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Kareena Kapoor has been the reigning the queen of Bollywood and to reach to that spot she really has worked her socks off. She started her career with the movie 'Refugee' opposite Abhishek Bachchan.

Omkara Audio Songs Starring :Ajay Devgan, Bipasha Basu, Kareena Kapoor, Konkona Sen Sharma, Saif Ali Khan, Vivek Oberoi Music :Vishal Bharadwaj Director :Vishal Bharadwaj Producer :Kumar Mangat Beedi Sukhwinder Singh Jag Ja Suresh Wadkar Laakad Rekha Bhardwaj Namak Rakesh Pandit, Rakha Bhardwaj O Saathi Re Shreya Ghoshal, Vishal Bharadwaj Naina Rahat Fateh Ali Khan Omkara Sukhwinder Singh The Tragedy Of Omkara Omkara

(Hindi, 2006, 155 minutos aprox.) Dirigido por Vishal Bhardwaj Produtor: Kumar Mangat; Roteiro: Vishal Bhardwaj, Robin Bhatt, Abhishek Chaubey; Diálogos: Vishal Bhardwaj, Música: Vishal Bhardwaj; Letra: Gulzar; Fotografia: Tassaduq Hussain Transposição compositor / diretor Vishal Bhardwaj da história de "Othello" à paisagem e da cultura contemporânea de leste de Uttar Pradesh (UP) é um triunfo da cinematografia, concepção, e de agir. Embora teve sucesso modesto em sua versão inicial, foi aclamado pela crítica (indicado para 18 prêmios Filmfare, ele finalmente recebeu metade desse número, assim como muitos outros prêmios) e se destaca como um digno sucessor de renome tais adaptações cinematográficas de Shakespeare como Akira Kurosawa TRONO DE SANGUE (1957) e Maqbool própria Bhardwaj (2003). Exemplificando a capacidade da ocasional produção Bombaim grande orçamento para se aventurar em terreno não-convencional, que lança grandes estrelas em papéis desafiadores e atípicos, resultando em performances uniformemente forte (e um uma extraordinária, por Saif Ali Khan, como vilão complicada da história). Como em Maqbool, o diretor atribui seus personagens localmente adequado nomes que sugerem auditivamente seus arquétipos de Shakespeare. Personagem: Ator: Omkara Shukla / "Omi" [Otelo] Ajay Devgan Ishwar Tyagi / "Langda" [Iago] Saif Ali Khan Dolly Mishra [Desdêmona] Kareena Kapoor Keshav / "Kesu Firangi" [Cassio] Vivek Oberoi Billo Chamanbahar [Bianca] Bipasha Basu Indu [Emilia] Konkona Sen Sharma Rajan Tiwari / "Rajju" [Rodrigo] Deepak Dobrial Bhaisahab [Duque de Veneza] Naseeruddin Shah Embora os dispensa de filmes com o tropo de "raça", que geralmente é destacado em produções de "Otelo" (apesar de uma persistente controvérsia sobre a "negritude" real de Mouros, um termo um tanto descuidada aplicado, no período elizabetano, para pessoas de variadas permutações do Norte Africano, árabe, espanhol e descida), ele substitui outros marcadores de diferença que ressoam fortemente na vida cotidiana no norte da Índia, e são capazes de provocar o poderoso sentido de alteridade que o conto exige.  

A maioria dos sobrenomes dos personagens principais (Mishra, Shukla, Tiwari, Tyagi) identificá-los como brâmanes, assim como a aparência e comportamento do Bhaisahab político ("irmão mais velho"). "Brâmanes" fazer-se uma percentagem relativamente elevada da população da UP (que representavam 12% da população no censo de 1931, o último a designar tais distinções), mas o entendimento convencional do "sistema de castas", pelo qual tradicional -sacerdotes estudiosos são rotineiramente rotulado como o grupo faz "maior" social não conta para a vasta gama de profissões e níveis socioeconômicos de pessoas que afirmam esta designação, nem para a sua mortífera e muitas vezes negociação apaixonada do estado relativo baseado na pureza suposta linhagem . No filme Bhardwaj, ela é revelada logo no início que o pai de Omkara do Brahman desejado ele em um de menor casta defeito mulher-a sobre o caráter do filho que seus inimigos regularmente invocar, chamando-o de "meia-Brahman" (Adha-Baaman) e, literalmente "mestiço" (Adha-jaat). Tez morena ator Devgan e "refinado" contraste características totalmente com olhares etéreos Kareena Kapoor e europeu, como a justiça, este último o único marcador mais importante de boa educação e (especialmente feminina) "beleza" no contexto do norte da Índia (cf. o florescimento comércio de cosméticos em "clareadores de pele", tais como "Fair & Lovely"). Há uma diferença social, bem como, Omkara é um herói lumpen que reside em uma família rural extensa e adquiriu poder através de sua força, brio, e serviço leal a Bhaisahib. Dolly é filha de um advogado próspero urbano e é de formação universitária, na verdade, o fato de que ela participou da mesma faculdade como o líder estudantil Kesu (a quem Omkara de membros de gangues dub "Firangi" ou "estranho / estrangeiro" por causa de seu meio urbano ) acabará por ser usado por Langda / Iago para alimentar a suspeita de que Omkara ela secretamente gosta Kesu, que é mais igual a ela na educação e posição social.

