Omkara (Bharadwaj, 2006)

[shariqq]

*ing:

Ajay Devgan	- Omi Shukla
Saif Ali Khan	- Langda Tyagi
Vivek Oberoi	- Kesu Firangi
Kareena Kapoor	- Dolly Mishra
Konkona Sen Sharma	- Indu
Naseeruddin Shah	- Bhaisaab
Bipasha Basu	- Billo Chaman Bahaar

I took only the masterline from Othello and sketched it from there on my own. I almost felt as if I had written it …only 400 years ago.- Vishal Bharadwaj

Haughty comment of a wannabe or simplistic fascination of an artist? A fairly new and art-house director with a star-cast to challenge any Yash Chopra production and an eight-figure production budget is not just a rarity in Indian cinema, but unheard of. What Vishal ends up delivering is highly-intelligent cinema with all the accessibilty of any major commercial release (akin to a Batman Begins as a summer movie). I can't resist quoting from my review of Maqbool:

Give Vishal Bharadwaj a solid pat on the back, and sit back waiting for his next movie. This man seethes brilliance in his film-making. His dialogues, his script, his music, and his direction - all are top-notch. This movie proves that Makdi was no fluke.

Omkara (Ajay Devgan) is a gang-leader in the semi-lawless state of Bihar. Bhaisaab's (Naseer's) election win promotes Omi, leaving his "Youth Leader" seat empty. In a logical political move, Omi selects Kesu Firangi (Vivek Oberoi) as his successor ignoring his loyal right-hand-man Langda Tyagi (Saif). Green with envy, Langda slowly poisons Omkara's mind against Kesu leading him down a path too dark for anyone's good. Kareena, Konkona & Bipasha play Omi, Langda & Kesu's love interests respectively.

The movie starts in the middle of an attempted wedding of a girl and carries on until she gets married. The events that transpire inbetween, the turns that different people take to affect her life and the eventual effect is Vishal Bharadwaj's unique Omkara. The title of his second Shakespearean movie went through a few changes before finally resting on his Othello equivalent. But this movie could easily have also been called "Dolly Mishra" or "Langda Tyagi". These three characters equally occupy our minds with their unpredictable fates and yet it is the triumph of Saif Ali Khan's powerfully vile performance that his limp Tyagi towers head and shoulders above anybody around him.

Vishal writes the Screenplay & Dialogues, composes music, sings and directs in just his fourth movie¹ yet which only strengthens the silent promise his is making to his fans of greater things to come. Missing are the escapist dream sequences and melodramatic dialogues that Hindi movies are generally associated with. He instead roots the movie in realism with even the song-and-dance sequences being what are existent in a real-world Indian lifestyle. Do be aware though : the setting of the story in rural north-India requires the vocabulary to be, and is therefore quite explicit in an authentic depiction of the conversational style of the said area.

Anyone who has followed Indian cinema since the 70s will note the clear influence in Vishal's work-style from his previous two movies. It does help to have this influence (Gulzar) as the lyricist of the movie and (my guess) a quiet advisor too. The most clear indication of this is in the dialogues and the style of sparesly sprinkled humour.

My only gripe with the movie was the language spoken by the characters. It is a mix of Hindi & Bhojpuri - something that is indeed spoken in Bihar. But this gripe is more to do with my short-coming in not understanding the language rather than a flaw in the movie.

If you have not seen an Indian movie in a Long time, this is the one to break your hiatus with.

1/2 out of

___________________________
1 - Vishal Bharadwaj has directed, in order, Makdee (original story), Maqbool(Shakespeare's Macbeth), Chatri Chor(Ruskin Bond's Blue Umbrella) and Omkara(Shakespeare's Othello). Chatri Chor remains unreleased although it has been shown in a few festivals around Europe.

[kaytee]

I thought you were not going to write a review for it till the completely sinks in you. Anyways good stuff, I shall be catching this on Friday and I shall give my comment then.

