Urban Space and Traveller as Modern Flâneur: A Case Study of City Films
https://doi.org/10.5281/zenodo.11105907
Author(s): Manojit Chanda
DOI: https://doi.org/10.5281/zenodo.11105907
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Volume 15 | Issue 2 | April 2024
Pages: 384-393
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The Criterion: An International Journal in English Vol. 15, Issue-II, April 2024 ISSN: 0976-8165
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Mapping Awadh’s History through Satyajit Ray’s Cinematic Adaptation of
Munshi Premchand’s Short Story ‘The Chess Players’
Dr Shradha Gupta
Assistant Professor,
Department of English,
RMP PG College,
Sitapur.
(Associated to University of Lucknow)
Article History: Submitted-01/03/2024, Revised-09/04/2024, Accepted-28/04/2024, Published-30/04/2024.
Abstract:
Satyajit Ray has undoubtedly been a towering figure in transnational cinema. His
unique way of dealing with the theme and capturing the nuances of Indian social scenario has
no equivalent. As one of the practitioners of Neo realism, he presented the Indian ethos with
accurate colours. Most of the films directed by Ray were adapted from the literary works of
Tagore, Bibhuti Bhushan Bandopadhyay, Prem Chand and sometimes from his own literary
creation like Feluda series. The present study aims to critically examine the cinematic
adaptation of Prem Chand’s short story “Shatranj Ke Khiladi” through historical perspective
Keywords: Film Adaptation, Orientalism, History of Awadh.
The critically acclaimed Indian director Satyajit Ray gained fame worldwide for his
masterful use of the moving image. Ray was born and raised in Bengal. He was a well-known
film director, screenwriter, essayist, lyricist, music composer, and illustrator. His classic works
include movies like Pather Panchali, Apur Sansar, Aparjito, Charulata, Pratidwandi, Jana
Aranya, Gana Shatru, Shatranj ke Khiladi, Sadgati, and Agantuk. He was a practitioner of
Realist cinema.
Satyajit Ray developed an interest in filmmaking after meeting French director Jean
Renoir and watching Vittorio De Sica’s 1948 Italian neorealist film Bicycle Thieves while
visiting London.
Vibhuti Bhushan Bandopadhyay’s Apu Trilogy served as the basis for Satyajit Ray’s
debut feature film. With new performers, he shot the movie in an outdoor setting. Viewers all
throughout the world responded well to his direction. Throughout his whole filmmaking career,
Ray produced 36 movies. Munshi Premchand, Bibhuti Bhushan Bandopadhyay, Rabindra Nath
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https://doi.org/10.5281/zenodo.11105883
Mapping Awadh’s History through Satyajit Ray’s Cinematic Adaptation of Munshi Premchand’s Short Story
‘The Chess Players’
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https://doi.org/10.5281/zenodo.10448030
Tagore, Sunil Gangopadhyay, and Prabhat Mukhopadhyay were among the writers whose
works were adapted for the screen by him. Enemy of the people, a play by renowned playwright
Henrik Ibson, was also adapted by Ray for his movie Ganashatru.
Ray had directed only two films in Hindi- ‘Shatranj ke Khiladi’ and ‘Sadgati’. Both
were the major short stories written by renowned Hindi writer Premchand.
Munshi Premchanda was renowned for his realistic portrayals of Indian society in his
works. Premchanda was a member of the Progressive Writers Movement. He is credited for
writing classics like Seva Sadan, Karmabhoomi, Godan, Gaban Nirmala, etc . Numerous short
stories in Hindi were also written by Premchand. His tales illustrated the widespread social
inequality in Indian culture. Premchand composed his stories in Hindi and Urdu languages
His story “Shatranj Ke Khiladi” (Chess players) narrates the tale of two nawabs,
immersed in the game of chess notwithstanding with the political upheavals. Shatranj Ke
Khiladi was first published in Madhuri Magazine. The story was set up in the historical
backdrop of Awadh province during the reign of Nawab Wajid Ali Shah. Premchand starts his
story:
It was in the times of Wajid Ali Shah. Lucknow was drowned in sensuality. The big and
small, the rich and the poor – all were sunk in it. Some were engrossed in dance and
music; some just revelled in the drowsiness induced by opium. Love of pleasure
dominated every aspect of life. In administration, in literature, in social life, in arts and
crafts, in business and industry, in cuisine and custom – sensuality ruled everywhere.
