Based on the Shakespearean tragedy 'Othello', 'Omkara' is an imaginative adaptation by director Vishal Bhardwaj, enriched with rustic characters in a politically simmering village setting. Though the film is titled 'Omkara', the character that truly calls the shots and drives the meaty, yet lethargically paced plot is Saif Ali Khan playing Langda. The foul-mouthed Langda, a loyalist turned traitor and a schemer who must manipulate the hand of chance when it favors his inferior, with innocent lives and streams of blood. Saif truly is the backbone of the film and has delivered the most smashing performance of his career. Unflinching in plotting revenge against his offenders, the original character created by the bard has been magnificently recreated by Vishal and its villainy comes to life only because Saif Ali Khan spewed it with unassuming poison of the proverbial snake that takes the form of man. And it's no exaggeration to state that no other actor could have played that part better than Saif. Moving onto other actors, Kareena Kapoor is the other top runner in performances. She acts with staunch realism and credibility, her face and eyes ooze with a flood of unambiguous emotions that simply take your breath away. Her character beams with a brighter shining spark as she performs the part of Dolly than was last seen in 'Dev', 'Yuva' or even 'Chameli'. Konkona Sen Sharma also wins brownie points, transforming from the character of urban educated girl in her previous films like 'Page-3' or most recent 'Yun Hota To Kya Hota' into an unsophisticated, almost boorish yet headstrong woman who mouths unflattering expletives with a natural ease. Ajay Devgan hangs tough in an effort to take his character to the next level, but only succeeds marginally. The character which is perhaps the weakest on writing board as well as in execution is that of Viveik Oberoi playing Kesu Firangi. Other characters that are half-etched are that of Naseeruddin Shah and Bipasha Basu. A good screenplay that unfolds the plot effectively is always supported by compelling dialogues. This is where 'Omkara' glaringly falls short. The dialect is difficult to comprehend even for the audience that has in the past appreciated films like 'Gangajal' or 'Apharan' for their dialogues. The editing of the film also suffers and the length of the film renders some of the scene ineffective making them lose their sheen or the razor edged drama that was infused in the original play. The unimaginative camera work and background score also neglects a stronger need for creating a sense of drama and mystery required for an adaptation of this stature. The song 'Bidi' is the only one with the recall value for its music by Vishal, raunchy lyrics by Gulzar and for newly crowned Goddess of oomph Bipasha Basu. In a nutshell, 'Omkara' is not everyone's cup of tea and will have more efficiency in the film festivals and for those with a seriously cultivated taste. In other words, for 'Omkara' to touch the finishing line at the end of the race at the box-office is highly wishful.
Review of Omkara