The language of the movie will be my problem too but Vishal does not care about us, he wants to keep the movie as authentic as possible and by the looks of it he has done just that.

[shariqq]

I thought you were not going to write a review for it till the completely sinks in you. Anyways good stuff

Thanks man. I just couldn't catch any shut-eye. So pulled up my chair, dipped my fingers on the keyboard and came up with something to atleast get all those thoughts out of me 

[X.]

With such high praise, how can I resist.

Be seeing "Omkara" soon and report right back here.

P.S. Are English subtitles attached to the release print?

[kaytee]

P.S. Are English subtitles attached to the release print?

Oh come on AK, Bhojpuri won't that tough a nut to crack once you can speak Gibberish.

Don't think there will be English Subtitles but I'm sure Arabic Subs will be there.

[fizz]

I had a difficult time understanding parts of what was being said in Lagaan. Is the language in Omkara any different/difficult?

[kaytee]

Honestly Fizz I think it will be much difficult. Lagaan was still a lot easy to understand atleast for me it was, but just from the trailers Omkara looks like the dialect would be a problem.
But I still think everyone who can speak Hindi shouldnt have much of a problem.

[shariqq]

The movie has Arabic subtitles only.

Fizz : don't stay away just because of the dialect. The literal meaning may be lost in a few places but the delivery of the dialogues is enough interpretation. Give it a watch man, just do.

You know what - maybe we could all watch it together?? I don't mind watching it again at all!

[shariqq]

Saif Ali Khan on his character and the movie:

There was this shot where I am in the shadows, looking at a mirror. My director suggested that it would be very artistic and beautiful if I did it naked. I said that I am prepared to do that as long as he directs me naked. He said he wouldn’t so that didn’t happen.
______________

The big deal was learning the lines and getting an authentic accent and body language. The look wasn’t exactly unique. A lot of people look like that. My effort was just to try and look authentic. Cutting your hair is no big deal, really. The media makes it sound like it’s the biggest thing. It’s really not. It’s just a hair cut.

[shariqq]

Last night [Thursday, July 27], the crème de la crème of the film industry had assembled at Yash Raj’s sprawling studio for a sneak peek into one of the keenly anticipated movies of the year: OMKARA. SRK came with wife Gauri, while Aamir walked in with wife Kiran.

Karan Johar was amongst the first to arrive, while Farhan Akhtar and Ritesh Sidhwani [DON] trooped in a few minutes later. Ronnie Screwvala, the head honcho of UTV, was present with Zarine Mehta and Ram Mirchandani.

Mani Ratnam made heads turn as he arrived for the screening. The normally reticent Mani rarely makes an appearance in the social circuit in Mumbai, so that indeed came as a pleasant surprise.

The glam quotient at the screening would put any Page 3 party to shame. Kareena Kapoor personally looked after her guests, which included Shahid’s father Pankaj Kapur and wife Supriya. Beau Shahid Kapoor joined them later. Priyanka Chopra arrived with her family – father, mother and brother.

Konkona Sen Sharma, Arbaaz Khan and Malaika, Sanjay Kapoor and Maheep, Neelam, Amrita Arora, Soham [KAAL], Bunty Walia [EK AJNABEE], Ramesh Taurani [of Tips], Ken Ghosh, choreographer-director Ahmed Khan, Niranjan Iyengar [writer of Karan Johar’s films] were there as well.

The intermission was like one big party, with the guests having a feast. Like a prominent film-maker commented, “We could breathe easily and watch the film at peace because [thankfully] no mediaperson was invited for the screening. Otherwise, could you ever imagine SRK and Aamir at their natural best?”

OMKARA received a standing ovation after the screening concluded. In fact, both SRK and Aamir remained seated till the very last frame of the rolling titles.

OMKARA producer Kumar Mangat and director Vishal Bhardwaj played perfect hosts.