The state officials were absorbed in fun and pleasure, poets in descriptions of love and
separation, artisans in zari and chikan work, businessmen in dealings in surma,
perfumes and cosmetics. All were drowned in sensual pleasure
Through his narrative, Prem Chand demonstrates how Awadh culture and feudal system
were intertwined with hedonistic pleasures. Premchand goes on to describe the dire situation
in Lucknow. as : ‘From the king to the pauper – all were engrossed in these pleasures. So much
so, that if beggars received money in alms, they preferred to spend it on opium or its extract
rather than bread’
Ray captured this cultural vibe meticulously in his movie. A whole glimpse of city
yawning in the drowsiness, is sketched vividly. The shift focuses from the subjects to the ruler
Nawab Wajid Ali Shah who is projected as a disinterested king inclined towards literary and
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cultural pursuit. What Prem Chand depicted through words ; Ray could impressively display
that on screen. Since Ray himself was fascinated with the history of Awadh, he accomplished
a thorough research. It prepared him to document the rise and fall of Awadh empire with the
use of graphics. Whereas Prem Chand’s story was centred on the story of Mirza Sajjad Ali and
Mir Ali and their long stretches on the idle game of Chess, Ray expanded it to the history of
Lucknow gradually slipping from Nawab Wajid Ali Shah. The graphic representation of cherry
being consumed by Lord Dalhousie and the resident General Outram’s sarcastic attitude
towards Wajid Ali Shah are well depicted in Ray’s movie.
Ray in an essay on Charulata accepts that cinema has its language and grammar quite
different from the written medium. So, Ray provides a new dimension to the written story buy
infusing his own vision and direction.
Ray’s focus here goes beyond the text and delves deep into the context. For Ray, every
film was an adventure (Jindal) He had a keen interest in the history of Avadh during British
Raj. He had read Prem Chand’s story thirty years ago before deciding to adapt it into the movie.
Ray expanded the story of Meer and Mirza from their addiction to chess to the court of Wajid
Ali Shah. The game of chess becomes a metaphor of the British Political strategy.
The film starts with zooming in the pic of chess and its pawn being moved by the two
chess players with a commentary on socio-political scenario of Avadh in 1856 with British
overruling the Oudh and people immersed in hedonistic pursuits just like nawab of Oudh
province, Wajid Ali Shah Wajid Ali Shah inherited a kingship that was virtually bereft of
political power. In consequence perhaps, he was a devoted practitioner and patron of the arts,
especially music, dance, and poetry. Many notable compositions were created during his reign
(Markel). Prem Chand in his story limited himself to the indifferent attitude of Meer Roshan
Ali and Mirza Sajjad Ali to their socio-political environment and how their addiction to chess
disturbed their relations but Satyajit Ray’s main objective was to situate the story of Prem
Chand in a historical context of Lucknow. The first four scenes introducing Wajid Ali Shah
reflect the distinct shades of his personality- playing flute in Janmashtami followed by Shah
beating Tasha(drum) during Moharram Procession swiftly fading in to another scene showing
Wajid Ali Shah immersed in pleasures with his concubines and in the succeeding scene he is
shown in his court. (Shatranj Ke Khiladi, 5:46-6:53)
The discussion between General Outram and Weston about Wajid Ali Shah shows the
Western cultural hegemony over the Orient. Orient is political construct. Edward Said in his
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‘The Chess Players’
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Orientalism posits that orient is a political construct as the West in their discourses describes
the people living in non-European nations are static and undeveloped in order to prove their
cultural supremacy. European scholars underestimated oriental culture as orient is exotic,
enigmatic and uncivilized. The orient provides a stage on which western knowledge is
constructed. It hindered the real understanding of the orient culture.
Westen informs Outram about the life style of the ruler …as he offers Namaz five times
and then flies kites , attends the dance and also composes poetry (Shatranj Ke Khiladi 10:12-
14:51). If studied from a gendered perspective, Outram’s masculinity is contrasted with
emasculated personality of Nawab. As opposed to General Outram’s aggressive, productive
and pragmatic masculinity, Wajid Ali Shah was inclined to sentimentality, hedonism and
unproductive activities. He is derided by General Outram as effeminate king who is not suitable
to rule. Though Ray received criticism from some critics for delineating Wajid Ali Shah as
effeminate but Ray denounced their criticism on the basis of the extensive research, he
undertook in making the film.
