Omkara Reviews

Omkara : Review
29th July 2006 01.45 IST
By N. K. Deoshi, ApunKaChoice.com


In spite of its rural setting, Vishal Bhardwaj’s movie Omkara is very Shakespearean to its core.

The film stars Ajay Devgan , Saif Ali Khan , Kareena Kapoor , Vivek Oberoi , Konkana Sen Naseeruddin Shah and Bipasha Basu .

Seen purely as an adaptation of the English bard’s ‘Othello’, ‘Omkara’ is a work of cinematic brilliance, translating and transforming with conviction the characters of Shakespeare’s book into the Indian milieu. But those who haven’t read and don’t know about ‘Othello’ would find ‘Omkara’ an average film about a man who, poisoned with jealousy, kills his own lover and, later, himself.

The movie begins exactly where the Shakespeare’s book does – a conversation between Langda Tyagi (Saif Ali Khan) and Rajan, who is on his way to marry Dolly (Kareena Kapoor). Langda tells Rajan that his chief Omkara has abducted Dolly.

In truth, Dolly has eloped with Omkara (Ajay Devgan) after falling in love with him.

Drama brews up when Omkara chooses Kesu Firangi (Vivek Oberoi) as his successor. Langda Tyagi, who was hoping to become Omi’s second-in-command, is filled with envy. He takes Rajan under his wing and plans to create a rift between Omi and Kesu.

First, Langda gets Kesu drunk and involved in a brawl. Kesu’s behaviour angers Omkara. Then he poisons Omi’s mind with well-crafted lies about a possible affair between Kesu and Dolly.

But Omkara wants an evidence to clear away his doubts that Dolly is being unfaithful to him. That evidence comes in the form of a cummerbund that Omi had given to Dolly. Langda gets his wife Indu (Konkana Sen) to steal that cummerbund and later gives it to Kesu.

When Omi sees the same cummerbund with Kesu’s mistress Billo (Bipasha Basu), his fears are confirmed. Blinded by jealously, Omkara destroys his own world.

Although the title suggests that the tragedy belongs primarily to Omkara, Langda Tyagi plays an undeniably important role in the story. For one, he speaks more lines than Omi. It is also Tyagi who manipulates all other characters at his will, trapping them in an intricate net of lies.

So that sort of makes Saif Ali Khan the chief player in the scheme of things. The actor delivers an exceptional performance that truly deserves an award. His very gait and mannerisms ooze deviousness. 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 choicest of verbal abuses (the most vulgar ones) in the convincing accent.

The role of the reticent, simmering-within Omkara is tailor-made for Ajay Devgan. Kareena Kapoor once again shows her acting prowess in playing a role that has no glamour but lots of substance. She brings out the innocence and the vulnerability of her character. Vivek Oberoi fits Kesu Firangi’s part well. Konkana Sen is truly natural. Acting is in her blood.

‘Omkara’ may put off some people (particularly the family crowd) because of the liberal use of the abusive language. Also the UP lingo of the dialogues may not go well with the moviegoers in the cities.

But, having said this, the film does make for an interesting watch. It is sprinkled with moments of humour, violence, song n’ dance and drama. The movie’s end is a bit too tragic.

Also, those who don’t know Shakespeare’s Othello may not catch the significance of certain things and situations in the film – the importance of the cummerbund, the use of mobile phones (instead of voiceovers in Othello), the half-brahmin caste of the protagonist, the revelation by Langda Tyagi to Omi about Kesu’s mumblings in dreams, etc.

Vishal Bhardwaj has made a laudable attempt at adapting a literary work that was written around 400 years ago. But seen apart from Shakespeare, the movie is an average flick that tells a story which many can relate to, but may not be impressed by.

Encore!

Mayank Shekhar, Mumbai Mirror

Film : OMKARA
DIRECTOR: Vishal Bharadwaj
ACTORS: Ajay Devgan, Saif Ali Khan, Kareena Kapoor
Rating : * * * *

It was the February of 2004. My friend and I had just walked out of the last show of Bharadwaj's Maqbool, decidedly on our way home to crash early. A few exchanges on the film later, we found ourselves parked on the Internet for almost the entire night, going through the script of Shakespeare's Macbeth, marvelling at how the play and its characters had been brilliantly adapted and enacted to fashion an entirely separate milieu and magic at the movies. On hindsight, my only issue with Maqbool was its inconsistent location, where you couldn't quite tell whether Don Abbaji's Mohamed Ali Road mansion, or his consiglieri's desert fort, was in fact Mumbai and its underworld.

The settings largely fire up the screenplay of Bharzdwaj's latest Shakespearean ode, a robust, transmuted version of Othello. It's quite clearly the first aspect you note as the films starts off with a heavily intonated colloquial Hindi dialect that takes a few minutes of getting used to, much like Shekhar Kapur's Bandit Queen. Perhaps sub-titles would not be a bad idea, just to grasp every incredibly uninhibited, homey dialogue in this film.