[kaytee]

Here is an interview with the director -

It's the rare kind of film that has critics eagerly booking tickets in advance. Vishal Bhardwaj set the Shakespeare ball rolling with Maqbool, and the director now tells Raja Sen about his Othello follow-up, Omkara.

Where does the fascination for Shakespeare come from? You weren't a student of literature...
I was a total filmi kid who used to like Amitabh Bachchan's films. I was born and brought up on Vishwanath, Kalicharan and Amar Akbar Anthony. But, when I came in contact with Gulzar and saw his films, I realised Angoor was a brilliant adaptation of A Comedy Of Errors. Also, I wanted to touch a chord with international audiences, so there were many commercial considerations in my head. It was not for art or for literature.

But filmmaking came suddenly to you. As an established composer, what made you want to direct?

I entered the industry as a music composer, with Maachis. At the time, I knew I would only get success through music. I knew nothing about filmmaking. In the industry, everyone from the spotboy to the producer feels he is the best filmmaker in the country. But, somewhere, I knew I wasn't a filmmaker.

 I began going to festivals and getting exposed to international cinema. That's where I realized the power of cinema. After seeing [Polish genius] Krysztof Kieslowski's Dekalog, I went berserk and decided I wanted to be a filmmaker.


From music to direction must have been quite a transition, I can't think of any successful parallels. What was your next step?

Then, the study began. I started reading about direction, about screenplay writing. In those days, incidentally, I was travelling with a kid who was carrying a copy of Tales of Shakespeare, an abridged version for children. I happened to pick it up (laughs) and the first story I read was Macbeth. I found it so dramatic, so right. I wanted to make a film on the underworld, but a human story. Everything somehow fell into place with Macbeth.

And that led to more Shakespeare?

After reading Macbeth, I thought this was a work of genius! (Laughs) Who is this William Shakespeare? I then read all his plays and thought I could live my life making films on his plays. If you're even a little intelligent, you can't go wrong by adapting his work.


While Gulzar's Angoor is a very loyal and simplistic adaptation, your films add a contemporary layer.

Yes, because my intention is not just to adapt the play. My intention is to adapt it and make it look like an original work. After a point, I forget that Shakespeare has written this. I start believing that I have, 400 years ago, so it is my birthright to change everything. That's how I do it.

But there is still loyalty to the high drama, the structure. There are deft nods to the originals almost constantly.

Obviously, if I don't remain true to the spirit of the play, I'd be a fool. That is what has worked for the past 400 years. And the characters' names (smiles) are tongue in cheek; I mean, from Desdemona to Dolly Mishra, come on!

Why then isn't your Iago called Langda Tyagi? Where's the I?

(Grins) Iago, at one point in the film, is actually called Ishwar Tyagi. His name is Ishwar but, because he's lame, everyone calls him Langda. At one point, not everyone will notice, but some will catch Vivek calling him that -- 'kya Ishwar bhaiyya…' Konkona's arm also has her husband's name tattooed on it -- Ishwar Tyagi. It's not something that will visually register to most, but his name is definitely Ishwar.


Iago is the central protagonist, and a far more crucial character than Othello himself. Is that the case here as well?

Yes, because everything is done by Iago and everyone around him is being made a scapegoat. They are like puppets, and he is the creator. But the other characters are also interestingly done. For instance, in the original, Othello is too dumb; he believes everything Iago says. Here, he double-checks. So, I've made Iago even smarter, to counter those situations.


Is there any particular reason why it's set in Uttar Pradesh?
I wanted a violent backdrop, and I think UP and Bihar are states of abject lawlessness. Moreover, I am from that place, I belong there and know that dialect. These people have not been seen in our mainstream cinema – the characters of small towns, the little mafias, the street fights over girls – it's that crazy, Wild West kind of place.


Was this decision to stick to a hardcore dialect difficult for the actors?
It was. But that is why everybody worked so hard. Saif's job was a nightmare. I had given each actor a CD of their dialogues, in my own voice. Not only did Saif have the maximum dialogue, he also had the most idioms and expressions… The most meat was in his lines, and he took up that challenge. He started behaving like that even in real life, otherwise it wouldn't be possible.