  A história segue a trama de "Othello" bem de perto. Quando o filme começa, Langda adverte Rajju que sua noiva pretendida, Dolly, está sendo sequestrado pelo Omkara poderosos, mas socialmente contaminado, e incita-o a queixar-se ao pai de Dolly. Um confronto violento entre o advogado e enfurecido o raptor é evitada, através da intervenção Bhaisahab, pela confissão de Dolly de seu amor por Omkara e seu conluio disposto no capotamento do seu pai arranjou-casamento planos para ela. Embora o advogado amargamente renuncia a sua reivindicação sobre Dolly, ele adverte que Omkara "Uma garota que pode enganar o próprio pai nunca pode ser possuído por qualquer outra pessoa", plantando a semente da suspeita de que Langda começará em breve a rega. Os danos causados ​​pela ideologia patriarcal que obsessivamente postula a necessidade de as autoridades do sexo masculino para "controlar" a sexualidade feminina, um tema implícito em "Othello" torna-se mais explicitamente destacado aqui, e é desenvolvido por meio das interações posteriores de Dolly, sua confidente Indu, e Omkara.   Iago vilão de Shakespeare tem sido muitas vezes considerado o personagem mais complexo e interessante em "Othello", em contraste, o seu herói homônimo é retratado como tanto menos detalhado e mais simples e instintivo em suas respostas, o que facilita a sua manipulação por Iago. Em Ishwar Saif Ali Khan / "Langda", Bhardwaj nos dá uma Iago verdadeiramente digno: um homem ambicioso marcado por uma deficiência física (Langda significa "coxo, aleijado", e ele anda mancando pronunciado), ele é casado com Omkara é mais jovem irmã, Indu, e está planejando sua própria ascensão ao cargo de Mahabali ("geral"), o segundo-em-comando das forças consideráveis ​​de Bhaisahab.

  Que ele se ressente de seu superior resulta do seu discurso de abertura Rajju, no qual ele amargamente faz alusão ao nascimento misto Omkara, mas sua maldade cresce após Omkara, em um movimento surpresa (e em uma cena espetacular encenado em um templo em uma encosta com vista para o Ganga) passa por cima dele para promover Kesu para o cargo Mahabali, devido à influência deste último entre os quadros de estudantes em império político do Bhaisahab. A partir deste ponto, Langda sistematicamente manipula Rajju, Kesu e Omkara para provocar a destruição dos dois últimos. Ele é ajudado por "empréstimo" de sua esposa inocente de um valioso jóias cintura cadeia de uma herança de família auspicioso e erógena que Omkara apresentou a Dolly, em preparação para sua cerimônia de casamento formal (que foi adiada para uma data astrologicamente favorável). Langda por sua vez, rouba-lo de sua esposa e dá para Kesu, ostensivamente para ajudar este último na sua on-again, off-again relacionamento com a voluptuosa corista Billo, mas é claro com a agenda secreta de Omkara convincentes de que a Dolly tem concedido este presente em seu amante suposto.  

Esta transferência complexa do equivalente de lenço bordado de Shakespeare faz o seu trabalho pretendido, ajudada (em um movimento devidamente atualizado) por uma conversa de telefone móvel entre Kesu enganador e Langda que Omkara é feita para ouvir. O resto é mais ou menos a história, teatro, embora a maneira pela qual o destino terrível Otelo joga fora em seu e noite Dolly casamento, e com um toque de surpresa no destino dos personagens secundários que os compostos mais a carnificina-alcança notável trágica e potência cinematográfica.   Como foi o caso do diretor anterior Maqbool, o filme de concessões a convenções do cinema comercial são evidentes, mas sem som, embora há seis canções envolventes, apenas duas são diegética (beedi e Namak, estes são "picturized" por Billo / Bipasha Basu, cujo arrebatadora beleza em si parece um pouco demasiado bom para o meio de mau gosto de despedidas provinciais em que ela gira), os outros são na trilha sonora apenas, como é padrão em filmes de Hollywood. Eles, assim, poeticamente, mas friamente sugerem as emoções dos personagens sem exigir que elas sejam expressas na câmera, mesmo que eles servem, de forma convencional cinematográfica de Bombaim, para avançar o enredo e melhorar sua textura emocional (assim, por exemplo, a primeira música, Naina lenge Thag, "Seus olhos vão te trair", é um flashback que revela o processo pelo qual Dolly se apaixonou por Omkara). Além de retratar notável Saif Ali Khan (merecidamente recompensado com o troféu Filmfare para "melhor vilão"), todas as estrelas de topo oferecem performances sólidas e convincentes, com Dolly cativante Kareena Kapoor e Kesu inocente Vivek Oberoi do merecedores de menção especial. Mesmo Ajay Devgan do carrancudo carranca e um pouco monocromático "legal", muito familiar de outros filmes, parece particularmente eficaz aqui em evocar Moor sombrio de Shakespeare. A outra diretores-Dobrial, Shah, e Sharma-todos brilhar também. A fotografia e mise-en-scene merecem menção especial: embora uma boa parte do trabalho de localização foi realmente feito em Maharashtra, a evocação do leste da UP é esplêndido e convincente, evocando suas justaposições de miséria humana e degradação com as erupções de espetáculo hierático e beleza arquitetônica e cênica.   Escolha Bhardwaj de meio social de suas meditações sobre contos trágicos de Shakespeare de reis e generais continua a ser interessante. Na fixação tanto Maqbool e Omkara entre os criminosos (ainda que em cada caso destes locais "homens grandes" estão intimamente ligados às elites dominantes), ele simultaneamente baseia-se no legado do filme de gangsters como um veículo de grande drama e emoção intensa, e incisivamente destaca uma realidade na Índia de hoje: a intersecção volátil das aspirações econômicas e sociais de uma subclasse vasto e inquieto com um sistema democrático dominado por políticos corruptos e muitas vezes criminalizadas. Embora não haja uma tentativa (por meio de diálogo, de câmera, eo título da canção "Omkara", que ocorre no início do filme) para lançar o protagonista como um campeão simpático proletária, a maioria da ação faz pouco para refutar avaliação pai de Dolly dele como um goonda ("bandido")-um bandido recrutado como um executor de um demagogo local. O envolvimento de rotina de Omkara, como o anterior Maqbool, na sangrenta violência aqui, o assassinato assédio moral e até mesmo de políticos Bhaisahab adversários é tratado casualmente e parece quase incidental de cada história. Certamente, não é para prejudicar a nossa identificação com esses heróis trágicos, embora também parece convidar uma certa inquietação em seu retrato austero da sociedade indiana contemporânea, ou talvez da sociedade humana em geral, como um reino predatória em que apenas o impiedoso sobreviver e que, também, não por muito tempo.

