
Advocate Raghunath Mishra has arranged the marriage of his daughter, Dolly, with Rajan, knowing fully well that Dolly loves Omkara Shukla. Before the marriage could take place, the groom's party is attacked, they flee, and Dolly is reportedly abducted. Raghunath is able to trace Dolly to Omkara, a criminal and hit-man, a verbal confrontation ensues until Politician Bhaisaab telephonically intervenes, and a crestfallen Raghunath faces the reality that Dolly was not abducted bu... (Full plot summary below)
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Advocate Raghunath Mishra has arranged the marriage of his daughter, Dolly, with Rajan, knowing fully well that Dolly loves Omkara Shukla. Before the marriage could take place, the groom's party is attacked, they flee, and Dolly is reportedly abducted. Raghunath is able to trace Dolly to Omkara, a criminal and hit-man, a verbal confrontation ensues until Politician Bhaisaab telephonically intervenes, and a crestfallen Raghunath faces the reality that Dolly was not abducted but is here with Omkara by her own free will. He warns Omkara, and departs. Shortly thereafter, Bhaisaab is shot at and wounded, announces that Omkara should stand in the next election, and as a result, Omkara appoints one of his lieutenants', Keshav Upadhyay in his place as the 'Bahubali". Omkara realizes that he may have blundered in having Keshav succeed him, as Keshav is unable to control his temper when under the influence of alcohol, which puts him in the bad books of Omkara. Then Omkara suspects that Keshav is having an affair with Dolly, as both had been fellow-collegians. With Omkara's marriage with Dolly getting close, he asks his other lieutenant, Ishwar Tyagi, to obtain proof of Keshav's affair with Dolly or face the consequences, as Omkara remembers Raghunath's warning that when a daughter is not true to her father, she will never be true to anyone. Watch what happens when Ishwar produces proof shortly after the marriage, and the impact this has on Dolly, Omkara, Keshav, Ishwar, and Ishwar's wife, Indu.
Leave your thoughts about Omkara.
| VarietyDerek ElleyStrongly cast, and with a powerhouse perf by Saif Ali Khan in the Iago role, pic puts Bhardwaj in the top ranks of serious Mumbai-based helmers. |
| User ReviewAman ABest Movie EVER made in Bollywood (or even Hollywood). Beats Sholay and Pulp Fiction according to me. I will not review it further otherwise I will end up writing 2000 words. *bow down* |
| User ReviewShradha ABrilliant adaptation of othello with a fantastic score and some classic performances make it a spectacular watch.A must watch for serious cinema lovers.BRILLIANT! :fresh: |
| User ReviewVikar Ufantastic movie.............ajay devgan is best in movie..................... |
| User ReviewShaina Si was very impressed by this movie. the acting was incredible. and the cinematography was absolutely beautiful.everyone looked BEAUTIFUL in this movie too. i also like how they well they adapted othello, they didnt slaughter it or make it too corny. i havnt seen a good indian movie in a looooong time. thank you for redeeming my hope in bollywood. |
| User ReviewPradyut VOne of my all-time favourite movies...something which i have watched over and over again...i hav listened to its tracks 1000 f times...n i cudnt resist writing a review. This is an absolute masterpiece from d stable of Vishal Bharadwaj ....it also goes on to prove that mainstream actors can act and boy wat better example than Saif Ali Khan...!!!! all I want to say abt this film is it's a CLASSIC...one of the finest jewel in Hindi cinema. |
| User ReviewMarisa RI was pleasantly surprised with this movie. This is very interesting, I wonder if it would have been better with Spanish subtitles. Anyhow, the acting is very impressive; the vulgar language and sensual scenes, as well as open dialogues, give a reality to the movie rarely found in Bollywood. I am yet to fully understand the relationship between beauty and fair skin which is so well accepted in this movie, and the music could have been better. But great choice, excellent movie! |
| User ReviewJamie AI've seen Omkara seven times now, and each time the film leaves me captivated. From the opening scene - which captures the rugged Indian landscape in a way not seen since Sholay, or to a lesser level Bandit Queen - between Saif Ali Khan and Deepak Dobriyal to the final in which only Viveik Oberoi remains standing, the film is first-rate. Critics of the film have singled out the rough, Uttar Pradesh-dialogue (which, honestly, is a kitsch of UP and Rajasthani) to the slow pace and the seriousness of the climax, but that's all just a load of bull. In these times of Kabhi Alvida Naa Kehna and a long list of Juhu-born, London-fed yuppie directors churning out candyfloss to no end, Omkara is poignant, no-nonsense cinema. Kudos to Vishal Bhardwaj, the director-cum-music director. In cricketing parlance, his masterpiece Maqbool was a one-dayer, and Omkara a fullblown Test match. Here, Vishal proves without a shred of doubt that he is a fine storyteller and great director. He is right up there with Mani Ratnam, Ram Gopal Verma, and Rakesh Omprakash Mehra (yes, he's only two films old, but did you see Rang De Basanti?). First, he handles an amazing starcast with ease and gets the best out of each. Ajay Devgan excels in the title role, one that he was born to play, Karishma Kapoor delivers a break-out performance, Konkana Sen Sharma rises above her role, Oberoi and Bipasha Basu are, thankfully, taught to hold themselves back, Dobriyal is given a sensational debut, and Saif...well, Saif is given the role of a lifetime. But more of that later. Vishal adapts Shakespeare's classic Othello for the Indian audience. His screenplay, with Robin Bhatt, takes the Bard's work and plants it firm in the rustic setting of North India, allegedly in and around Meerut, where Vishal is from. The dialogue is arguably the most realistic we have seen in recent times, with detail paid to the mannerisms and actions of each and every character in the film, from main to miniscule. The strong dialogue may have been a deterrent to family audiences, but subtract those and the film would have been much less the sensation it is. In fact, it is one of the few mainstream Indian movies to contain uncensored abuse, though there were parties across the country lobbying to have the film taken down from theatres if these lines were not edited. If you haven't seen it, please go do so. The lasting impression from the first viewing is Saif's portrayal of the wicked Langda Tyagi. He takes the original's Iago - played with cunning conviction by Kenneth Branagh at one time - and walks away with the film. He is superb, and has come an entire life span since his forgettable debut in the early '90s. His dialogue delivery, his look, his mannerisms, all are unforgettable, and draw you back to the film. His numerous confrontations with Devgan are immense, and every time he enters the frame you wait to see what he does next. Hats off. And then there's the music. Every song is virtually a story. Naina unwinds the story of how Kareena's Dolly fell in love with Omkara, the passion with which she loves him, but also beautifully lets us all know the frailty of this love. The title track epitomizes Omkara's brooding yet overpowering character, while O Saathi Re is haunting for the way in which it canvases the love that will never be between Omkara and Dolly. Beedi, with its brazen lyrics and uninhibited rustic charm, acts as the catalyst for Langda's devious plans and the ultimate undoing of Omkara and Dolly. And Suresh Wadkar makes a welcome return with Jag Jaa, a soft lullaby that makes its presence felt at two key junctures in the film, in quite contrasting scenes. I'm going to stop now, and encourage you to go watch this film. |
| User ReviewErin CAn interpretation of Othello, and a very good one. Not a masala movie (thank goodness). |
| User ReviewJeff WExcellent film and storylines. Pleasantly surprised that it was pulled off as I thought Shakespeares stories are long drawn but this is a masterpiece and all actors are outstanding in their roles |