1. Goliyon Ki Raasleela Ram-Leela (2013)<\/h2>\n
Hindi, based on Romeo and Juliet<\/em><\/p>\n Ram\u2011Leela is as heady a mix as Shakespeare\u2019s own play<\/a>, in equal parts comic and tragic, tender and flamboyant. Director Sanjay Leela Bhansali relocates the action of Verona to an Indian town riven by two criminal clans: Rajadis and Sanedas. Violence saturates daily life. Bullets spill from spice jars and a Rajadi child urinating on Saneda territory ignites a vicious brawl. <\/p>\n In such a world, can love bring peace? The leads\u2019 scorching chemistry makes us hope. My students practically swooned during a screening. At the end, soulful lyrics such as \u201cTera naam ishq<\/em> \/ Mera naam ishq<\/em>\u201d (\u201cYour name is love \/ My name is love\u201d) frame the film\u2019s Romeo and Juliet \u2013 Ram and Leela \u2013 through love rather than their hate-fuelled lineage.<\/p>\n The film also gives depth to its Lady Capulet and nurse figures, while Leela is sensual, witty and brave. Juliet exactly as Shakespeare imagined her.<\/p>\n Varsha Panjwani teaches at New York University, London, and is the creator and host of the podcast Women and Shakespeare<\/a>.<\/em><\/p>\n Catalan, based on Othello<\/em><\/p>\n An award-winning work of Catalan cinema<\/a>, Otel\u00b7lo transposes Shakespeare\u2019s play<\/a> to a contemporary film studio. Such a meta-narrative approach feels in line with the play\u2019s focus on the enticing power of storytelling \u2013 famously embodied in the character of Iago as its arch-villain. <\/p>\n Blending documentary, mockumentary and thriller aesthetics, the film turns Iago into an unscrupulous filmmaker willing to cross every boundary in the name of art. With his role played by the actual director of the film (Hammudi Al-Rahmoun Font), the adaptation skilfully integrates form and content. We are, like Othello, manipulated into thinking that the fiction he has created is reality. <\/p>\n The film asks: To what extent are the images we absorb real? What purpose do they serve? And how do they affect our views on gendered and racialised minorities<\/a>?<\/p>\n Inma S\u00e1nchez Garc\u00eda is a lecturer in European languages and culture at the University of Edinburgh.<\/em><\/p>\n Japanese, based on Macbeth<\/em><\/p>\n The genius of Throne of Blood is that despite being set in 16th century Japan and changing almost everything about the original, it is immediately recognisable as the Scottish play<\/a>. It\u2019s considered by many to be the greatest Shakespeare film ever made.<\/p>\n The mist-swirled locations, the screeching flute and ominous drumbeats, the spooky old lady in the forest, and above all the samurai, barking orders and getting lost on their horses, can mean only that \u201cMacbeth doth come\u201d. The final scene when Washizu\u2019s (Macbeth\u2019s) soldiers turn on him with a hail of arrows may even represent an improvement on Shakespeare. Meanwhile his poker-faced lady clearly wears the kimono-trousers in their marriage. <\/p>\n Daniel Gallimore is a professor of literature and linguistics at Kwansei Gakuin University<\/em><\/p>\n Bengali, based on Comedy of Errors<\/em><\/p>\n If you asked me to pick a favourite Shakespeare film, I\u2019d probably surprise people by saying Bhrantibilas. It\u2019s one of the earliest filmed Shakespeare adaptations in Indian cinema. It was also the inspiration for the globally popular film Angoor (1982). <\/p>\n What I love about it is how confidently it relocates Shakespeare\u2019s farce<\/a> into a Bengali urban world without ever feeling like a dutiful \u201cliterary\u201d exercise. A huge part of its lasting appeal is Bengali superstar Uttam Kumar. It\u2019s pure pleasure watching him play the twin roles \u2013 Antipholus of Syracuse and Antipholus of Ephesus, identical twins separated at birth, whose accidental reunion causes chaos. His comic timing is razor-sharp, and there\u2019s also an ease and charm that makes the confusion feel human, never mechanical. <\/p>\n Decades on, audiences still return to Bhrantibilas, often knowing every gag by heart, which says a lot about its cultural afterlife. For me, it\u2019s a perfect example of how Shakespeare survives not through reverence but through reinvention \u2013 absorbed into popular cinema and kept alive by star power, humour and sheer re-watchability.