We're placed at a barren, Brahmin-dominated hamlet in eastern Uttar Pradesh, which is pretty much the political fiefdom of a local mafia-leader (Naseeruddin Shah), who promotes his chief-lieutenant Omkara, or Omi (Devgan), as a candidate for the State Assembly. This leaves a coveted position vacant in the outlawed enterprise's hierarchy, which has two contenders. Omi chooses a suave Kesu (Viveik Oberoi; terribly out-of-form) over an uncouth Langda (Khan; finest role sketched for a mainstream movie-star lately). Left alone to lick his wounds, nurse an obsessive sense of omission, the cunning Langda plots to plant seeds of jealousy in Omi's head, over a fictitious affair between Omi's innocent, virtuous fianc� Dolly (Kareena; looks the part), and Kesu, who she's known since college. The wily villain succeeds in his design, craftily employing his wife (Konkona Sen-Sharma); Dolly's disgruntled ex-fianc� Deepak Dobriyal (most natural actor of the lot); and Kesu's crush, nautch-girl (Bipasha Basu) as unaware pawns.

Various adaptations of Shakespeare's massy, entertaining plays that delve into basic human emotions have often taken the form of personal interpretations when performed on stage or screen in modern times. For instance, a popular debate over Othello is if the protagonist (Omkara here) was necessarily an unlikable evil man, or just an unwitting puppet. For, Iago (or Langda) manages to influence his master only because he is always willing to be influenced. Another discussion in fact often comes up over the motivations of Iago, and if he merely meant to get even with Cassio (Kesu).

Successive drafts of Bharadwaj's clever script could have revealed more individual detailing to his characters, besides that Omi is a lesser suitor for Dolly (or Desdemona) because he is half-Brahmin. (as against Black)

Where the film, mostly photographed in long-shot, appears an immaculate achievement is how it sticks to the basic, strong narrative, inhales life from the Indian hinterland, and exhales an earthy, electric drama, aided by a strikingly situational soundtrack (Bharadwaj), and above-average acting. That makes it an object to cheer for, at a time when Mumbai's popular cinema only seems to oscillate between bunkum legends of London and Lokhandwala.

The taste of certain puddings is in its second helping. This is my firm theory, and it holds true for several films, especially ones that appear with a burden of hype. After the all-night affair with Macbeth two years ago (I barely remembered the play from school), I went to catch Maqbool again, enjoyed it more; and maybe for its theme that was absolutely novel then, I'd still rate it marginally higher than Bharadwaj's take on Othello. Yet, Omkara undoubtedly stands tall as a solid, worthy successor to Maqbool. I suggest you catch it twice.

OMKARA IS A GOOD FILM BUT A BAD ENTERTAINER
By Pankaj Shukla - Eye TV India Bureau
Smash Hits.com

To make film on literature and still be loyal to cinema is not an easy task. Lyricist Shailendra put his all money on the story 'Maare Gaye Gulfam' of Fanishwar Nath Renu to make 'Teesri Kasam', the only film he made as a producer and died of heart attack after it collapsed at box office. But, Sanjay Leela Bhansali won accolades worldwide when he just took the characters of 'Devdas' by Sharat Chandra and made them look modern in his film of the same name.

And, now music director-turned-film director Vishal Bhardwaj attempts the litmus test by trying his hands on 'Othello', the famous drama by none other than Shakespeare. And, this is his second take on Shakespeare after the famous 'Maqbool' that he made on Macbeth. Many people in India as well in the West have tried to build a bond between literature and cinema, but after watching 'Omkara' claimed to have been made on Othello, one feels that the directors better leave literature for its identity, if they are going to make films like these.

First, it's a warning for those who are planning to watch 'Omkara' at the weekend with their families to refrain from doing so. 'Omkara' is agood film if you watch it in the absence of your family members. It's like 'Bandit Queen' revisited where expletive words and dialogues pour in and cross all the limits of decency. For me, I never expected this from Vishal Bhardwaj. And, if Vishal thought that adding these kinds of words is the only way to attract public attention, then he is letting down the entire cast.

'Omkara' moves around Ajay Devgan in the title role. He is 'Othello' of Vishal. He runs a gang of hooligans who control the mob with their muscle power. Omi referred as Omkara in the entire film has two trusted lieutenants: one is Kesu Firangi (Vivek Oberoi), the Casio, and other is Langda Tyagi (Saif Ali Khan), the Iago. As Othello does in the original novel, Omi awards number 2 position in his gang surpassing Langda Tyagi. Tyagi is too devoted to Omi. He cannot digest the fact that Keshu has beaten him in the race of loyalty.

From here Tyagi changes completely and he plans to make life of Omi and Keshu hell. Enter Emilla alias Indu (Konkana Sen Sharma), Tyagi's wife, and he hatches a plan that will sow the seeds of mistrust and jealousy between Omi and Keshu. And for this he makes Desdemona alias Dolly (Kareena Kapoor) his target. Tyagi makes Omi believe that something is cooking on between Keshu and Dolly. The chosen target is hit with a right bang and Omi's anger is about to erupt as a volcano, but he puts a lid on this and the anger seeps out in parts but more dangerously.

