Omkara

It seems that Bollywood is coming of age. To tackle something like Shakespeare...is no mean feat and in Hindi...wow! Being a bit of a literati, I went into the movie hall, well armed with 'Othello' knowledge, ready to slam the film, however I was the one totally slammed.

Vishal Bharadwaj has done the unthinkable, like a druid has he imbibed the soul of the quixotic 'Othello:The Moor of Venice' into the heartland of rustic India. The process is almost like a heart transplant...a highly successful one nevertheless as 'Omkara' seems to throb with a restless energy that overwhelms the viewer. The nuances are subtle and therefore impactful. The dialogues are first-rate and the songs brim with bucolic poetry. 'O Saathi re' is one track that feels as refreshing as the country air. Performance-wise, Ajay Devgan as Omkara has outdone himself, Kareena Kapoor gives a kindred performance, her innocence is truly touching. Konkana Sen-Sharma is wan, like Emilia of the original and hence one enjoys watching her. Viveik Oberoi succeeds clearly because he's more sub-dued and not cantankerous (ref.Pyare Mohan). But it is Saif Ali Khan who packs a punch as Iago. Personally, my favorite Shakespearan antagonist is Iago and I'd have been devastated if hi character had been miscast. But while Saif's portrayal makes you cringe,(thanks to his rather realistic vileness); he also succeeds in making you feel contrite for the angst he exudes. All in all, the entire crew of the film deserves a pat on their back, because the more cultured can easily pick out and savour the multifarious thematic connotations of the film, the masses themselves will not feel alienated. This is Vishal Bharadwaj's true ingenuity.

Can Raw be Gorgeous ? Well here we have for that one rare spectacular treat. Vishal Bhardwaj visualizes and presents a mesmeric manifestation out of rustic, rural, and wild backdrop. Omkara is an adaptation from Othello, one of the four great tragedies written by Shakespeare that includes Hamlet, King Lear, and Macbeth. Vishal has made all possible efforts to recreate the magic of the powerful script and he has succeeded to a great extent. However he has changed background from one that at royals in Europe to pastoral countryside in western Uttar Pradesh. The movie has an extravagant treatment and every aspect from costumes to sets and dialect to music has been designed to near exactness. The beginning takes you straight into the heartland of India where politics and power equations are bread and butter of the inhabitants. The color of muscle-power, sex, and jealously makes perfect ingredients for a Bollywood potboiler. It surely have been a laudable effort by the filmmaker after depicting his genius with Maqbool in 2003 (another adaptation from Shakespeare's Macbeth).

Omkara stays true to its spirit, (the original word is a spiritual vibration from Sanskrit) it's an impersonal and formless representation of the absolute truth. Ajay Devgan playing the lead gives the right tone and shade to the character. His intense expressive eyes and deep throat say it all. It is indeed a quantum leap over his last negative portrayal in Ram Gopal Verma's "Company". He stays in focus from the first action sequence and the title song gives him a fitting introduction on the canvas. The whole drama revolves around his emotions and his weaknesses. His love interest in the film is played by Kareena Kapoor and to say the least she has been a complete revelation to watch. She looks stunning and emotes with ease in some very delicate parts of the show. Vivek Oberoi tries his hand again on some quality stuff after a string of flops recently but unfortunately he is one of the rare weak parts of this plot. He looked very vulnerable and the character never gave him an opportunity to come to the forefront. Konkona Sen Sharma is always full of surprises and her versatility is her strength. The variety of roles she does will be envy for any actor. She plays with simple elegance for a common house villager and without a doubt impresses one and all. Another high was from Bipasha Basu, playing a sultry siren and absolutely ignites the screen with couple of dance numbers. Apart from illustrating her well toned figure there was not much of performance meat in her presence. However the most sumptuous role was bagged by none other than brilliant Saif Ali Khan. He is the fulcrum for the whole movie and he is one who raises the bar of quality for many others around him. One could essentially feel the frustration and resentment in Saif's depiction. The way he hatches the plot and then makes his wicked moves one by one develops the much needed interest for the viewer. He is very slow to start with by staying in shadows of Devgan but then came the string of frames where he outclassed the former.

Omkara should well be appreciated for its technical brilliance. With bulk of shooting at Wai and Lonavala in Maharashtra, it would have been a real big challenge to structure an authentic North Indian village. The cinematography was sheer pleasure and many shots were so aesthetic that it felt like watching mesmeric work of art in motion. The frames were large and the theme of boisterous merrymaking was captured with meticulous vividness. The script is just right and director do not waste any reels on explaining irrelevant details. Though large hearted shower of local offensive words can get jarring for some audience. Music did not have much to do in this tight screenplay and the director could have done better without couple of songs. Although "Jag Ja Ri Gudia" composition sung by Suresh Wadkar is a pure melody and the veteran made his presence felt in crop of new singers. The song has special relevance with the storyline and thus goes along well.