Was this your ideal cast? It incorporates a lot of surprises, at least on the surface level. Kareena is a fine actress, but casting her as Desdemona is a bit of a jump. People are incredulous, and curious.

It was a challenge for me too, taking these mainstream actors and asking them to do such a great literary work. The thought of literature can be very intimidating. But Shakespeare's work is very entertaining, and deeply rooted in human psyche.


Do you like the experimental adaptations of Shakespeare, like the Baz Luhrmann Romeo & Juliet, the Akira Kurosawa Throne Of Blood? Or do you enjoy Kenneth Branagh's straight period adaptations?

I can't see the straight films. I find them very boring. The experimental stuff is amusing and exciting. Of course, Kurosawa was incredible. Making it a period film is no fun. It's more exciting to find the parallel for witches in today's time, to not make it supernatural. I wanted to bring my own identity, my own creativity to the project.


What are your overall cinematic preferences, in terms of world cinema and Indian cinema?

In terms of Indian cinema, if you really look at it, there really isn't anything to admire. Except, of course, Satyajit Ray. Then there are the kitsch films of the 70s, which hold great nostalgic value for me. I love Amar Akbar Anthony and Don -- those films were very true to the Indian genre, to their spirit. But, in terms of profound cinema, there has been very little. Only Gulzar has been able to achieve that, to bridge mainstream and sensible work together in Koshish, Parichay, Achanak, or the way he explores the man-woman relationship in Ijaazat. But Gulzar has never been very shocking; he is a poet at heart. So, I try to shock more.


So, do you prefer international filmmakers who make more provocative films?
I love all kinds of cinema, but my favourite remains Kieslowski. I have seen all his films and love them. Also, Kurosawa. My favourite director is Quentin Tarantino though -- I love Kill Bill. I can live on it. I love Pulp Fiction. And (Japanese director) Takeshi Kitano is a madman -- I love all his films. I want to go home right now and watch Kill Bill again! My fascination for Tarantino and Kitano, plus the poetic cinema of Kieslowski and Kurosawa -- the combination makes me a little different. Mine aren't just hi-fi arty poetic films, they have guns and blood and humour.


Did any of your A-list cast really surprise you?
The one person who surprised me was Kareena. With Saif, I knew he would pull it off, considering the kind of hard work he put into the role. My own unit members were scared about how he would do the role. After all, he has a very urban, lover-boy image and this character is rooted in a village and is a hardcore, creepy criminal. But I was always convinced Saif would do a great job.

Kareena was a big surprise. I didn't know she had such sensibility. For her age, she is very deep and sensible, and very sharp. She catches the nuances, and her concentration is superb -- very powerful and focussed. It is truly a rare combination of beauty and intelligence.


Were there any particular Shakespeare moments difficult to adapt in Omkara?

Othello was relatively easier to adapt. Macbeth was the tough one, because we took away the supernatural element and the ghosts. Here, the alterations were physical, from a handkerchief to a cummerbund… Othello is a more basic human drama.


Do you have a favourite moment in the film?

Many, many moments. But one is very special where Vivek is supposed to teach an English song to Kareena. She is a Hindi medium school, small town girl and she wants to learn a song for Omi. I didn't want to record it using a professional singer, so I asked Vivek to sing for me and he knew some songs. I appointed a guitar teacher for him and he taught him a few chords. We filmed that song live -- I just called to say I love you -- and I think it's a very cute, funny and entertaining moment in the film.


Will there be a Shakespeare trilogy? If yes, will you stop with the epic tragedies and maybe try a comedy?

Maybe. It all depends. I'm too tired now. After making one or two films, I'll come back to Shakespeare. By that time, lots of people may have adapted his plays. They're doing that now. I'll look at a great play that has been left unused, one I can interpret in my own way. Actually, even if someone has made Hamlet, I could still adapt it my way. Or I could take something like A Midsummer Night's Dream.