As a film 'Omkara' is a masterpiece, but as an entertainer it is not. The film is worth watching for its craftsmanship but not many in the cities of Mumbai, Bangalore and Kolkata will co-relate with the language of the happenings. Vishal Bhardwaj has worked hard on the script with the help of Robin Bhatt and Akash Khurana, but the end result is not as encouraging as it could have been. Maybe the trio was very much influenced by 'Bandit Queen', but they must know how the gang lords of western Uttar Pradesh talk.

They do abuse each other but not like this and women do not use such a filthy language at least with their near and dear ones. Minus the filthy language, 'Omkara' could have been a treat to watch. Having scored already on music tracks, the film got very good opening in the first show, but the word of mouth bad publicity brought the attendance down to nearly sixty percent in the evening shows. 'Omkara' also scores at the creative level in art department and the costume section too needs to be appreciated. Each character in the film is given a different look and the feel. Costumes are apt too.

'Omkara' will also be remembered for fine acting by its cast. This is rare that the entire cast works in tandem and supports each other. If Ajay Devgan shows the vulnerability and task mastery in the role of Omi, it's Saif Ali Khan who in the role of Langda Tyagi complements Omi's character with his evil designs. Saif and Ajay have worked before in 'Kachche Dhage' too, and this pair can be deadly on screen for sure. Vivek Oberoi after a long gets a role that suits his personality and reminds of Chandu Nagre while doing Keshu in 'Omkara'. Kareena Kapoor as a village belle who performs well and looks ready to do everything to get a place in the different cinema. Bipasha Basu is there as a bonus for the viewers.

However, the lady who lasts even after the film is over is none other than Konkana Sen Sharma. She is just superb, be it making the cow dung cakes or taking part in the evil works of her husband. The film has all the north Indian ingredients to make it work in at least in U.P and Bihar. But why the people will come to theatres to see what they watch daily is a question Vishal should have posed to himself before attempting on the look and feel of 'Omkara'. On the whole, 'Omkara' will be remembered as another good work by a brilliant director, but it may not find a place in the hit films of the year. Take care, Vishal if you attempt to make 'King Lear' in future!

Reinterpreting Bard Omkara style
Rajeev Masand
CNN-IBN
Posted Friday , July 28, 2006 at 22:35
Updated Friday , July 28, 2006 at 22:50 Email Print
Cast: Saif Ali Khan, Ajay Devgan, Konkona Sensharma, Kareena Kapoor, Bipasha Basu and Naseeruddin Shah


Direction: Vishal Bharadwaj


The film we've been eagerly waiting for is finally here. Vishal Bharadwaj's Omkara, the director's adaptation of Othello set in the Indian heartland is at our screens this weekend.


It is the effortless manner in which Vishal places Shakespeare's tale of friendship, jealosy and betrayal in this rural setting that is truly imaginative.

Ajay Devgan plays Omi Shukla, the leader of a group of outlaws in Uttar Pradesh who chooses faithful accomplice Kesu (played by Vivek Oberoi) over crafty Langda Tyagi (Saif Ali Khan) as his chief lieutenant.


This sparks off a vengeful streak in Langda Tyagi who hatches a plot to falsely implicate Kesu in an affair with Omi's girlfriend Dolly, played by Kareena Kapoor.


As is true of any good film, Omkara too works largely because the story is immensely engaging.


Since you're familiar with the source material, you pretty much know how the film's going to end, but it is to the credit of writer-director Vishal Bhardwaj that he weaves an interesting yarn and creates relateable characters for you to make the journey with.


Turning Othello's, Iago, Desdemona and Casio into Omi, Tyagi, Dolly and Kesu, he stays faithful to the Bard's basic premise and interprets the main characters accordingly.


In fact, it's fascinating how Vishal casts against type but draws magnificent performances from most protagonists.


The film's rural backdrop naturally demands that dialogue be spoken in the local dialect, and although the actors speak their lines comfortably and use swear words freely, the dialect is often difficult to follow.


In fact, I think that's the only thing that jars in Omkara, apart from its leisurely pace.


At some two hours and thirty minutes, the movie is far too long. But where Vishal scores big points, is in the imagination department. Who else would have thought of filming a gruesome action scene to a song?


In Omkara, the first real blood-splattered action piece is filmed as the title song, as is another early scene where Dolly testifies her love for Omi in the presence of her father.

Perhaps it is the fact that Vishal combines his skills as a composer and a writer-director that results in such original and imaginative ideas.


Of course at the heart of Omkara are its actors who add colour to Vishal's palette.


Ajay Devgan as Omi is suitably stylish and conveys volumes through his eyes. Konkona Sensharma proves she is unlike any other as she blends convincingly into the canvas, never once attempting to outshine the protagonists. Bipasha Basu is brought in to lend oomph and she succeeds in doing just that.


Vivek Oberoi, unfortunately the only one saddled with a loosely-written role, seems ill at ease doing little else but standing around while the others steal the limelight.

Meanwhile, Kareena Kapoor is a revelation, making her ever moment on screen truly memorable. She gives Dolly depth and meaning as she alternates beautifully between playful and pained.


The star of the show is undoubtedly Saif Ali Khan who just becomes Langda Tyagi. Gone is the actor's boyish charm, gone are his stylish touches. Instead you get a foul-mouthed, spiteful cad who just controls the dynamics of the story.