All accolades to the director for feasting us on an outstanding cinema. He is a showcase of the new genre of Indian film makers and he has all his fundamentals in the right place. The movie leaves us with heavy thoughts and a lot to ponder in the end. It could have been very easy for anyone to go awry with such a radiant cast line but Vishal not only develops the individual characters skillfully but also creates the magic of making Raw look Gorgeous

Vishal Bhardwaj's 'Omkara' is a modern-day adaptation of Shakespeare's play 'Othello'. Set in rural Uttar Pradesh, the film deals with everything the original story dealt with, including morality, faith, doubt, love, betrayal and deception. Bhardwaj's direction is marvelous and his portrayal of the rural India is laudable. He skillfully captures the spirit of these wild hinterlands and their effervescent and simple people through his dark narrative style and brilliant writing. The film is very well crafted and is amazingly realistic thanks to the serious proceedings, the authentic dialogues, the simple locations, the lifelike situations and the roundly natural acting. Speaking of acting, I will not stretch it much and will say it straight: Saif Ali Khan did not only outdo everyone in the film, he outdid himself with his performance. As the manipulative Langda (Iago), he is unrecognisable, his dialect and body language are spot-on, and he easily pulls off a role no-one ever expected him to play. Konkona Sen Sharma equals his act totally, and though her part is relatively small, she is absolutely astonishing as the vivacious and sassy Indu (Emilia) and steals every scene she appears in. Again, her dialect and mannerisms were incredible. Kareena Kapoor is very pretty in her deglamorised role of Dolly (Desdemona) and her acting is excellent throughout. Vivek Oberoi is very effective. Ajay Devgan is good as Omkara (Othello) but is very disappointing mainly because though his is the central character, you almost forget about him at the end of the show. Bipasha Basu looks stunning and acts well but she hardly has a role to speak of. Other cast members do a fine job. The film's soundtrack, composed by Bhardwaj himself (another proof to his craftsmanship), is outstanding. My favourite songs include "Beedi", "Namak" and "O Saathi Re". The film's climax is thrilling and the ending is bittersweet, very tragic and sad but still conveys the irony and provides the much-needed catharsis. 'Omkara' is an interesting and artistic movie and truly a gem where Hindi cinema is concerned. I recommend.

I caught the first screening of Omkara, and I must say that I am astounded. Vishal Bharadwaj had previously carved a niche for himself in the industry, with the likes of Makdee and Maqbool, but Omkara puts him in a league of his own. It is an exquisite work of art, with each person putting in their best. Everyone knows Omkara to be an adaptation of Othello, and I frankly expected Omkara to be just that. At best, I thought it would be Vishal's homage to Shakespeare. I was terribly wrong.

Omkara is a poem in itself. Every aspect of the movie has the dedication and tenacity of the director stamped on it (considering he has handled direction, dialogues, screenplay, music, and even sung a song). The beauty of Omkara lies not in its portrayal of Othello, but the fact that it uses Othello as a platform to weave an intricate tale of love, obsession, treachery and tragedy. Yes, Omkara is an adaptation of Othello, but that is not the strength of the movie. The real strength of the movie lies in the performances of all the characters, and the gripping narrative. From the word go, Omkara has you by the crotch (pardon the usage), and lets go only after the last credits have rolled off.

Vishal's Omkara (Othello) is the chieftain of a band of outlaws in a semi-lawless rural area in Uttar Pradesh. His brother and right hand man is Langda Tyagi (Iago), named so for his limp. Another prominent figure in this gang is Keshu Firangi(Michael Cassio), the only member to have a college education. Omkara is in love with the bewitchingly beautiful Dolly (Desdemona), and she with him. At her behest, he and his gang interrupt her wedding and bring her to his village. In the village, Langda's wife Indu(Emilia) takes Dolly under her wing, becoming companion and friend. When Omkara appoints Keshu as the youth leader of the gang, Langda (who anticipated the post) feels jealous and overlooked, and seeks revenge by convincing Omkara that Dolly is having an affair with Keshu behind his back. For most part the story is the same as that of Othello, with just the background of each character adapted to suit the Indian temperament. Also, the language used a mix of Hindi and Bhojpuri, which adds to the aesthetics of the movie.

Ajay Devgan as Omkara ascends to new heights of emoting, using his eyes to convey so much more than he could ever say. The obsessive lover, the ruthless gang leader, a man eaten up by his inferiority complex and the doubts borne thereof, Ajay lives every moment of his character.

Viveik Oberoi is seen after a bit of a hiatus, and does considerably well. As the childlike Keshu, with his boyish grin and charm, you can't help liking him, and feeling sorry for him.

Kareena Kapoor has always been an actress to reckon with in my books, since her 'Refugee' 'Chameli', and 'Dev' days, and proves her mettle as the devoted and loving Dolly. Quality work from a largely underrated actress, proving that she's a lot more than the glam girl she often portrays.

The surprise of the pack was Bipasha, who does a considerably extended 'special' appearance and ample justice to her role as Billo, Keshu's love interest.