OMKARA (Hindi, 2006, approx. 155 minutes) Directed by Vishal Bhardwaj Producer: Kumar Mangat; Screenplay: Vishal Bhardwaj, Robin Bhatt, Abhishek Chaubey; Dialogues: Vishal Bhardwaj; Music: Vishal Bhardwaj; Lyrics: Gulzar; Cinematography: Tassaduq Hussain Composer/director Vishal Bhardwaj’s transposition of the story of “Othello” to the landscape and culture of contemporary eastern Uttar Pradesh (UP) is a triumph of conception, cinematography, and acting. Though it enjoyed only modest success in its initial release, it was critically acclaimed (nominated for eighteen Filmfare awards, it ultimately garnered half that number, as well as many other prizes) and stands as a worthy successor to such renowned cinematic Shakespeare adaptations as Akira Kurosawa’s THRONE OF BLOOD (1957) and Bhardwaj’s own MAQBOOL (2003). Exemplifying the ability of the occasional big-budget Bombay production to venture into unconventional terrain, it casts major stars in challenging and atypical roles, resulting in uniformly strong performances (and one extraordinary one, by Saif Ali Khan, as the story’s convoluted villain). As in MAQBOOL, the director assigns his characters locally suitable names that aurally suggest their Shakespearean archetypes. Character: Actor: Omkara Shukla/ “Omi” [Othello] Ajay Devgan Ishwar Tyagi/ “Langda” [Iago] Saif Ali Khan Dolly Mishra [Desdemona] Kareena Kapoor Keshav/ “Kesu Firangi” [Cassio] Vivek Oberoi Billo Chamanbahar [Bianca] Bipasha Basu Indu [Emilia] Konkona Sen Sharma Rajan Tiwari/ “Rajju” [Roderigo] Deepak Dobrial Bhaisahab [Duke of Venice] Naseeruddin Shah Although the film dispenses with the trope of “race” that is generally highlighted in stage productions of “Othello” (despite a lingering controversy over the actual “blackness” of Moors—a term somewhat carelessly applied, in Elizabethan times, to people of varied permutations of North African, Arab, and Spanish descent), it substitutes other markers of difference that strongly resonate in everyday life in north India, and are capable of eliciting the powerful sense of alterity that the tale requires.

Most of the main characters’ surnames (Mishra, Shukla, Tiwari, Tyagi) identify them as Brahmans, as does the appearance and deportment of the politician Bhaisahab (“elder brother”). “Brahmans” make up a relatively high percentage of the population of UP (they accounted for 12% of the population in the 1931 census, the last to designate such distinctions), but the conventional understanding of the “caste system”—by which traditional priest-scholars are routinely labeled as the “highest” social group—does not account for the vast range of occupations and socioeconomic levels of people who claim this designation, nor for their internecine and often impassioned negotiation of relative status based on alleged purity of bloodlines. In Bhardwaj’s film, it is revealed early on that Omkara’s Brahman father sired him on a lower-caste woman—a blemish on the son’s character that his enemies regularly invoke, calling him a “half-Brahman” (adha-Baaman) and, literally, “half-breed” (adha-jaat). Actor Devgan’s swarthy complexion and “unrefined” features contrast starkly with Kareena Kapoor’s ethereal looks and European-like fairness—the latter the single most important marker of good breeding and (especially feminine) “beauty” in the north Indian context (cf. the flourishing cosmetic trade in “skin lighteners” such as “Fair & Lovely”). There is a social difference as well; Omkara is a lumpen hero who resides in a rural extended family and has acquired power through his strength, panache, and loyal service to Bhaisahib. Dolly is the daughter of a prosperous urban lawyer and is college-educated; indeed, the fact that she attended the same college as the student leader Kesu (whom Omkara’s gang members dub “Firangi” or “outsider/foreigner” because of his urban background) will eventually be used by Langda/Iago to nurture Omkara’s suspicion that she secretly loves Kesu, who is more her equal in education and social position. The storyline follows the plot of “Othello” fairly closely. As the film opens, Langda warns Rajju that his intended bride, Dolly, is being abducted by the powerful but socially-tainted Omkara, and incites him to complain to Dolly’s father. A violent confrontation between the enraged lawyer and the abductor is averted, through Bhaisahab’s intervention, by Dolly’s confession of her love for Omkara and her willing collusion in the overturning of her father’s arranged-marriage plans for her. Although the lawyer bitterly renounces his claim over Dolly, he warns Omkara that “A girl who can deceive her own father can never be possessed by anyone else”—planting the seed of suspicion that Langda will soon begin watering. The harm wrought by patriarchal ideology that obsessively posits the need for male authorities to “control” female sexuality—a theme implicit in “Othello”—becomes more explicitly highlighted here, and is developed through the later interactions of Dolly, her confidante Indu, and Omkara. Shakespeare’s villainous Iago has often been considered the most complex and interesting character in “Othello”; in contrast, its eponymous hero is portrayed as both less verbose and more simple and instinctual in his responses, which facilitates his manipulation by Iago. In Saif Ali Khan’s Ishwar/“Langda,” Bhardwaj gives us a truly worthy Iago: an ambitious man marred by a physical disability (langda means “lame, crippled,” and