Othello Vs. Omkara

Othello Vs. Omkara

!.?.!? Eusteen-Em Kayle F. Barte January 20, 2014 Eng10 Michaela Atienza Omkara, Bollywood’s Othello When someone points out Bollywood, the mind rapidly thinks about a film where the plot is based upon love triangles and love which typically ends happily ever after. This thought is accompanied with characters singing and dancing in genuine standard outfits, like the sari (a costume for females), in an attempt to highlight a circumstance or state of mind more. Watching Bollywood resembles enjoying tape-recorded cultural dance programs due to the fact that of how well cultural elements are embedded in each routine.

In Bollywood films, love is generally the driving force of each plot, so it is interesting to watch a film like Vishal Bhardwaj’s Omkara, an adjustment of William Shakespeare’s Othello, and see how it uses love of a political leader to the love of a military hero. Omkara embeds in a conservative Indian Society which is more modern than that of the play Othello which was set in a Venetian society between 1500 and 1750. Even though the settings differ by years and culture, the director of the movie, Vishal Bhardwaj, managed to include the backbone of the story.

This consists of the styles revenge, deceptiveness, and love. The only obvious distinction in between the play and the film is the characterization of the characters. The major one being Omkara (Othello) not being a moor. Through an analytic comparison between the play and the movie based on the plot and the characterization of Omkara reveals that Omkara successfully transforms a Venetian society-based play into one that an Indian society could enjoy, comprehend and connect to without eliminating the essence William Shakespeare.

The beginning of the film varies greatly from the play. In the play, the plot begins with Iago preparing a revenge on Othello for selecting Cassio over Iago for a promotion. On the other hand, the introduction of the motion picture is stretched and is longer than that of the play where it leaps straight into Iago’s plans. The movie starts with a set up marriage which was ultimately between Raju, a character who represents Shakespeare’s Roderigo, and Dolly, a character who represents Desdemona, which was interrupted since of Dolly’s love towards Omkara.

The scene where Dolly’s commitment with Omkara is exposed is when Dolly runs from her home in her method to go to Omkara. The second revelation of this is when, Raju implicates Omkara for forcefully taking Dolly, however Dolly responds by saying that it was her who wanted to be with Omkara. The introduction is further lengthened with the scene of Omkara’s rise of political power and where he selects Kesu over Langdu as his successor. It wanted this scene where Langdu’s strategy versus Omkara is exposed for rejecting this long-waited promotion.

Though prolonged, the movie generates the theme of revenge which ends up being the driving force of both the film and the play. Without “vengeance” the film would have lost the essence of William Shakespeare. The intro was not the only distinction of the plot. Another distinction, however more small, is that in the start of the play, Othello is currently married to Desdemona, while in the motion picture, Omkara marries Dolly after his promotion. To me, this was done due to the fact that marital relationships are important in the Indian society and likewise to contribute to the plot by showing that the love in between Omkara and Dolly was main.

This likewise showed the offering of the heirloom to Dolly, a present of high value and the gift that was utilized to deceive Omkara. In the movie the treasure was the scarf of William Shakespeare’s play. Throughout the motion picture Omkara’s evolution as a character parallels with Othello. In the beginning of the film, Omkara is a man with excellent honor for himself and shows his love for Dolly. After Iago initiates his strategy, we start to question Omkara’s ability to trust. In one scene Langdu benefits from Kesu due to the fact that he can not handle his alcohol.

So Langdu makes him consume to the point where Kesu becomes careless. Omkara is given the news of Kesu’s irresponsibility and scolds Kesu, the man who he appointed as his successor. Being away so typically, Omkara is unable to supervise his pals and his household and therefore he relies on recommendations from Langdu; like Iago, Omkara rely on his recommendations and his word. Langdu uses this to his advantage as he can easily manipulate each story and quickly trigger problems for Omkara. Omkara is seen as the normal possessive male of the society and one that trusts his associates more than his other half.

Omkara starts to reveal his suspect for Dolly when Langdu informs him that Dolly and Kesu had been having an affair during Omkara’s absence. Omkara sees for himself that the treasure remained in the belongings of Kesu, a set-up of Langdu, which enrages him enough to eventually kill Dolly. Once Omkara has actually eliminated Dolly, he is informed that it was Langdu who devised such strategy, he eliminates himself since of guilt. Omkara was not capable of managing the scenario just like Othello. Which ways, in both the movie and the play this character was a victim of his own wonder about towards individuals who care about them most.

A clear contradiction for soldiers and political officials whose qualities are based upon trust. In the play, this was more understanding since Othello was a soldier, a male who was clearly unsuited to like. The motion picture ended the way Shakespeare would have ended it, with an awful death of the main character along with the death of others. The plot was clearly studied by the manufacturer and so was the characters, but the most fascinating element of the film is how it included Indian culture. From arranged marriages to the treasure, the film stayed in the worlds of the Indian Society.

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