardwaj-reveals-he-made-maqbool-for-free-dropped-rs-30-lakh-salary-to-contribute-to-films-budget/articleshow/106045926.cms
  32. https://www.imdb.com/title/tt0379370/releaseinfo/
  33. https://www.youtube.com/watch?v=49y_xfKGLgQ
  34. https://www.boxofficeindia.com/movie-story.php?movieid=1187
  35. https://www.bollywoodhungama.com/movie/maqbool/box-office/
  36. https://www.filmibeat.com/bollywood/movies/january-2004.html
  37. https://www.reddit.com/r/bollywood/comments/bxihfg/can_i_watch_maqbool_and_the_shakespearean_trilogy/
  38. https://www.boxofficeindia.com/years.php?year=2004
  39. https://www.commonsensemedia.org/movie-reviews/maqbool
  40. https://www.hindustantimes.com/india/maqbool-a-review/story-iuskTgMOj9YafCbo9oKudK.html
  41. https://www.republicworld.com/entertainment/bollywood/hero-loser-hai-maqbool-director-says-a-movie-rejected-by-everyone-made-him-a-star-filmmaker
  42. https://www.imdb.com/title/tt0379370/awards/
  43. https://www.awardsandshows.com/features/filmfare-awards-2005-205.html
  44. https://scroll.in/reel/829735/audio-master-vishal-bhardwajs-maqbool-creates-the-perfect-mood-for-crime-and-passion
  45. https://www.academia.edu/11961184/Music_in_Maqbool
  46. https://www.discogs.com/release/12483628-Vishal-Bhardwaj-Gulzar-Maqbool
  47. https://www.rediff.com/movies/2004/jan/14music.htm
  48. https://www.bollywoodhungama.com/movie/maqbool/songs/
  49. https://www.youtube.com/watch?v=7ccgmRhKEfM
  50. https://www.youtube.com/watch?v=zcbRbQJEB94
  51. https://www.youtube.com/watch?v=l0tXXAVfxYE
  52. https://www.lyricsbogie.com/chingaari-chingaari-ho-yaar/
  53. https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/maqbool-turns-20-vishal-bhardwaj-says-i-feel-very-proud-that-i-could-achieve-a-timeless-quality-in-that-film/articleshow/107270825.cms
  54. https://thefederal.com/category/features/vishal-bhardwajs-shakespearean-trilogy-a-look-at-modern-india-through-tragedies-108362
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  59. https://revistadecineforum.com/index.php/cf/article/view/72
  60. https://www.amazon.com/Maqbool-Irrfan-Khan/dp/B085RDTZV8
  61. https://www.justwatch.com/us/movie/maqbool
  62. https://www.bollywoodlife.com/photos/maachis-to-maqbool-and-haider-top-7-must-watch-tabu-movies-on-netflix-hotstar-youtube-prime-video-zee5-3275463/
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  65. https://tiff.net/press/news/the-wait-is-over-tiff-unveils-the-50-films-that-shaped-its-legacy
  66. https://borrowers-ojs-azsu.tdl.org/borrowers/article/download/168/334
  67. https://tiff.net/events/maqbool
  68. https://variety.com/2003/film/news/singh-signs-maqbool-distrib-deal-1117894225/
  69. https://www.qmul.ac.uk/media/news/2016/hss/festival-celebrates-the-extraordinary-impact-of-shakespeare-on-indian-cinema.html
  70. http://www.researchscholar.co.in/downloads/124--dr.--saurabh-kr.-singh.pdf
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