he walks with a pronounced limp), he is married to Omkara’s younger sister, Indu, and is plotting his own ascent to the position of mahabali (“general”), the second-in-command of Bhaisahab’s considerable forces. That he resents his superior is clear from his opening speech to Rajju, in which he bitterly alludes to Omkara’s mixed birth, but his malice grows after Omkara, in a surprise move (and in a spectacular scene staged in a temple on a bluff overlooking the Ganga) passes over him to promote Kesu to the mahabali post, due to the latter’s influence among student cadres in Bhaisahab’s political empire. From this point on, Langda systematically manipulates Rajju, Kesu, and Omkara to bring about the destruction of the latter two. He is helped by his wife’s innocent “borrowing” of a valuable jeweled waist-chain—an auspicious and erogenous family heirloom that Omkara had presented to Dolly in preparation for their formal wedding ceremony (which has been deferred to an astrologically favorable date). Langda in turn steals it from his wife and gives it to Kesu, ostensibly to help the latter in his on-again, off-again relationship with the voluptuous showgirl Billo, but of course with the secret agenda of convincing Omkara that Dolly has lavished this gift on her supposed paramour. This complex transfer of the equivalent of Shakespeare’s embroidered handkerchief does its intended job, helped along (in a suitably updated move) by a misleading mobile phone conversation between Kesu and Langda that Omkara is made to overhear. The rest is, more or less, theatrical history, though the manner in which Othello’s awful destiny plays out—on his and Dolly’s wedding night, and with a surprise twist in the fate of secondary characters that further compounds the carnage—achieves remarkable tragic and cinematic power. As was the case in the director’s earlier Maqbool, the film’s concessions to commercial cinema conventions are evident but muted; although there are six engaging songs, only two are diegetic (Beedi and Namak; these are “picturised” by Billo/Bipasha Basu, whose ravishing beauty itself seems rather too good for the tawdry milieu of provincial stag parties in which she gyrates); the others are on the soundtrack only, as is standard in Hollywood films. They thus poetically but coolly suggest the emotions of characters without requiring that these be voiced on-camera, even as they serve, in conventional Bombay cinematic fashion, to advance the storyline and enhance its emotional texture (thus, e.g., the first song, Naina thag lenge, “Your eyes will betray you,” is a flashback that reveals the process by which Dolly fell in love with Omkara). In addition to Saif Ali Khan’s remarkable portrayal (deservedly rewarded with the Filmfare trophy for “best villain”), all the A-list stars offer solid and convincing performances, with Kareena Kapoor’s endearing Dolly and Vivek Oberoi’s guileless Kesu deserving of special mention. Even Ajay Devgan’s sullen scowl and somewhat monochromatic “cool,” too-familiar from other films, seems particularly effective here in evoking Shakespeare’s grim Moor. The other principals—Dobrial, Shah, and Sharma—all shine as well. The cinematography and mise-en-scene deserve special mention: although a good part of the location work was actually done in Maharashtra, the evocation of eastern UP is splendid and convincing, evoking its juxtapositions of human squalor and degradation with eruptions of hieratic spectacle and architectural and scenic beauty. Bhardwaj’s choice of social milieu for his meditations on Shakespeare’s tragic tales of kings and generals continues to be interesting. In setting both MAQBOOL and OMKARA among criminals (albeit in each case these local “big men” are closely tied to ruling elites), he simultaneously draws on the legacy of the gangster film as a vehicle of high drama and intense emotion, and pointedly highlights a reality in today’s India: the volatile intersection of the economic and social aspirations of a vast and restless underclass with a democratic system dominated by corrupt and often criminalized politicians. Although there is some attempt (through dialog, camerawork, and the title song “Omkara,” which occurs early in the film) to cast the protagonist as a sympathetic proletarian champion, most of the action does little to refute Dolly’s father’s assessment of him as a goonda (“hoodlum”)—a thug recruited as an enforcer by a local demagogue. The routine involvement of Omkara, like the earlier Maqbool, in gory violence—here, the bullying and even assassination of Bhaisahab’s political opponents—is treated casually and seems almost incidental to each story. Certainly, it is not meant to detract from our identification with these tragic heroes, although it also seems to invite a certain disquiet at its stark portrait of contemporary Indian society, or perhaps of human society in general, as a predatory realm in which only the ruthless survive—and they, too, not for long. [The Shemaroo/Eros DVD of OMKARA offers good image quality, though unfortunately the viewing experience is marred by a large company logo (visible in the shots displayed above) that continually hovers in the lower right of the screen. Subtitles accompany both dialog and song, and make a brave (and generally effective stab (albeit chutiya—literally, “little cunt”—becomes mere “idiot”) at rendering the rustic eastern Hindi dialog and slang used by most of the characters.]

