Irrfan Khan
A Film can be vast yet fragile for many of the audience. With each audience carrying their perspective while watching a storyline, be it gossip, mythology, superlatives or nostalgia, few films make a particular noise. Vishal Bharadwaj’s directorial Maqbool, starring Irrfan Khan and Tabu, is one such film.
Maqbool can be said to be something that could only be validated with indifference. The fragility the narration invokes cannot be dusted as it seeps through every layer of complexity. It is considered an adaptation of Shakespeare’s Macbeth.
Irrfan Khan did a splendid job portraying Maqbool, deepening the motivations of an already paradoxical character. Tabu’s portrayal as Nimmi gets appreciated by the audience as the layers of narrative dive into the story.
Irrfan Khan even revealed Tabu as his favorite co-star. He always wished to work on another film with Tabu to complete the trilogy of passionate films with one more intense film, which, unfortunately, was never meant to be.
The opening scene of Maqbool is a cyclic structure. Maqbool mainly deals with Muslim characters and Islamic rituals that begin with an ominous close shot of a rectangular astrological diagram drawn on a foggy bus window recurring throughout the narrative.
As Maqbool completes 20 years of its release, one must be able to categorize it as good or bad, which may be useless and unnecessary as it is part of a cannon with the act, capacity and desire proving the time of art and artists.
Maqbool can only ask the audience the question, Was Everything a Sin? Maqbool makes one feel so, or there’s nothing called right or wrong.
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