Omkara 2006 123movies

Watch: ओमकारा 2006 123movies, Full Movie Online – 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..
Plot: Half-caste bandit Omkara Shukla abducts his lady love, Dolly Mishra, from her family. Thanks to his cleverness, he gets away with the kidnapping. A conspiracy, however, forms against him when he denies his right-hand man, Langda Tyagi, a promotion. Ultimately, this plot threatens not only his relationship with Dolly, but their lives and those of their associates as well.
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Ratings:

	8.1/10 Votes: 20,958
	N/A | RottenTomatoes
	N/A | MetaCritic
	N/A Votes: 67 Popularity: 4.707 | TMDB

Reviews:

Omkara: A Classic Of International Standards
Traditionally in Bollywood you narrate fantasy and try to make it an art form, thankfully it doesn’t work. Real life is harsh, as a nation we are in the first phase of seeing reality taking art form on screen. It used to happen before but sadly those movies used to get buried under the tag of “art movie”. I think as a culture we tend to have a strong disdain for reality and we love flirting with surrealism of lowest standards.

Omkara would be a cult classic, like Maqbool, its for people who like to see smart cinema, yes cinema as in international cinema and not films. I don’t think Othello is a subject that will go down well with “junta” they like singing, dancing, crying. Omkara has singing, dancing and crying, but it is similar to things in our lives. We don’t like it, we like entertainment through escapism, surrealism and at times sadomaschoism. Thats Us, Indias, we are like this. It’s not good, it’s not bad. After weeks Omkara may not become a successful product, Omkara would be a successful Cinema.

The movie is a stand out from a technical point of view, you can count the flaws on two fingers which is exceptional for Bollywood.The creative team has achieved a new high, so congratulations to them.The movie fits well in the location, it has an authentic feel and associates nicely with he play.The rustic and rough feel of the movie nicely captures the ambiance, never for a moment things get too comfortable and I guess if you’re surrounded by political mafias there can never be a real sense of ease about any thing.

I think acting from Ajay Devgan was a bit disappointing. I am not criticizing him maybe I was expecting too much, but sadly for me, he couldn’t deliver anything new. You could always see shades of his character from Yuva and Apaharan. I kept wondering isn’t Omi the same guy? I mean same stare, same approach, even the same way looks into the eyes of his lover. Strange. But overall I think in context of the story he has done a wonderful job. He’s been solid and that does it for the movie so you cant be critical of him. Kareena Kapoor has been made to look really good, thanks to director. It’s good to see she is improving. Konkona Sen, she is a beautiful actor a genuine talent. Sadly she was a bit wasted in a limited screen time but had emphatic presence. Vivek Oberoi, sadly he lost out. He did his usual boy-next-door-charm but you never felt for his character. He looked more idiotic than brave and loyal, not for a moment you could sympathize with him while he was being victimised. Vishal hid him very well in the script. Naseer Sab was good. He is too big now for such roles and he managed to give credibility to this character.

The soul of the movie is Saif Ali Khan. I think since DilChahta Hai he’s shown that he is one Indian actor who is ready to imply world standards to his approach and methods. His work ethics have been fantastic. I respect him for that. Personally I think Langda Tyagi is the most inspired performance since Paresh Rawal’s Sardar. In between I can’t think of any actor getting in the soul of a character like this. He did in this movie what Pankaj Kapoor did in Maqbool with Abba Ji, which is to re-invent how a character is portrayed, it can only be achieved by legends. Langda is a bit of Jack Sparrow and Bill the Butcher at the same time, which means quality. The best thing was, for the entire movie Saif killed himself to become Langda. When he called SMS “assum kar dena” in Car with Omi that sealed it for him.

It wasn’t an easy task following Maqbool. Vishal has done an absolutely incredible job in stretching his high standards. He is a certified genius now, a rare breed, a original of the species. His story telling, dialogues, the whole presentation was flawless. I am sure those who are not familiar with Othello will have a different view. But I don’t see how could have Othello be re-worked better as a movie. It’s a tragedy so the end was glum and depressing. I am impressed and awed by Vishal Bharadwaj’s work. He stuck to his beliefs and made a movie that he wanted to make never bothering about crowd, money or critics. It rarely happens in Bollywood. Kumar Mangat should also be thanked for encouraging him and giving him his space. Right now Vishal Bharadwaj is the best, much better than Pretentious Leela Bhansali. Take a bow for giving a Classic of International Standards.

Saif Reigns Supreme
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.

Other Information:

Original Language hi
Runtime 2 hr 35 min (155 min)
Budget 0
Revenue 0
Status Released
Rated Not Rated
Genre Action, Crime, Drama
Director Vishal Bhardwaj
Writer Vishal Bhardwaj, Robin Bhatt, Abhishek Chaubey
Actors Ajay Devgn, Kareena Kapoor, Saif Ali Khan
Country India
Awards 29 wins & 33 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital
Aspect Ratio 2.35 : 1
Camera Arriflex 535B, Cooke S4 Lenses
Laboratory N/A
Film Length N/A
Negative Format 35 mm (Kodak Vision2 500T 5218, Fuji Eterna 250D 8563)
Cinematographic Process Digital Intermediate (2K) (master format), Super 35 (source format)
Printed Film Format 35 mm (anamorphic)