Omkara (film) From Wikipedia, the free encyclopedia This article is about the 2006 Bollywood film. For the 2004 Kannada film, see Omkara (2004 film). Omkara Theatrical release poster Directed by Vishal Bhardwaj Produced by Kumar Mangat Pathak Screenplay by Vishal Bhardwaj Robin Bhatt Abhishek Chaubey Based on Othello by William Shakespeare Starring Ajay Devgan Saif Ali Khan Vivek Oberoi Kareena Kapoor Konkona Sen Sharma Bipasha Basu Naseeruddin Shah Music by Vishal Bhardwaj Cinematography Tassaduq Hussain Editing by Meghna Manchanda Sen Studio Shemaroo Entertainment Distributed by Big Screen Entertainer Eros Entertainment Shemaroo Entertainment Release date(s) 28 July 2006 Running time 155 minutes Country India Language Hindi Budget $1.4 million Omkara (Hindi: ॐकारा) is a 2006 Indian film adaptation of Shakespeare’s Othello, co-written and directed by Vishal Bhardwaj. It starred Ajay Devgan, Saif Ali Khan, and Kareena Kapoor in the lead roles, supported by Vivek Oberoi, Naseeruddin Shah, and Konkona Sen Sharma with a cameo role from Bipasha Basu. The director Vishal Bhardwaj himself composed the entire music for the film, including the background score, with lyrics by Gulzar.[1] The film is set in Meerut, a town in Western Uttar Pradesh. [2] The film was showcased at the 2006 Cannes Film Festival along with a book on the making of Omkara.[3] It was also selected to be screened at the Cairo International Film Festival, where Bhardwaj was awarded for Best Artistic Contribution in Cinema of a Director. The film also won three awards at the Kara Film Festival,[4] an award at the Asian Festival of First Films, three National Film Awards, and seven Filmfare Awards. The film became part of a series by Bhardwaj of film interpretations of popular literary works, including Maqbool (2003) based on Shakespeare’s Macbeth, The Blue Umbrella (2007) based on Ruskin Bond's The Blue Umbrella, and 7 Khoon Maaf which is an adaptation of Bond's Susanna's Seven Husbands. Contents [hide] 1 Plot 2 Cast and characters 2.1 Character outlines 2.1.1 Supporting Cast 3 Shooting Location 4 Production 5 Reception 6 Language 7 Soundtrack 7.1 Track listing 8 Awards and nominations 8.1 National Film Awards 8.2 Filmfare Awards 8.3 Star Screen Awards 8.4 Zee Cine Awards 8.5 International Indian Film Academy Awards 8.6 Bollywood Movie Awards 8.7 Stardust Awards 8.8 Global Indian Film Awards 8.9 International awards 9 See also 10 References 11 External links [edit]Plot

Omkara Shukla or Omi (Ajay Devgan) is a bahubali, a sort of political enforcer. He is the leader of a gang which carries out political crimes for the local politician Tiwari Bhaisaab (Naseeruddin Shah). Ishwar 'Langda' Tyagi (Saif Ali Khan) and Keshav 'Kesu Firangi' Upadhyay (Vivek Oberoi) are his closest lieutenants. The movie starts with Langda Tyagi hijacking a baraat and challenging Rajju (Deepak Dobriyal), the bridegroom, to try and stop Omkara from abducting the bride, Dolly Mishra (Kareena Kapoor). Rajju fails and the wedding never takes place. Dolly’s father Advocate Raghunath Mishra (Kamal Tiwari), mostly referred in the movie as vakeel saab (lawyer sir), is furious and confronts Omi. He puts a gun to Omi’s head and demands the return of his daughter. Bhaisaab, the political boss, intervenes and resolves the conflict by mentioning the current political conditions and prevents bloodshed. Still unconvinced, Raghunath grieves to Bhaisaab the next day. To bring a final solution to this issue, Dolly is made to appear in front of her father and clarify that she eloped with Omi rather than being abducted forcefully. She also tells the events of how she fell in love with Omkara. The father leaves feeling betrayed and ashamed. After some crafty political arm-twisting, involving a MMS sex scandal, Omkara eliminates a powerful electoral rival. Bhaisaab is elected for parliament and Omkara is promoted from bahubali to the candidate for the upcoming state elections. Omkara appoints Kesu over Langda as his successor once he enters politics himself. Langda, disappointed with Omkara's poor judgment and jealous of Kesu, his younger, less-experienced, superior; hatches a plot to avenge both his offenders. He first causes a violent brawl between Kesu and Rajju by taking advantage of Kesu's low threshold for alcohol. Such irresponsible behaviour by Kesu infuriates Omi, who now starts having doubts over his decision. On the one hand, playing the role of a concerned friend, Langda convinces Kesu to appeal to Dolly, Omi's lover and bride-to-be to mollify Omi. On the other hand, he starts to disrepute Dolly by implicating Kesu's visits to her as an illicit love affair between the two. A kamarbandh carelessly dropped by Dolly and stolen by Langda’s