General Outram was appointed resident at Lucknow in the year 1854 after Sulleman.
Sulleman had resigned from his post due to his ill health but the reports that is mentioned in
the film were Sulleman’s disagreement with King on various issues. (Jones, xv) Sulleman had
warned King against appointing musicians in the court . He succeeded in annexing Awadh in
his capacity in the year 1856. The perplexity of General Outram grows more with his encounter
with Wajid Ali Shah.
A scene where Wajid Ali Shah is enjoying Kathak performed by a female dancer, his
minister who is ordered by Outram to inform the King about the impending take over by
British, removing the king from his throne, arrives with grave emotions .Wajid Ali Shah says,;
‘Only Poetry and Music can bring tears to a man’s eyes’(Shatranj Ke Khiladi 53:06)
Soon after he receives the news the decree is passed that it is a rumour. Whosoever is
found spreading the rumour he would be punished.
In an elaborate scene King is shown in his varying moods from repentance to
indignation. He admits that he was not suitable to rule. “The fault was mine …it would have
been better if I had refused to sit on throne’. He recalls that though he was trying his best to
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rule he was disarmed by Richmond that he does not need to have his own army. (Shatranj Ke
Khiladi 1:01-!:07)
Wajid Ali Shah was a connoisseur of Arts and Literature. He himself was a poet and
would compose verses. He was the one who took Kathak to the great heights. Wajid Ali Shah
in a scene accepts that he has been an unfit ruler but he also posits some logical questions
before abandoning the throne. As Omendra Kumar Singh observes :
In order to invest Premchand‟s short story with a new meaning, Satyajit Ray in his
adaptation creates a new historical character in the form of Wajid Ali Shah. This new
character is then encrypted with the possibility of multiple interpretations as Ray
installs Wajid Ali Shah at the centre of his film.(Singh,168)
The refusal on his side for signing the treaty makes Outram puzzled. In a dialogue with
Dr Feyrar , Outram describes Wajid Ali Shah as a “ Bundle of contradiction” He sarcastically
describes him as “ a devout man who prays five times a day ,never drinks and in his harem
keeps a siren of regiment .The King dances, lusts his wives, plays tom tom and flies the kites
on the palace roofs and struts along the stage surrounded by frolicking nautch girls” He scoffs
at Wajid Ali Shah but Feyrar informs him that in the entire Awadh only he has refused to be
treated by an English doctor but prefers quacks . Outram hates the royal embrace and the
perfumes used by the king.( Shatranj Ke Khiladi 1:12-1:15) The entire scene in the film
substantiates the Western supremacy in their attitude and their construction of the others thus
Outram and Feyrar justify the colonization by mocking the lifestyle of the King and his culture.
Whereas Weston who serves as a British official and interpreter for General Outram
brings himself to synthesize with the culture as he can understand the language and poetry of
Wajid Ali Shah who would compose poetry by the name Akhtar. He has a positive attitude for
King and his incline towards the art and literature but Outram snubs him for appreciating Wajid
Ali Shah.
Wajid Ali Shah finally decides to descend from the throne and as Ray had shown him
singing few lines expressing his sorrow
When We are leaving the city of Lucknow
What should we say what we went through( …(Shatranj Ke Khiladi 1:30- 1:32)
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He further declares that before General Outram comes to visit him, the cannon should
be dismounted, soldiers should be disarmed and the people should not revolt against the British
forces. In the last scene of Outram’s meeting with Wajid Ali Shah, Ray has used the camera
zooming on the eyes of teary eyes of Wajid Ali Shah looking at General Outram and Weston
and both of them fail to respond. He unties his turban and hands it over to Outram but Outram
refuses it saying that it is of no use. Finally, Wajid Ali Shah refuses to sign the treaty of
annexation. Though he could not stop the British marching on Lucknow.
As Premchand writes in his story :
On the other side, the political situation in the kingdom was deteriorating every day.
The Company’s forces were advancing upon Lucknow. The city was in a great turmoil.