<\/p>\n Koel Chatterjee is a lecturer in English at Regent College, and the creator and host of The Shakespop Podcast<\/a> and The Shakesfic Podcast<\/a>.<\/em><\/p>\n Urdu, based on Measure for Measure<\/em><\/p>\n Measure for Measure<\/a> has long been regarded as a \u201cproblem play\u201d<\/a>. Disfavoured among Shakespeare\u2019s works for centuries, it hit stages again in the 20th-century and reached new audiences through its resonances with the #MeToo movement. <\/p>\n A local leader tells a devout woman that if she loses her virginity to him, he will spare her imprisoned brother\u2019s life. This film shifts the action from early modern, Catholic Vienna to an ambiguous period in Islamic Lahore. Moderate and extremist versions of faith contend, against the backdrop of the city. This film\u2019s billing as a thriller, and status as the only big screen version of the play, help raise it from obscurity.<\/p>\n Sarah Olive is a senior lecturer in English literature at Aston University.<\/em><\/p>\n Arabic, based on Sonnet 116<\/em><\/p>\n This freely available<\/a> short film expands on one of Shakespeare\u2019s shortest forms: the sonnet<\/a>. It riffs on Sonnet 116<\/a>, heard at countless weddings: \u201cLet me not to the marriage of true minds \u2026 admit impediments.\u201d Here, its Arabic translation provides both the back story to \u2013 and future hope for \u2013 an asylum-seeking couple in a same-sex relationship, Falah (Amir Boutrous) and Hayder (Waleed Elgadi). <\/p>\n The story of their journey by sea, and shots of a tossed-about paper boat reference the poem\u2019s sea-voyage imagery. Over 12 tense minutes, we hold our breath to see whether the Iraqi poet and his childhood beloved will overcome the impediments of religious conservatism, on one shore, and an apparently hostile asylum system on the other.<\/p>\n Sarah Olive is a senior lecturer in English literature at Aston University.<\/em><\/p>\n This article features references to books that have been included for editorial reasons, and may contain links to bookshop.org. If you click on one of the links and go on to buy something from bookshop.org The Conversation UK may earn a commission.<\/p>\n Sarah Olive does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.<\/span><\/em><\/p>\n","protected":false},"excerpt":{"rendered":" The future of Shakespeare may well lie beyond the English language. That was the striking message I took away from a talk by translation studies scholar Professor Susan Bassnett at the British Shakespeare Conference in Hull in 2016. Her point was simple but powerful: Shakespeare\u2019s works are likely to survive and flourish not only in […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-291","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/redzine.co.uk\/index.php\/wp-json\/wp\/v2\/posts\/291","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/redzine.co.uk\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/redzine.co.uk\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/redzine.co.uk\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/redzine.co.uk\/index.php\/wp-json\/wp\/v2\/comments?post=291"}],"version-history":[{"count":0,"href":"https:\/\/redzine.co.uk\/index.php\/wp-json\/wp\/v2\/posts\/291\/revisions"}],"wp:attachment":[{"href":"https:\/\/redzine.co.uk\/index.php\/wp-json\/wp\/v2\/media?parent=291"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/redzine.co.uk\/index.php\/wp-json\/wp\/v2\/categories?post=291"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/redzine.co.uk\/index.php\/wp-json\/wp\/v2\/tags?post=291"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}2. Otel\u00b7lo (2012)<\/h2>\n
3. Throne of Blood (1957)<\/h2>\n
4. Bhrantibilas (1963)<\/h2>\n
5. Rahm (2016)<\/h2>\n
6. To The Marriage of True Minds (2010)<\/h2>\n
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