wife Indu (Konkona Sen Sharma), which eventually reaches Billo Chamanbahar (Bipasha Basu) as a gift from Kesu, plays an important part in the plot, as evidence of Dolly’s infidelity. During the climax, on the night of their wedding, Omi is convinced that Dolly and Kesu have been having an affair behind his back. In utter rage, he smothers his new wife to death. Langda shoots Kesu with a silent approval from Omi. Kesu is hit with a bullet on his arm. Hearing gunshots and in shock, Indu enters the room where Omi is sitting next to Dolly’s corpse in remorse. Indu notices the kamarbandh and confesses to stealing it, they both understand the fatal misunderstanding and Langda as its root cause. In retribution, Indu slashes Langda's throat and Omi commits suicide. The movie closes with Omi lying dead on the floor and Dolly’s dead body swinging above him, while Kesu looks on. [edit]Cast and characters Actor Character in the movie Character in the play Ajay Devgan Omkara 'Omi' Shukla Othello Saif Ali Khan Ishwar 'Langda' Tyagi Iago Vivek Oberoi Keshav 'Kesu Firangi' Upadhyaya Cassio Kareena Kapoor Dolly Mishra Desdemona Bipasha Basu Billo Chamanbahar Bianca Konkona Sen Sharma Indu Tyagi Emilia Deepak Dobriyal Rajan ’Rajju’ Tiwari Roderigo Naseeruddin Shah Bhaisaab Duke of Venice [edit]Character outlines Omkara "Omi" Shukla — Omkara is a hardened goon, equivalent to a capo, a man with principles who sees life in extremes, either as good or evil. He is the illegitimate child of a higher caste Brahmin man and a lower caste woman. Dolly Mishra — Dolly is a playful, innocent, young woman, smitten by Omi. She is the one who expresses her love for him and lays the basis of their relationship. Throughout the narrative, other characters are shown to doubt her innocence, including her father. Omi finds her personality ambiguous, resulting in the tragic end. Ishwar "Langda" Tyagi — Langda (which means limp in Hindi) is the catalyst in the story. He had been a loyal right-hand man to Omi for years and expected to be the next bahubali. Kesu’s promotion gives a crushing blow to his ambitions and brings out the evil in him. His jealousy and hatred towards his kin is further encouraged by chiding remarks from Rajju. Keshav "Kesu Firangi" Upadhyay — Kesu is Omi’s other deputy. His epithet comes from his knowledge of English. He is college-educated and urban, known to be somewhat of a cassanova. He is important to Omi for his political contacts in the students. After admitting to having "known" a string of women, he falls in love with Billo and proposes marriage. He is shown to be impatient and easily frustrated with a low threshold for alcohol. Billo Chamanbahar — Billo is a singer/dancer who melts hearts with just her looks. She sees Kesu as a future companion, though keeps him hanging on. She makes an easy tool for Langda to manipulate. Indu — Indu leads a bittersweet life as Langda Tyagi’s wife. She becomes an unwitting aid in her husband's plan. Rajan "Rajju" Tiwari — Son of a respectable thekedar, he is head-over-heels in love with Dolly. He tries to win her affection throughout the movie. Bhaisaab — Bhaisaab is an influential and powerful politician that many characters defer to. He is an outwardly sophisticated man, with a ruthless interior. He is a politician to the bone and rules the region with an iron fist, picking up enemies as he progresses his career. He is a father figure for Omkara as well as the political head honcho. [edit]Supporting Cast Pankaj Tripathi as Kichlu Manav Kaushik as Surendra Kaptaan Kamal Tiwari as Advocate Raghunath Mishra [edit]Shooting Location Omkara was shot over a period of 4 months across various locales, including Lonavala, Lucknow University, Allahabad, Satara Mahabaleshwar, Mumbai and Wai, Maharashtra, where bulk of the shooting took place. Even though most of the shooting took place in Maharashtra, sets were erected with precise details to create an authentic Uttar Pradesh village. [edit]Production

Members of the production team included stunt co-ordinator Jai Singh, costume designer Dolly Ahluwalia, choreographers Bhushan Lakhandri and Ganesh Acharya along with chief assistant director Ajit Ahuja. The title of the film was decided by a popular vote. Moviegoers had a choice among Omkara, Issak and O Saathi Re, all of which had already appeared as the film's song titles. [edit]Reception Omkara had a fairly good performance at the box office in India and earned praises all over. The movie grossed $16,466,144 world wide in its total run at the box office. Even though the movie received rave reviews, the dark theme and strong language kept away family audiences.[5] It was, however, a grand success abroad. The film quickly entered the UK's Top Ten and did very well in Australia, South Africa and the United States. Omkara was praised for its taut script, brilliantly executed dramatic sequences and its lead performances. Kareena Kapoor's and Ajay Devgan's performance was considered to be the finest of their films. Saif Ali Khan drew the most praise for his villainous role as Langda Tyagi, along with Konkana Sen who eventually won a National Award for her performance.[6][7] [edit]Language