Neseeruddin Shah as the overlord Bhaisaab, is a treat to watch. To say anything more would take away from the essence of his performance.

Konkana Sen-Sharma as the simple, yet shrewd Indu is brilliance personified. With her natural accent and looks, she suits the role to a T. You instantly see in Indu a strong and loving woman. Be it as Dolly's friend, Lagda's wife, or as a bhabhi to the younger members of the gang, Konkana has the role down pat. Particularly endearing is her 'kheiin', akin to an 'arre'.

Each of these actors has portrayed their characters faultlessly, and no other actor could have done them better. Yet they all pale in comparison to Saif Ali Khan, as the cunning, devious, and calculating Langda Tyagi. This man is simply too good an actor. Sly and manipulative, his persona exudes pure evil,without even the stereotype evil laugh. His eyes strike a fear that resonates deep in your soul, and even hours after the movie is over,Langda is the character you keep thinking of, and is easily the pick of the lot. If Saif deserved a National Award for HUM TUM, then an award for this is a no-brainer.

Hats off to all the cast and crew members of Omkara, and to Vishal Bharadwaj, for creating this masterpiece of contemporary Hindi cinema.

• Suraj

PS- Watch out for the expletives used freely in the movie. They are a source of humour in themselves. :)

Traditionally in Bollywood you narrate fantasy and try to make it an art form, thankfully it doesn't work. Real life is harsh, as a nation we are in the first phase of seeing reality taking art form on screen. It used to happen before but sadly those movies used to get buried under the tag of "art movie". I think as a culture we tend to have a strong disdain for reality and we love flirting with surrealism of lowest standards.

Omkara would be a cult classic, like Maqbool, its for people who like to see smart cinema, yes cinema as in international cinema and not films. I don't think Othello is a subject that will go down well with "junta" they like singing, dancing, crying. Omkara has singing, dancing and crying, but it is similar to things in our lives. We don't like it, we like entertainment through escapism, surrealism and at times sadomaschoism. Thats Us, Indias, we are like this. It's not good, it's not bad. After weeks Omkara may not become a successful product, Omkara would be a successful Cinema.

The movie is a stand out from a technical point of view, you can count the flaws on two fingers which is exceptional for Bollywood.The creative team has achieved a new high, so congratulations to them.The movie fits well in the location, it has an authentic feel and associates nicely with he play.The rustic and rough feel of the movie nicely captures the ambiance, never for a moment things get too comfortable and I guess if you're surrounded by political mafias there can never be a real sense of ease about any thing.

I think acting from Ajay Devgan was a bit disappointing. I am not criticizing him maybe I was expecting too much, but sadly for me, he couldn't deliver anything new. You could always see shades of his character from Yuva and Apaharan. I kept wondering isn't Omi the same guy? I mean same stare, same approach, even the same way looks into the eyes of his lover. Strange. But overall I think in context of the story he has done a wonderful job. He's been solid and that does it for the movie so you cant be critical of him. Kareena Kapoor has been made to look really good, thanks to director. It's good to see she is improving. Konkona Sen, she is a beautiful actor a genuine talent. Sadly she was a bit wasted in a limited screen time but had emphatic presence. Vivek Oberoi, sadly he lost out. He did his usual boy-next-door-charm but you never felt for his character. He looked more idiotic than brave and loyal, not for a moment you could sympathize with him while he was being victimised. Vishal hid him very well in the script. Naseer Sab was good. He is too big now for such roles and he managed to give credibility to this character.

The soul of the movie is Saif Ali Khan. I think since DilChahta Hai he's shown that he is one Indian actor who is ready to imply world standards to his approach and methods. His work ethics have been fantastic. I respect him for that. Personally I think Langda Tyagi is the most inspired performance since Paresh Rawal's Sardar. In between I can't think of any actor getting in the soul of a character like this. He did in this movie what Pankaj Kapoor did in Maqbool with Abba Ji, which is to re-invent how a character is portrayed, it can only be achieved by legends. Langda is a bit of Jack Sparrow and Bill the Butcher at the same time, which means quality. The best thing was, for the entire movie Saif killed himself to become Langda. When he called SMS "assum kar dena" in Car with Omi that sealed it for him.

It wasn't an easy task following Maqbool. Vishal has done an absolutely incredible job in stretching his high standards. He is a certified genius now, a rare breed, a original of the species. His story telling, dialogues, the whole presentation was flawless. I am sure those who are not familiar with Othello will have a different view. But I don't see how could have Othello be re-worked better as a movie. It's a tragedy so the end was glum and depressing. I am impressed and awed by Vishal Bharadwaj's work. He stuck to his beliefs and made a movie that he wanted to make never bothering about crowd, money or critics. It rarely happens in Bollywood. Kumar Mangat should also be thanked for encouraging him and giving him his space. Right now Vishal Bharadwaj is the best, much better than Pretentious Leela Bhansali. Take a bow for giving a Classic of International Standards.