If you want to adapt, adapt like this. Vishal Bhardwaj’s this work of art must have made even Shakespeare proud. Shakespeare’s “Othello” could not have been more authentic and realistic than “Omkara” in India. This film is a perfect example of excellent cinema, not only terms of direction or performances but in totality, therefore it deserves to be discussed under various sub headings,
BACKDROP: The backdrop is set in western Uttar Pradesh against the backdrop of Venice in the original work of Othello. Most of the film was shot in Satara and Wai in Maharashtra whereas the plot revolved around north India. It is really a commendable work by the art director to create that feel.
The village setup, marriage ceremonies, traditional folk songs, language and the accent everything complimented the plot and made it look more real. The abuses and slangs are not forced. They are very much a part of the language of UP people.
ADAPTATION: The most impressive part about this film is the adaptation from Othello. It has not been blindly adapted. Instead lot many creative inputs are visible. In Othello, the protagonist had complex about his dark race and in Omkara, he had complex about his half-caste. He was aware of the charm of Kesu and his lack of it. It is not only the seeds of suspicion sowed by Langda, but also Omkara’s own complexes and insecurities that proved to be fatal for his love life.
One thing that struck me was, every character’s name in the film shared the same initials of the characters of the play. For instance, Dolly for Desdemona, Omkara for Othello, Billo for Bianca, Kesu for Cassio and Raju for Roderigo.
Langda Tyagi’s name not only portrays his physical handicap but also his moral and ethical handicap. He though is efficient member of the group yet he could not be quite loyal to his general.
In the original play, Emilia is murdered by her husband Iago. However, in the film, Indu (Emilia) kills Langda (Iago). Therefore, Emilia’s character is stronger in the film than in the play.
CAMERAWORK: the film has minimal camera movement. Except songs and action sequences we don’t see much of panning. Also there are not much of wide and long shots. Long shots in particular are barely two or three. Most of the film is in mid-shots and close- ups. The action sequences have jerky camera work to give them a rugged look. On the other hand, love scenes, especially, the love making scenes are so aesthetically shot that it looks like paintings in motion. They are so smooth and so beautiful.
PERFORMANCES: Before I say anything about other characters, Saif Ali Khan deserves special accolades. Nowhere does he look like Saif. He got into the skin of the character perfectly. Ajay Devgan as ever is good and so is Konkana Sen Sharma but I would pick Kareena Kapoor as the surprising element. She is very impressive and has emoted well in the scenes where she had no dialogues. It is a revelation in contrast to her earlier over the top performances.
MUSIC: the songs are very well written are complimented by equally good music. The “ Beedi” song rocked the nation. But other songs “ jag ja”, “ O saathi re” and “ naina thag lenge” are also very good. In fact the song “ naina ki mat suniyo, naina thag lenge” (its my interpretation and it may be wrong) some how cautions Omkara about the forthcoming tragedies. He believes all that he sees and interprets the way he is told by Langda Tyagi and what a loss he incurs.
In totality, a great film.