All the dialogues in the film are delivered in a strong input of the Khariboli dialect other than Hindi, including the use of swear words, generally absent from mainstream Hindi cinema. The movie received an A Certificate from the censor board of India. Critics and audiences were divided in their opinions about the foul language. Many believed that it was not required and would lead to distancing the movie from the family audience,[8] while on the other hand some applauded it for authentically showing the rustic setting of the story. The language and A certificate narrowed the audience but in turn brought accolades for the creators of the movie for valuing creativity over commercial success. [edit]Soundtrack Omkara Soundtrack album by Vishal Bhardwaj Released 8 July 2006 Genre Feature film soundtrack Length 36:16 Label Eros Music Producer Hitesh Sonik, Clinton Cerejo Vishal Bhardwaj chronology The Blue Umbrella (2005) Omkara (2006) Nishabd (2007) The music is composed by Vishal Bhardwaj and the lyrics are penned by Gulzar. The music was released on 8 July 2006. The official soundtrack contains eight tracks. In January 2009, the track "Beedi" was used as the theme tune to a Brazilian TV soap opera called Caminho das Índias, produced by Rede Globo. On the back of this success, "Beedi" received considerable airplay on pop radio stations in Brazil becoming the first Hindi-only song to achieve this. The mini-series' soundtrack, which includes the track, went on to become one of the biggest selling albums of the year. [edit]Track listing No. Title Artist(s) Length 1 "Omkara" Sukhwinder Singh 5:22 2 "O Saathi Re" Shreya Ghoshal, Vishal Bhardwaj 5:30 3 "Beedi" Sunidhi Chauhan, Sukhwinder Singh, Nachiketa Chakraborty, Clinton Cerejo 5:05 4 "Jag Ja" Suresh Wadkar 4:29 5 "Namak" Rekha Bhardwaj, Rakesh Pandit 6:52 6 "Naina" Rahat Fateh Ali Khan 6:49 7 "Laakad" Rekha Bhardwaj 5:36 8 "The Tragedy of Omkara" Instrumental 1:35 [edit]Awards and nominations The awards it won are highlighted in bold. [edit]National Film Awards Special Jury Award — Vishal Bhardwaj National Film Award for Best Supporting Actress — Konkona Sen Sharma National Film Award for Best Audiography — Subhash Sahoo, K. J. Singh, Shajith Koyeri [edit]Filmfare Awards Filmfare Best Director Award — Vishal Bhardwaj Filmfare Best Actress Award — Kareena Kapoor Filmfare Best Supporting Actress Award — Konkona Sen Sharma Filmfare Best Villain Award — Saif Ali Khan Filmfare Best Actress (Critics) Award — Kareena Kapoor Filmfare Special Performance Award — Deepak Dobriyal Filmfare Best Lyricist Award — Gulzar (Beedi) Filmfare Best Female Playback Award — Sunidhi Chauhan (Beedi) Filmfare Best Choreography Award — Ganesh Acharya – (Beedi) Filmfare Best Art Direction — Sameer Chanda Filmfare Best Costumes Award — Dolly Ahluwalia Filmfare Best Sound — Subhash Sahu, K.J. Singh and Shajith Koyeri Filmfare Best Action Award — Jai Singh Filmfare Best Cinematographer Award — Tassaduq Hussain Filmfare Best Editing Award — Meghna Manchanda Filmfare Best Screenplay Award — Vishal Bhardwaj & Robin Bhatt Filmfare Best Background Score — Vishal Bhardwaj Filmfare Best Dialogue Award — Abhishek Chaubey & Vishal Bhardwaj [edit]Star Screen Awards Star Screen Award Best Film — Kumar Mangat Star Screen Award Best Director — Vishal Bhardwaj Star Screen Award Best Actor — Ajay Devgan Star Screen Award Best Actress — Kareena Kapoor Star Screen Award Best Supporting Actress — Konkona Sen Sharma Star Screen Award Best Villain — Saif Ali Khan Star Screen Award Best Music Director — Vishal Bhardwaj Star Screen Award Best Lyricist — Gulzar (Beedi) Star Screen Award Best Male Playback — Sukhwinder Singh (Omkara) Star Screen Award Best Female Playback — Rekha Bhardwaj (Namak) Star Screen Award Best Female Playback — Shreya Goshal (O Saathi Re) Star Screen Award Best Female Playback — Sunidhi Chauhan (Beedi) Star Screen Award Best Background Music — Vishal Bhardwaj Star Screen Award Best Choreography — Ganesh Acharya (Beedi) Star Screen Award Best Dialogue — Vishal Bhardwaj Star Screen Award Best Sound — K.J. Singh/Shajith Koyeri/Subash Sahu Star Screen Award Best Cinematographer — Tassaduq Hussain Star Screen Award Best Art Direction — Samir Chanda [edit]Zee Cine Awards Zee Cine Award Best Film — Kumar Mangal Zee