A clash between Sultan (a Qureishi dacoit chief) and Shahid Khan (a Pathan who impersonates him) leads to the expulsion of Khan from Wasseypur, and ignites a deadly blood feud spanning three generations.
A slumdog named Chandu teams up with Malik, a low-level enforcer for a criminal syndicate. Together they eliminate all their enemies, becoming the most feared gangsters in Mumbai before jealousy and anger turn them against each other.
Macbeth meets the Godfather in present-day Bombay. The Scottish tragedy set in the contemporary underworld of India's commercial capital; two corrupt, fortune telling policemen take the ... See full summary »
Advocate Raghunath Mishra has arranged the marriage of his daughter, Dolly, with Rajan, knowing fully well that Dolly loves Omkara Shukla. Before the marriage could take place, the groom's party is attacked, they flee, and Dolly is reportedly abducted. Raghunath is able to trace Dolly to Omkara, a criminal and hit-man, a verbal confrontation ensues until Politician Bhaisaab telephonically intervenes, and a crestfallen Raghunath faces the reality that Dolly was not abducted but is here with Omkara by her own free will. He warns Omkara, and departs. Shortly thereafter, Bhaisaab is shot at and wounded, announces that Omkara should stand in the next election, and as a result, Omkara appoints one of his lieutenants', Keshav Upadhyay in his place as the 'Bahubali". Omkara realizes that he may have blundered in having Keshav succeed him, as Keshav is unable to control his temper when under the influence of alcohol, which puts him in the bad books of Omkara. Then Omkara suspects that Keshav ... Written by
The title of the film, "Omkara", was decided by a contest that was open to the public. Three names were shortlisted for the title and the general public voted in by SMS to choose their favorite. The selected names included "Omkara", "O Saathi Re" and "Issak" (the western UP pronunciation of the word "Ishq"). The public voted overwhelmingly in favor of "Omkara". However, all three of the possible titles are songs on the soundtrack ("Issak" being another name for the song "Namak"). See more »
In the scene where Omkara brings Dolly to his house for first time, Indu runs into the house with a sickle in her hand, but the sickle is missing when she is in the house. See more »
A thin line separates a fool from a fucker. On one end of the line lies the fool and on the other, the fucker. Snap the line then who's the fool and who's the fucker that's the million dollar question, my friend. Let's just see the pretty groom. I'll be damned. You are a fool, right?
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One of the questions that the director and the scriptwriter have to deal with when making a film adaptation of a classic is that of balance. One would like to remain true to the original story, yet each medium has its own modes of expression and a literal translation of a story would usually result in a long, incoherent, and ultimately powerless film. "The trick is," as director Trevor Nunn says in an interview about The Merchant of Venice, "to make a completely new piece of work while preserving the original piece of work." And Omkara, Vishal Bharadwaj's adaptation of Shakespeare's Othello is that rare beast. It is stunningly true in details and spirit to the original play (despite the substantial changes necessitated by transferring medieval Europe to modern day Bihar) and also be one of the finest Hindi movies made in recent times.
The reason for Shakespeare's huge popularity and general regard as one of the greatest playwrights ever is the timelessness of his themes- love, relationships, race, class, gender, jealousy, hatred, betrayal and death. He created unforgettable characters who remained people we can relate to. The basic premise of all his plays is usually simple. Shakespeare was a master who wrote for everyone, a fact that is sometimes forgotten by those intimidated by his high-brow reputation. And Omkara stays true to that spirit by making no attempt to intellectualize itself. The characters are crude and their language is coarse, in a way that compliments the feel of the film perfectly. Some of the elements of the film are deliberately over-the-top or violent and the scene in which Omkara smothers Dolly is extremely long and vivid; it is to Bharadwaj's credit that he turns this lack of subtlety into an asset. Indeed Omkara couldn't have been made any other way.
The acting throughout the film is splendid. Saif Ali Khan, in particular, is extraordinary as the wily, manipulative Langda Tyagi. Khan is one of the most versatile actors in Bollywood and it hard to believe this is the same guy who so brilliantly played 'Sameer' in 'Dil Chahta Hai'.
And oh, the ambiance! Bharadwaj creates the perfect setting for the film with a combination of great music, wonderful cinematography and a relentlessly dark atmosphere. This is a director who knows what he is doing and is a master at it.
I could go on and on about 'Omkara' but probably it is best that the reader go and judge for himself. A word of caution though, Omkara is not for the weak-hearted.
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