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If a great artist is this great at his worst, one would need astronomical terms to describe his talent at its zenith. Get yourself a tissue and watch the scene now: The film, Playmates (1941), would be his last. It took less than a decade for the “wonderful accident” to seem more like a car crash, one which attracted the avid rubbernecking of audiences.Īs depression and alcohol ate away at Barrymore’s professionalism, his films, in the words of the astute critic Richard Schickel, “now offered a kind of horrified fascination-had the star slipped another notch, was he holding his own in his battle with this lingering illness of spirit or was he, as sometimes happened… actually rallying?” Despite the virtuosity of some silent performances, a few suave early 1930s leads, and his gut-busting comic bombast in Twentieth Century, Barrymore’s screen career devolved into painful self-parody.Īt the low point of his career, literally playing his washed-up self, Barrymore was called upon to deliver Hamlet’s most famous speech. When I left that movie house, I felt some magnificent ruby had been thrown into a platter of lard.” One has a similar feeling watching much of Barrymore’s filmography.Īttracted to Hollywood by the unprecedented money and the prospect of respite from the rigors of the stage, Barrymore wrote, in 1926, “The most wonderful accident that ever happened to me was my coming to this God-given vital, youthful, sunny place.” In the film Twentieth Century, Barrymore, playing hammy Broadway producer Oscar Jaffe, castigates his protégée for working in Hollywood: “Those movies you were in! It’s sacrilege throwing you away on things like that. To tell the full story of what makes that masterpiece manqué so poignant, I need to make a few detours through the story of an extraordinary life. Instead I base this praise on two short fragments: one is a bitterly ironic clip from a show biz parody, the other from a rare screen test for a film that never materialized.
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The waggish among you might make a crack about borrowing my time machine, because-duh-I’ve never seen Barrymore perform Hamlet onstage. Now, I’d get myself into a hell of a fight if I asserted that John Barrymore was the greatest Hamlet of the 20 th century, so, to be diplomatic, I’ll just argue that he was one of the greatest Hamlets of all time. I am fortunate in my chimera of choice, because a morsel of the project was realized and survives as a clip that every lover of cinema, of Shakespeare, or of great acting needs to see. The impossible possibilities dare us to imagine them, to make the movie in our heads, despite the knowledge that such a thought experiment will doubtless result in more pain than pleasure.īut what exquisite agony it is to imagine!
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These ghostly might-have-been films haunt us, tantalizing the director of the mind that lurks within all cinephiles.
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Finally, the paper presents a detailed comparative analysis between the source text (Hamlet) and the adaptation (Haider) to explore the various points of contact and departure between the two.Every film buff has his or her pet candidate for the Greatest Movie Never Made, from Sergei Eisenstein’s aborted An American Tragedy to Buster Keaton’s proposed Grand Hotel send-up to Sergio Leone’s dream of a Gone with the Wind remake. It opens with a brief introduction on the conception of the idea that brought Haider into existence and moves on to discuss the art of characterization, the political aspects of Kashmir in the adaptation, and the different dramatic devices that are being employed. The present research paper aims to analyze Hamlet and its adaptation in the light of comparative analysis. However, Bhardwaj has taken certain liberties to mould the story in his own creative style to cater to cinematic and commercial requirements. The eternal themes in Hamlet, such as betrayal, corruption, death, love and filial obedience, are beautifully woven with the plot of Haider. The horrors of Kashmir are reflective of the tragic elements in the original source text. Haider is a commendable fusion of a revenge play, Elizabethan drama and a Bollywood movie. With this film, Bhardwaj completes his trilogy of Shakespearean tragic adaptations. The element of tragedy in William Shakespeare’s Hamlet inspired Vishal Bhardwaj to come up with Haider.