Cine Award Best Director — Vishal Bhardwaj Zee Cine Award Best Actor- Female — Kareena Kapoor Zee Cine Award Best Actor in a Supporting Role- Female — Konkona Sen Sharma Zee Cine Award Best Actor in a Negative Role — Saif Ali Khan Zee Cine Award Best Track of the Year — Beedi Zee Cine Award Best Music Director — Vishal Bhardwaj Zee Cine Award Best Lyricist — Gulzar (Beedi) Zee Cine Award Best Playback Singer- Female — Sunidhi Chauhan (Beedi) Zee Cine Award Best Background Music — Vishal Bhardwaj Zee Cine Award Best Choreographer — Ganesh Acharya (Beedi) Zee Cine Award Best Film Processing — Adlabs Zee Cine Award Best Sound Recording — Subash Sahu Zee Cine Award Best Audiography — K.J. Singh/Shajith Koyeri/Subash Sahu Zee Cine Award Best Publicity Design — HR Enterprises Zee Cine Award Best Action — Jai Singh Zee Cine Award Best Cinematography — Tassaduq Hussain [edit]International Indian Film Academy Awards IIFA Best Director Award — Vishal Bhardwaj IIFA Best Actor Award — Ajay Devgn IIFA Best Actress Award — Kareena Kapoor IIFA Best Supporting Actress Award — Konkona Sen Sharma IIFA Best Villain Award — Saif Ali Khan IIFA Best Music Director Award — Vishal Bhardwaj IIFA Best Lyricist Award — Gulzar (Beedi) IIFA Best Female Playback Award — Sunidhi Chauhan (Beedi) IIFA Best Choreography Award — Ganesh Acharya (Beedi) IIFA Best Story Award — Vishal Bhardwaj IIFA Best Screenplay Award — Vishal Bhardwaj, Robin Bhatt & Abhishek Chaubey IIFA Best Dialogue Award — Vishal Bhardwaj Best Cinematic Contribution for Literary Work — Vishal Bhardwaj [edit]Bollywood Movie Awards Bollywood Movie Award - Best Film — Kumar Mangat Bollywood Movie Award - Best Director — Vishal Bhardwaj Bollywood Movie Award - Best Actor — Ajay Devgan Bollywood Movie Award - Best Actress — Kareena Kapoor Bollywood Movie Award - Best Supporting Actor — Vivek Oberoi Bollywood Movie Award - Best Supporting Actress — Konkona Sen Sharma Bollywood Movie Award - Best Villain — Saif Ali Khan Bollywood Movie Award - Best Music Director — Vishal Bhardwaj Bollywood Movie Award - Best Lyricist — Gulzar (Beedi) Bollywood Movie Award - Best Playback Singer Male — Sukhwinder Singh (Omkara) Bollywood Movie Award - Best Playback Singer Female — Sunidhi Chauhan (Beedi) Bollywood Movie Award - Best Playback Singer Female — Rekha Bhardwaj (Namak) Bollywood Movie Award - Best Choreography — Ganesh Acharya (Beedi) Bollywood Movie Award Best Dialogue — Vishal Bhardwaj Bollywood Movie Award Best Sound — K.J. Singh, Shajith Koyeri Bollywood Movie Award Best Art Direction — Samir Chanda Bollywood Movie Award Best Cinematography — Tassaduq Hussain [edit]Stardust Awards Hottest Movie of the Year — Big Screen Entertainers & Kumar Mangat Stardust Dream Director Award — Vishal Bhardwaj Stardust Star of the Year Award - Male — Saif Ali Khan Stardust Star of the Year Award - Female — Kareena Kapoor Stardust Best Supporting Actress Award — Konkona Sen Sharma Best Actor In A Negative Role — Saif Ali Khan New Menace — Deepak Dobriyal New Musical Sensation (Female) — Rekha Bhardwaj (Namak) Editor's Choice Best Performance of the Year — Kareena Kapoor Editor's Choice Best Director of the Year — Vishal Bhardwaj [edit]Global Indian Film Awards GIFA Best Film — Shemaroo & Kumar Mangat GIFA Best Director — Vishal Bhardwaj GIFA Best Actor — Ajay Devgan GIFA Best Actress — Kareena Kapoor GIFA Best Villain — Saif Ali Khan GIFA Best Music Director — Vishal Bhardwaj GIFA Best Lyrics — Gulzar (Omkara) GIFA Best Lyrics — Gulzar (O Saathi Re) GIFA Best Playback Singer Male — Sukhwinder Singh (Omkara) GIFA Best Playback Singer Female — Sunidhi Chauhan (Beedi) GIFA Best Playback Singer Female — Shreya Goshal (O Saathi Re) GIFA Best Choreography — Ganesh Acharya (Beedi) GIFA Best Cinematography — Tassaduq Hussain AIFA Best Actor — Ajay Devgn AIFA Best Actress Award — Kareena Kapoor AIFA Best Supporting Actress Award — Konkona Sen AIFA Best Villain Award — Saif Ali Khan AIFA Best Actress (Critics) Award — Kareena Kapoor AIFA Queen of Hearts Award — Bipasha Basu AIFA Best Female Playback Award — Sunidhi Chauhan (Beedi) AIFA Best Lyricist Award — Gulzar (Beedi) AIFA Best Soundtrack Award — Beedi AIFA Best Sound Recording Award — Salman Afidi [edit]International awards Asian Festival of First Films: Best Cinematographer — Tassaduq Hussain Cairo International Film Festival: Best Artistic Contribution in Cinema of a Director — Vishal Bhardwaj Kara Film Festival: Best Actor — Saif Ali Khan Kara Film Festival: Best Music Director — Vishal Bhardwaj Kara Film Festival: Best Adapted Screenplay — Vishal Bhardwaj, Abhishek Chaubey & Robin Bhatt Sports World Awards: Best Actor In A Villanous Role — Saif Ali Khan

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