Do you think Omkara is a film for the masses? Will it work for your non-multiplex, non-Shakespeare moviegoer?

I think it will, because it has a hardcore humour and language, and the street characters have a lot of masala in them. The gist of the characters and the drama is very profound, but it is performed by the street folk, which is entertaining. My Omkara is a very vibrant, funny Othello.

[kaytee]

They have updated this webpage on Rediff. Now it features a lot of interviews and stories about Vishal's earlier movies. Quite interesting.

[kaytee]

Most of us have been raving about this movie and his director for so long that this project has even ignited interest in the people who rarely watch Hindi movies. But let me assure you that all the praise being given is fairly due and maybe more should be given.

Director Vishal Bhardwaj is very a courageous man. Having taking the risk of screenplay, direction, singer and music director is no easy task. So given the odds stacked up against him, does Bhardwaj give Othello/Omakara life? Yes. He definitely does.

As Shariq has already mentioned a gist of the proceedings of the movie I shall straight away go into my thoughts.

To start off, Saif Ali Khan is the chief player in the scheme of things. The movie could well have been called "Langda Tyagi". The actor delivers an exceptional performance that truly deserves awards. His every step and mannerisms oozes deceitfulness. The way he wraps his arm around the shoulder-strap of a rifle, the way he chews tobacco, the way he walks with a limp, the way he smiles his wily grin through his yellow teeth and the way he speaks the rustic UP dialect– all of it lends immense credibility to his character of the scheming Langda Tyagi. Moreover, Saif shows his command over hurling the verbal abuses (the most vulgar ones) in the most convincing accent.

The role of the reserved Omkara is tailor-made for Ajay Devgan, and he leaves no stone unturned in proving to us that he was the right choice for the role. Kareena Kapoor shows her acting ability in playing a role that has no glamour but lots of substance. She brings out the innocence and the weakness of her character. Konkana Sen is truly natural. Acting is in her blood. The only miscast in the movie is Vivek Oberoi who tries real hard to make an impact but falls flat in comparison to the towering Saif Ali Khan and Ajay Devgan.

Omkara will definitely put some people (particularly the family crowd) off because of the liberal use of the abusive language. Also the UP lingo of the dialogues may not go well with the moviegoers. The UP dialect was a huge problem for me too but despite that shortcoming the effect of the movie doesn’t change.

What you take away from Omkara is the knowledge that a classic script always has the power to move us, provided it is handled by a director who knows his craft, and actors who understand their job.

p.s. – The closing/ending scene of the movie was mind blowing for me.

An easy 4.5/5

[shariqq]

Good words there, kaytee. Glad you liked it too. But your point on Oberoi - I think he was 'adequately good'. His character is of an educated trusting simpleton, and he does do that. Nothing more can be done with that character than what he has. So although he doesn't come across as having done a great job, he does stick to character - he IS always Kesu Firangi.

They have updated this webpage on Rediff. Now it features a lot of interviews and stories about Vishal's earlier movies. Quite interesting.

Finally, the media realizes the value of this master filmmaker. The biggest advantage? Vishal's Blue Umbrella might finally get a distributor. 


EVERYONE : READ THAT VISHAL INTERVIEW kaytee POSTED.

I love all kinds of cinema, but my favourite remains Kieslowski. I have seen all his films and love them. Also, Kurosawa. My favourite director is Quentin Tarantino though -- I love Kill Bill. I can live on it. I love Pulp Fiction. And (Japanese director) Takeshi Kitano is a madman -- I love all his films. I want to go home right now and watch Kill Bill again! My fascination for Tarantino and Kitano, plus the poetic cinema of Kieslowski and Kurosawa -- the combination makes me a little different. Mine aren't just hi-fi arty poetic films, they have guns and blood and humour.

[sulphurhead]

i saw the movie as well. I liked it a lot, though i believe a large amount of the impact was lost because i don't understand that dialect naturally.