This is easily Saif's most difficult role yet and he performs it remarkably.


In complete control of his devices, Vishal Bharadwaj rarely loses his voice as he sets out to re-interpret the Bard once again after Maqbool, his spectacular take on Macbeth.


He delivers a credible film in Omkara, a movie that's way above the ordinary, a movie that's earnest and well-intended.


So that's three out of five and a thumbs-up for Vishal Bharadwaj's Omkara, the kind of entertainment you're not likely to find too often in our local cinemas. This is one time Shakespeare won't turn in his grave.


Rating: 3 / 5 (Good)

Review: Omkara..
Nikhat Kazmi
[ 29 Jul, 2006 0228hrs ISTTIMES NEWS NETWORK ]


Rating: ****

Cast: Ajay Devgan, Kareena Kapoor, Naseeruddin Shah Saif Ali Khan, Viveik Oberoi, Konkona Sen Sharma, Bipasha Basu

Direction: Vishal Bhardwaj

Uncle Shakespeare wasn't a genius just like that. If you think of some of the landmark adaptations of his plays on celluloid and on the stage, you will realise that his was a creativity which kickbutted a swirl of creativity in contemporary cinema and theatre.

Akira Kurosawa gave us a Japanese Macbeth, Baz Luhrmann gave us an Australian Romeo and Juliet, Gulzar gave us a Bollywoodian Comedy of Errors, Vishal Bhardwaj gave us a Mumbaiya Maqbool...

And now, Vishal Bhardwaj gives us an Othello that crackles with a heady indigenous native flavour drawn from the wild hinterlands of Uttar Pradesh where rogues and thugs write the rules of politics with the bullet and the bandook.

And yes, Vishal lives up to the Bard. For not only does he skilfully capture the netherworld of the human psyche — those ambiguous grey areas of conventional morality — which formed the playground for Shakespearean drama, he manages to lift the bar of Indian cinema with his unique adaptation.

Here's a film that breaks the conventional mould of Bollywood into smithereens and does it with a panache that encompasses all departments of film making. Vishal has taken the usual Bollywood actors and sculpted their make-over like no other director.

Of course, Ajay Devgan has already displayed the depths of his calibre in films like Gangajal and Apharan. Konkona too has carved a comfortable niche for herself in meaningful cinema.

But it is actors like Kareena, Bipasha, Viveik who mesmerise with their change-of-image chutzpah. As for Saif Ali Khan, it's truly Salaam Namaste! For here's a metamorphosis that is completely mesmerising.

Saif's rendition of the foul-mouthed, scheming Langda Tyagi creates an Iago that is completely Indian. And human. You hate him and love him in the very same breath, because jealousy, ambition and greed is your bete-noire too.

The plot is quintessential Shakespeare. Bhaisaheb (Naseeruddin Shah), the ruling politician-cum-don anoints his henchman Omkara (Ajay) as his successor in the Assembly.

Omkara, on his part, anoints the English-speaking Kesu (Viveik) as his successor (Henchman No 1) in the party. This enrages the third player, Langda Tyagi (Saif) who plots a revenge that would not only sour Omkara's love story with the beautiful Dolly (Kareena) but also exterminate rival Kesu as well.

The treatment is absolutely original. From the rustic flavour of the dialogues to the folksy lyricism of the music, the raunchy dance numbers, the mofussil setting and the riveting climax: Omkara is a well-garnished, aesthetically appeasing platter of stylish Bollywood at its creative best.

And yes, kudos to the Censor Board for dusting the cobwebs of its walls and coming of age. No blips, no cuts, just an A certificate.

Review: Omkara..
Nikhat Kazmi
[ 29 Jul, 2006 0228hrs ISTTIMES NEWS NETWORK ]


Rating: ****

Cast: Ajay Devgan, Kareena Kapoor, Naseeruddin Shah Saif Ali Khan, Viveik Oberoi, Konkona Sen Sharma, Bipasha Basu

Direction: Vishal Bhardwaj

Uncle Shakespeare wasn't a genius just like that. If you think of some of the landmark adaptations of his plays on celluloid and on the stage, you will realise that his was a creativity which kickbutted a swirl of creativity in contemporary cinema and theatre.

Akira Kurosawa gave us a Japanese Macbeth, Baz Luhrmann gave us an Australian Romeo and Juliet, Gulzar gave us a Bollywoodian Comedy of Errors, Vishal Bhardwaj gave us a Mumbaiya Maqbool...

And now, Vishal Bhardwaj gives us an Othello that crackles with a heady indigenous native flavour drawn from the wild hinterlands of Uttar Pradesh where rogues and thugs write the rules of politics with the bullet and the bandook.

And yes, Vishal lives up to the Bard. For not only does he skilfully capture the netherworld of the human psyche — those ambiguous grey areas of conventional morality — which formed the playground for Shakespearean drama, he manages to lift the bar of Indian cinema with his unique adaptation.

Here's a film that breaks the conventional mould of Bollywood into smithereens and does it with a panache that encompasses all departments of film making. Vishal has taken the usual Bollywood actors and sculpted their make-over like no other director.

