Omkara
- 2006
- 2h 35min
VALUTAZIONE IMDb
8,0/10
22.704
LA TUA VALUTAZIONE
Aggiungi una trama nella tua linguaA politically-minded enforcer's misguided trust in his lieutenant leads him to suspect his wife of infidelity in this adaptation of Shakespeare's 'Othello'.A politically-minded enforcer's misguided trust in his lieutenant leads him to suspect his wife of infidelity in this adaptation of Shakespeare's 'Othello'.A politically-minded enforcer's misguided trust in his lieutenant leads him to suspect his wife of infidelity in this adaptation of Shakespeare's 'Othello'.
- Premi
- 30 vittorie e 31 candidature totali
Ajay Devgn
- Omi Shukla
- (as Ajay Devgan)
- …
Vivek Oberoi
- Keshav Upadhyaya
- (as Viveik Oberoi)
- …
Pankaj Tripathi
- Kichlu
- (as Pankaj Tripathy)
Trama
Lo sapevi?
- QuizIn the shot in which Saif Ali Khan is in the shadows, looking at a mirror, director Vishal Bhardwaj suggested that it would be very artistic and beautiful if Khan did it naked. The actor answered, "I am prepared to do that as long as you direct me naked." That was the end of the topic.
- BlooperDuring the first scene of dressing up the bridegroom for marriage, Omkara is wearing a garland made from 1000 rupee notes. However, during the marriage, he is wearing a 500 rupee notes garland.
- Citazioni
Langda Tyagi: What am I, holding your balls? Jump motherfucker!
- ConnessioniFeatured in 52nd Fair One Filmfare Awards (2007)
- Colonne sonoreOmkara
Written by Gulzar
Composed by Vishal Bhardwaj
Rhythm by Nitin Sharma
Performed by Sukhwinder Singh, Arun Ingle, Vijay Prakash, Hemant Kulkarni,
Mani, Asif Ali Beg, Rishikesh Kamekar, Chintamani Sohoni and Neuman Pinto
Courtesy of EROS Music
Recensione in evidenza
If you like cinema, it's beyond me how you can not like this movie.
There's so much to love here. The precision and nuance the director employs is beautiful. There are so many scenes that only last a few seconds, but they leave such an indelible effect. Like cinematic poetry. So many opportunities for extended conflicts and contrived drama is eschewed in favor of a shot that lingers for just a few moments, letting you know everything you need to.
The director really gets it. And because he gets it, the actors are free to act, all doing much better work than we're used to seeing. Saif steals the show. Othello, the play, needs Iago.
And Saif takes that ubermensch archetype and runs with it, from the broad strokes of the character, the obvious facets embodied in his physicality and his his presence, to the more subtle notes like that glimmer of lonely angst in his eyes. And he does it without ever trying to upstage anyone, or at least does a good job of giving that impression.
The birthday party scene, where he quietly begs for some sign of affection from anyone gathered and finds himself all alone, was touching in a surprising way - I've seen a lot of movies, and I think I even pride myself on not falling prey to the usual appeals to emotion; the same techniques that directors and actors use over and over again. But, this caught me off-guard. There's a level of depth to the verisimilitude and nuance that's hard to come by.
The role that music plays in all this is also amazing. Not surprising because the director, Vishal Bharadwaj, comes from an accomplished musical background. It rarely calls attention to itself and always seems to complement the visuals and action in perfect sync. A thing of beauty, really.
Anyway, reading what I've written so far, you might think that this movie is only for people who take movies too seriously, maybe. People who're very concerned with the technical aspects of it etc.
But, that's really not the case. It is an adaptation of Shakespeare's Othello, and it never strays too far from it's source. It's Shakespeare, that yardstick of universally applicable human experience.
I found myself relating to every character in the movie, even the minor ones. It engages you on a level that few movies ever do and does it without asking too much. Because there are no long monologues. The dialogue is succinct and apt. The visuals are always pretty, many of the frames like paintings taken by themselves. In other words, despite belonging to that post-Tarantino MTV generation, expecting constant stimulation and engagement to be provided to you instead of actively investing it, I had no trouble with this movie.
The film doesn't have the arrogance to ask you to sacrifice your viewing pleasure because it's Shakespeare and invest extra amounts of energy and attention. Without using the word in a bad way at all, there's plenty of entertainment here. And that's Shakespeare too.
There's so much to love here. The precision and nuance the director employs is beautiful. There are so many scenes that only last a few seconds, but they leave such an indelible effect. Like cinematic poetry. So many opportunities for extended conflicts and contrived drama is eschewed in favor of a shot that lingers for just a few moments, letting you know everything you need to.
The director really gets it. And because he gets it, the actors are free to act, all doing much better work than we're used to seeing. Saif steals the show. Othello, the play, needs Iago.
And Saif takes that ubermensch archetype and runs with it, from the broad strokes of the character, the obvious facets embodied in his physicality and his his presence, to the more subtle notes like that glimmer of lonely angst in his eyes. And he does it without ever trying to upstage anyone, or at least does a good job of giving that impression.
The birthday party scene, where he quietly begs for some sign of affection from anyone gathered and finds himself all alone, was touching in a surprising way - I've seen a lot of movies, and I think I even pride myself on not falling prey to the usual appeals to emotion; the same techniques that directors and actors use over and over again. But, this caught me off-guard. There's a level of depth to the verisimilitude and nuance that's hard to come by.
The role that music plays in all this is also amazing. Not surprising because the director, Vishal Bharadwaj, comes from an accomplished musical background. It rarely calls attention to itself and always seems to complement the visuals and action in perfect sync. A thing of beauty, really.
Anyway, reading what I've written so far, you might think that this movie is only for people who take movies too seriously, maybe. People who're very concerned with the technical aspects of it etc.
But, that's really not the case. It is an adaptation of Shakespeare's Othello, and it never strays too far from it's source. It's Shakespeare, that yardstick of universally applicable human experience.
I found myself relating to every character in the movie, even the minor ones. It engages you on a level that few movies ever do and does it without asking too much. Because there are no long monologues. The dialogue is succinct and apt. The visuals are always pretty, many of the frames like paintings taken by themselves. In other words, despite belonging to that post-Tarantino MTV generation, expecting constant stimulation and engagement to be provided to you instead of actively investing it, I had no trouble with this movie.
The film doesn't have the arrogance to ask you to sacrifice your viewing pleasure because it's Shakespeare and invest extra amounts of energy and attention. Without using the word in a bad way at all, there's plenty of entertainment here. And that's Shakespeare too.
- vjunkmailster
- 26 ott 2006
- Permalink
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Dettagli
- Data di uscita
- Paese di origine
- Sito ufficiale
- Lingua
- Celebre anche come
- Омкара
- Luoghi delle riprese
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Lordo Stati Uniti e Canada
- 1.244.576 USD
- Fine settimana di apertura Stati Uniti e Canada
- 427.400 USD
- 30 lug 2006
- Lordo in tutto il mondo
- 16.466.144 USD
- Tempo di esecuzione2 ore 35 minuti
- Colore
- Mix di suoni
- Proporzioni
- 2.35 : 1
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