People were fleeing to the villages with their families. But our two players were
unconcerned. They came out of their houses and sneaked through narrow lanes, hiding
themselves from the eyes of the king’s men. They wanted to enjoy the benefits from
their Jagirs yielding thousands of rupees annually by doing nothing in
return. (Premchand)
Ray shifts the focus on the two nawabs who indifferent to this political upheaval,
remained engrossed in the game of chess. Ray here introduces a local adolescent Awadhi
speaking boy Kallu who reports them about the takeover of Lucknow but both remain
unconcerned and start tussle by highlighting their personal life. Ironically Meer Roshan Ali
who couldn’t dare fight against the British forces, fires on Mirza Sajjad Ali. Their collapsing
relationship takes a turn with Meer returning to Mirza repenting for his action. Ironically, he
was neither concerned for King’s exile nor for the disloyalty of his wife rather he was concerned
about his partner Mirza Sajjad Ali. As Chess is employed as a metaphor in the movie, the film
ends with the move by Mirza Sajjad Ali declaring sarcastically holding the pawn in his hand,
Prime Minister you get aside, queen Victoria is coming”
Though Ray transcreates the story of Premchand, As Linda Hutchinson, the pioneer of
Film Adaptation theory envisions Adaptation as a treansmedial process rather than a faithful
relationship a film respect a book. Satyajit Ray here in this adaptation liberates himself from
the confines of text and he situates the text in the historical context. Premchand ends the story
with Meer and Mirza killing each other as he writes: “They who could not spare a single drop
of tear for their king died defending their vazirs on the chessboard” (Premchand)
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Ray shows the impact of political turmoil on the two noblemen who could not see the
world beyond their chessboard. The game of the chess serves as an allegory in the entire film.
Satyajit Ray introduces a Hindu character Nand Lal who gives his insights about this game as
the game evolved and how it is played differently by English man Cullen of La Martinier
College. As he says
You are playing with Hindustani Rule
Is there any English rule ?
Yes , In English rule the prime minister is queen and pawn move two squares (Shatranj
Ke Khiladi 22:30-24:15).
Nand Lal conveys the news of British takeover of Awadh. Those self-indulgent
aristocrats are taken aback but Mirza Sajjad Ali cunningly explains the political strategies of
British that they need money from Nawab for warfare and other expenses. They extort money
from Nawab by threatening them that people are not satisfied with their rule. Nand Lal responds
that Residents are not going to settle the issue but rather they have intended to take the control
of Awadh but they hardly take that issue seriously.
The voice over technique employed by Ray gives the entire story a unique dimension. The
commentary infused with a bit of sarcasm leaves a lasting impact. The commentary in the
beginning serves as a commentary on the sociocultural scenario then in the middle commenting
on the annexation policy of Lord Dalhousie and finally a scathing sarcasm on the indifferent
attitude of people addressing Kallu, the local boy brimming with courage
You are right Kallu. There will be no firing .There won’t be any War. Wajid Ali Shah
would fulfil his promise. Three days from today on 7th February 1856 there will be
English rule on Awadh…(Shatranj Ke Khiladi, 1:51-1:51:56)
Ray apart from the depicting the east-west encounter through the elaborate portrayal of
Wajid Ali Shah and General Outram, also featured the female world though the female world.
The women characters in his films live in women’s quarter. They are imprisoned in their own
interiority. If compared to the male counterpart these women characters are shown more
pragmatic and more intelligent but devoid of any political financial and cultural agency. Jainab
Aalia the mother of Wajid Ali Shah shows her resent to the treaty of abdication and resolves to
see Queen Victoria. Her straightforward questions leave General Outram baffled. The wife of
Mirza Sajjad Ali though her name has been obliterated rebels against her husband’s obsession
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with chess and his insouciance for other affairs while Mir’s wife starts an affair with Sultan
when fails to get the attention from her husband.
Conclusion
Satyajit Ray did extensive research before undertaking this project of adapting this short
story written by Munshi Prem Chand. He delves deep into the socio -political context of Awadh
province. This film is an anti-colonial project of Ray. He offered a lense to people to witness
the history of British rule in India. Satyajit Ray was a humanist. He never hesitated to embrace
the changes which could make society become progressive but as far as colonization was
concerned, he always criticized it. Ray was an auteur who meticulously worked on his film. He
not only paid attention to the plot but also on the setting costume and music of the film. He
through this adaptation gave another life to Prem Chand’s short story. Ray’s Adaptation serves
as a historical illustration to the colonial history of Lucknow
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UMRAO JAAN: REVISITING HISTORY THROUGH FILMS.” Proceedings of the Indian
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Accessed 15 Oct. 2023.
Jindal, Suresh. My Adventures with Satyajit Ray: The Making of Shatranj ke khilari (The Chess
Players. Harper Collins, 2014.
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Manojit Chanda