Of course, Ajay Devgan has already displayed the depths of his calibre in films like Gangajal and Apharan. Konkona too has carved a comfortable niche for herself in meaningful cinema.

But it is actors like Kareena, Bipasha, Viveik who mesmerise with their change-of-image chutzpah. As for Saif Ali Khan, it's truly Salaam Namaste! For here's a metamorphosis that is completely mesmerising.

Saif's rendition of the foul-mouthed, scheming Langda Tyagi creates an Iago that is completely Indian. And human. You hate him and love him in the very same breath, because jealousy, ambition and greed is your bete-noire too.

The plot is quintessential Shakespeare. Bhaisaheb (Naseeruddin Shah), the ruling politician-cum-don anoints his henchman Omkara (Ajay) as his successor in the Assembly.

Omkara, on his part, anoints the English-speaking Kesu (Viveik) as his successor (Henchman No 1) in the party. This enrages the third player, Langda Tyagi (Saif) who plots a revenge that would not only sour Omkara's love story with the beautiful Dolly (Kareena) but also exterminate rival Kesu as well.

The treatment is absolutely original. From the rustic flavour of the dialogues to the folksy lyricism of the music, the raunchy dance numbers, the mofussil setting and the riveting climax: Omkara is a well-garnished, aesthetically appeasing platter of stylish Bollywood at its creative best.

And yes, kudos to the Censor Board for dusting the cobwebs of its walls and coming of age. No blips, no cuts, just an A certificate.

Omkara
Aprajita Anil

Posted online: Friday, July 28, 2006 at 1723 hours IST
Updated: Friday, July 28, 2006 at 1753 hours IST

New Delhi, July 28: Movie: Omkara
ExpressIndia.com


Rating: ***1/2

Cast: Ajay Devgan (Omkara), Kareena Kapoor (Dolly), Saif Ali Khan (Langda Tyagi), Konkona Sen (Indu), Vivek Oberoi (Kesu), Bipasha Basu (Billo Chaman Bahar),

After bringing the brooding Macbeth alive on the Hindi cinema screen, Vishal Bhardwaj has brought to life Shakespeare's one of the finest plays on human emotions, Othello, conditioning it in the Indian milieu.

Set against the backdrop of a political feud in the heartland of Uttar Pradesh, Vishal has intricately woven together opposite facets of human emotion - love and passion, jealousy and obsession, deceit and treachery, loss and gain - and created plots and sub plots with utmost craft.

Having said that, Vishal has gone on to make the story his own, humanising Shakespeare's characters with the necessary folklore and ethnic charm.

The story is no different. The theme is age-old. But the flavour is new and the taste is fresh.

Omkara (Ajay Devgan) or Omi, the calm, patient and rugged man is the head of cohorts. Loved by all, questioned by none, that’s the charisma of this gifted chieftain.

Langda (Saif Ali Khan) and Kesu (Vivek Oberoi) are Omi’s right and left hands and thorough loyalists.

The story begins its roller coaster ride, when Omi joins the political arena and decides to pass on his mantle to his loyalist. Langda knows he’s the undisputed choice but Omi instead appoints Kesu as the new chieftain, wounding Langda’s pride.

Slighting and raging with envy, Langda decides to take revenge.

Using petty insinuations and lies, Langda keeps poisoning Omi's mind, falsely implicating his lover Dolly (Kareena Kapoor) in a love affair with Kesu.

Langda's plan takes desired shape and what happens is a horrific tragedy. Omi goes about tearing up his own safe and secure world and when the realisation dons, time refuses to be on his side.

And what’s left in the end… you on your seat - confused, gasping, wondering… courtesy director’s direction complimented by actors’ ability.

Vishal congregates the best of Bollywood to enact his astonishing vision of the bleak tragedy.

Ajay Devgan goes on to further solidify all the praise he has received from his directors, co-actors, critics and fans. He oozes the correct levels of vulnerability and passion, and watching his character react to the highs and lows of his life keep you gripped to the screen. His heart-wrenching final outburst is the highlight of the film.

Kareena, though doesn’t have too much to do, the maturity and sincerity displayed in her acting bring Desdemona (Othello’s lover) to life.

But it’s Konkona and Saif who steal the show. While Konkona is seen in an act like never before, Saif stirs the real magic into Omkara.

Konkona, plays the role of Indu, the wife of Langda. Everytime she takes the stage, her presence is loud and clear.

Saif shines in a dark role and has indeed matured as an actor. He takes on to the villainy like a second nature. The raw and crude ‘loyalist’ seems deeply soaked into the skin of a rowdy goon and whether it’s his getup or his dialect, Saif seems to be shifting into the perfect gear. His facial expressions - the jeers and cheers - make you love and hate him appropriately. His voice modulations, his pronunciation, his mannerisms – everything makes you feel that you are watching Langda, not the spoilt hunk Saif Ali Khan.

Bipasha, although has a short stint, manages to deliver. She rocks the stage with her beedi number and oozes the right amount of oomph and energy.

The music overall is soothing. When some are foot tapping others are quite pleasant to the ear. Choreography is average and cinematography too does not add to the film’s appeal.

But one thing, which deserves an unending applause, is Vishal Bhardwaj’s craftsmanship. He enraptures the essence of the original in a blanket of innovation, intelligence, and integrity and holds your finger and successfully transports you into the psyche of each character.

The serious tone, or say the too serious tone, of Omkara may not be welcomes by the comedy lovers or romantic dwellers, but if you’re looking for substance, hit the theatres, without a second thought.

Omkara
'Dark & Foreboding!'

By Prema K. ©2006 Bollyvista.com

Making a dark film like 'Omkara', particularly at a time when comedy seems to be ruling the roost, sure requires courage. Don't be shocked out of your wits by its generous use of expletives. We wonder how the censors passed it! 'Omkara' is basically looking into human psyche and how seeds of suspicion can be easily sown in a person's mind.

The story- Omkara, referred to as Omi (Ajay Devgan), is a mafia chief who heads a gang of outlaws; Langda Tyagi (Saif Ali Khan) and Kesu (Vivek Oberoi), being his main men. Peace in his kingdom is disrupted when Omi appoints Kesu instead of Langda as his chief lieutenant. Langda is raging with envy and he plots to falsely implicate Omi's lover Dolly (Kareena Kapoor) in a love affair with Kesu. This he manages with the help of his unsuspecting wife, Indu (Konkana Sen Sharma), and Raju (whose marriage had been arranged with Dolly). Langda also keeps poisoning Omi's mind. Finally he succeeds in his mission leading to a tragic end.

Vishal's storytelling is very effective. Although it's a dark film, he moves the story well from a simple love story to one with a shocking, tragic end. There are some outstanding scenes. All the sequences involving Ajay, Viveik and Saif are good. Even Ajay and Kareena's scenes are good. The hair-raising climax may disturb most people, particularly those used to happy endings.

Now for the performances. Ajay's looks, his body language, his expressions are surely award winning! Ajay gives another power-packed performance and looks every bit the character with his dark brooding looks.

Saif Ali Khan as Langda Tyagi is truly different from his previously attempted characters. His brilliant portrayal of a negative character really takes one by surprise.

Naseeruddin Shah is brilliant as usual in a brief role.

Vivek Oberoi is good but doesn't really get much scope. Konkona Sen Sharma is outstanding. Bipasha Basu is effective in a special appearance. Kareena delivers a restrained performance. She looks better in her Indian and non-made up look rather than her contrived Westernized look in most films.

Vishal Bhardwaj's music goes with the mood of the film. The 'Beedi' track is for the masses. 'Naina Thag Lenge' has a different feel about it. Cinematography is superb in some parts, especially when the film begins. Dialogues are good.

On the whole, 'Omkara' is a brilliantly made film with superlative performances. But it's not a family film. It's also not for the female audience, so there it has already lost out on a major chunk of its audience. From the box-office collections point of view, the U.P. and Bihar belt will be a money-spinner but its fate seems doubtful in the metros and other centers.

*** (Three stars)

From Benentertained ....

Omkara

Director: Vishal Bhardwaj
Starring: Ajay Devgan, Saif Ali Khan, Viveik Oberoi, Kareena Kapoor, Bipasha Basu, Konkona Sen Sharma.

What do you call a film that engrosses you to such an extent that it makes sure you don’t feel like taking your eyes off the screen for even that split second to eat your burger and pop corn fearing you just might miss out on something? You call it ‘Omkara’.

This adaptation of Shakespeare’s Othello opens to a rustic backdrop with Langda Tyagi (Saif Ali Khan par excellence) kidnapping a to be bride Dolly (Kareena Kapoor) amidst her people on behalf of Omkara (Ajay Devgan) as she’s being forcibly married off by her father. On being tried by politician Bhaiji (Naseeruddin Shah) the matter is settled as Dolly admits to feeling nothing less than eternal love for her Omkara triggering off her father who in anguish taunts Omkara saying that a girl who can’t be faithful to her father can be faithful to no one. The couple shares an incessant romance until Omkara christens Kesu Firangi as head deputy instead of Langda Tyagi, which is why Tyagi plans and plots to his level best to destroy their peace. An envious Tyagi, who is also married to Indu (Konkona Sen Sharma), manages to create a rift between Omkara and Kesu and then between Dolly and Omkara as well implying an illegitimate relationship between Dolly and Kesu. As it usually happens, jealousy gets the better of Omi that leads to devastating consequences.

The performances in the film can be classified as nothing less than the best. Vishal Bhardwaj as a director has yet again made sure he extracted precise emotions out of his actors, which is like the icing on the cake, the cake being the powerful script. Love, sex and deception, a story with such magnitude could hardly ever falter.

Saif evolves more as an actor with each film. He throws his fans in a dizzy with how easily he blends into the character of Langda Tyagi to perfection, clearly an award winning performance. Devgan seems like the ideal choice for a character as strong and at the same time as weak as the character of Othello, where as Viveik reminds you of his ‘Company’ days looking like a promising actor once again doing full justice to his role of Kesu Firangi. Kareena looks her vulnerable best at the mercy of her dark knight, where as Konkona has some punchful one-liners that may take you aback. The dialogues of the film are bold and cocky but sometimes however look a little forced.

The story of Othello has been told several times before by different people from different parts of the world, but this adaptation of Vishal Bhardwaj can certainly be categorized as a class apart.

Omkara
****1/2
Dir: Vishal Bhardwaj Cast: Ajay Devgan, Saif Ali Khan, Viveik Oberoi, Kareena Kapoor
Tushar Joshi
tushar.joshi@mid-day.com

Plot: Right before the opening sequence of the film, Vishal Bhardwaj declares that Omkara is based on Shakespeare's Othello. Like me, if you haven't read the Bard's work or are clueless about who Iago or Cassio are, then surrendering yourself to Vishal's vision becomes easier. The story, though simple from the face of it, is full of layers of deceit, treachery, jealousy and love. Omi Shukla (Ajay Devgan) is the chieftain of a village in the interiors of Uttar Pradesh. He is a man of few words, letting his gun do most of the talking. Langda Tyagi (Saif Ali Khan) stands second in the hierarchal rank along with Kesu (Viveik Oberoi). The trio report to Bhaisaab (Naseerudin Shah), who is the key player in the regional politics of the area, holding the dream of representing his village in the Lok Sabha. When Omi kidnaps Dolly (Kareena Kapoor) from her mandap, the incident sets the ball rolling to events that mould and shape the true essence of the film. The turning point comes when Omi chooses Kesu as his successor, incurring the wrath of Langda Tyagi. Using jealousy as a weapon, Tyagi decides to take revenge by creating malice between Omi and Dolly. He uses his sidekick Raju (Deepak Dobriyal) to deceive Omi into believing that Kesu and Dolly are having an affair. Tyagi's wife Indu (Konkona) plays a pivotal role during the climax.

Acting: Among the cast, there's one man who will remain with you even as the curtains fall — that's Langda Tyagi the character, and not Saif Ali Khan. For the first time in his career, Saif makes you forget the sophisticated, suave, actor who only wears Diesel and smokes Marlboro. Right from his limp to the way he mouths expletives (there are lots of them), Saif impresses from the moment he appears in the frame. I can't think of any other actor playing Omkara as effortlessly as Ajay. After a certain point, you start wondering if the Bard wrote his play keeping Devgan in mind. As the insecure, exceedingly vulnerable, yet overtly romantic Omi, Ajay score more brownie points than he has in any of his recent releases. Viveik Oberoi's Keshu gets overshadowed by his much talked about guitar playing (which, incidentally, steals the thunder from him!). Kareena impresses in a deglamourised avatar as Dolly. Her scenes with Ajay are fantastic; their lovemaking scene creating the correct sparks without making you squirm in your seat. Konkona doesn't let her Bengali roots come in the way of portraying a colourful Bihari woman who likes asking questions and getting answers. Here's an actress who can skillfully mould herself to suit the requirements of her director. Debutant Deepak Dobriyal is a rare find — creating a niche for himself in his first film, the actor easily stands up to Saif's firehouse performance. Bipasha's Beedi and Namak numbers light up an otherwise dark film. She looks fabulous, but doesn't seem too comfortable with her Bihari dialect, especially with her scenes with Viveik.
What's hot: The film has style and panache written all over it, right from frame one where you see Saif on his haunches on a hillock spitting through tobacco-stained teeth. There have been numerous interviews where Vishal has spoken about the process of making the film, immersing himself into the role of not just directing, but also taking care of the music, script, dialogues and a lot more. The hard work has paid off when you look at the film as an ensemble put together to tell a riveting story. Apart from the brilliant cinematography, which captures everything from a water pump to the hauntingly mesmerising plateaus of Wai, the film also boasts of a set that doesn't look like one from any angle. As the captain of the ship, Vishal excels on all fronts. He effortlessly succeeds in creating a film that easily overshadows his adaptation of Macbeth (Maqbool) in terms of creativity and style. Omkara is a film that should be studied, watched with curiosity and revisited a few years down the line.

What's not: At times, you feel Vishal is over the top in his effort to dazzle. He's got all the works to make a brilliant picture and is going full throttle to really show his cinema off. But then that's the creative license every filmmaker proudly flaunts. The Bihari dialect is tough to get used to. Some dialogues are hard to decipher, while others are drowned under heavy accents.

Bottom line: Mr Bhardwaj, please take a bow. Not just for making a masterpiece, but also for bringing Shakespeare into mainstream cinema with such eloquence.

Vivek Oberoi rocks in Vishal Bhardwaj's OMKARA

Reminiscent of yore during his COMPANY days, Vivek has again showcased his perfectionist zeal and acting integrity, and has delivered a mind-blowing performance as 'Kesu Phirangi' in the cult film OMKARA. Vivek as 'Kesu Phirangi' is a youth icon, he rides a bullet, loves to dress up, is a compulsive flirt and since, is the only guy who speaks English and hence is known as 'Kesu Phirangi'. OMKARA is a film that defies conventional rules of commercial cinema and has a great all round performance by the cast.

Vivek has played nuances of his character with great intellect that Gulzaar Saab, after seeing his performance congratulated him. Infact Vivek has been getting a lot of calls from the industry and complimenting him for his performance and only wishing that they could have seen more of his energetic, lovable and dynamic character in the film. His mannerism and behavioral aspect of his character as a Bahubali (strongman) caught in an egoistical crossfire is so believable that you can almost feel his helplessness. And his full gusto performance in the 'Beedi' song, takes your breath away just by his acting and dancing prowess.

Vivek's back again as 'Kesu Phirangi' truly rocks!

(got this from http://www.glamsham.com/movies/scoops/06/jul/29vivek.asp)

Omkara Gets Rave Reviews
Faridoon Shahryar, IndiaGlitz [Monday, July 31, 2006]

Vishal Bharadwaj’s much awaited adaptation of Shakespeare’s Othello is getting rave reviews al over the world. Ajay Devgan, in and as ‘Omkara’ is being applauded for his subtlety and dexterity in handling the complexity of jealousy. Saif Ali Khan, on his part never acted so well in his entire career. His Langda Tyagi is being compared to Gabbar Singh for its sheer venom and an absolute negativity. While Kareena Kapoor, Viveik Oberoi and Bipasha Basu played their part well, the surprise packet amongst them all has been Konkana Sen Sharma. This bong national award winning actress simply rocks. No other way to describe her immaculate histrionics.

Vishal on his part is truly the master of the ship. His precise direction, haunting-yet-mass-oriented music score, challenging and bold dialogues makes him a one-man-army. The masterstroke on his part was the choice of Tasadduq Hussain as the cinematographer for ‘Omkara’. His work is so refreshingly brilliant that it’s hard to imagine that this is his first film. Gulzar’s lyrics and Naseeruddin Shah’s cameo were the other highlights that Vishal capitalized upon perfectly. Check out a few of the rave reviews ‘Omkara’ has received the world over:

Mumbai Mirror: Immaculate achievement…I suggest you catch it twice! ****

The Times Of India: Aesthetically appeasing platter of stylish Bollywood at its creative best. ****

The Guardian, London: Worthwhile ***

BBC Asian Network: Words such as Fantastic, Marvellous, Great can not sum up the work of art Vishal has shown in his adaptation of Vishal.

Mid Day: The Film has style and panache written all over it…Mr Bharadwaj take a bow. **** ½

The Times, London: The most arrogant piece of kitsch ever made…Startling…Actors are terrific….****

The Metro, London: Stellar casting…Intriguing….****

Rediff.com: Shakespeare would have smiled. ****

'Omkara' is here to stay
By Arpana, IANS
http://www.glamsham.com/movies/scoops/06/aug/02omkara.asp

Vishal Bharadwaj's "Omkara", set in the wild hinterlands of Uttar Pradesh and laced with generous doses of the native lingo, has survived scepticism and mixed reviews from the media and is actually thriving at the box office.

The film, which released Friday, has grossed a total Rs.14.2 million in the PVR multiplexes across the capital.

"When we released 'Maqbool', it earned only Rs.4.2 million, but 'Omkara' has already grossed Rs.14.2 million in only four days. People are appreciating the film despite the mixed reviews," said PVR vice president Saurabh Varma.

Bharadwaj's "Omkara", an adaptation of Shakespeare's "Othello", defies the set rules of commercial cinema - it is a serious film about real life people and shows how the human psyche is overshadowed by jealousy and suspicion, an integral part of Shakespearean drama.

To maintain the authenticity, dialogues are sprinkled with expletives. Those who belong to the cow-belt area are relating to it.

Distributors say that like "Satya", which had lured audiences in Mumbai with its indigenous Mumbaiya flavour, "Omkara" has found a niche audience in the northern belt of the country.

"We had expected 'Omkara' to do reasonably well in Delhi and outstandingly well in Uttar Pradesh. But it has worked the other way around. The film is doing outstandingly well in the capital. In fact, this is predominantly a north (India) based film but it is doing satisfactory business in West Bengal also," said Sanjay Mehta, who has the distribution rights in Uttar Pradesh.

Power-packed performances by Ajay Devgan, Saif Ali Khan, Kareena Kapoor, Konkona SenSharma, Viveik Oberoi and Naseeruddin Shah are a treat for audiences looking for quality entertainment.

Varma of PVR cinemas says that despite three releases lined up this Friday, "Omkara" is here to stay for a while.

"Some of the dialogues in the film are very popular among the college kids. The Shakespeare magic is working and the film is not going anywhere for another two weeks," said Varma.

The film is also doing well in Bihar. Director Prakash Jha, who has the distribution rights for "Omkara" in the state said: "'Omkara' is doing very well in Bihar. I am in Jamshedpur right now and saw the film in Ranchi last night."

According to sources, Bharadwaj is currently touring Uttar Pradesh to see the response of the local public to his film.

The three strong points of the film are its music, star cast and a good publicity campaign. Put together, they definitely seem to be paying rich dividends.

before i even saw this movie i KNEW the plot COULDN'T be bad, i mean it's shakespeare..the man was a genius, and then i saw the movie and i really liked it! kareena, konkona, saif, ajay, viveik, bipz, they were all amazing in it!

i saw omkara like a week ago and i thought it was good...they all did a great job!! well done:)