{"id":3047,"date":"2016-06-06T04:38:38","date_gmt":"2016-06-05T23:08:38","guid":{"rendered":"http:\/\/13.201.39.237\/?p=3047"},"modified":"2026-07-17T20:21:38","modified_gmt":"2026-07-17T14:51:38","slug":"omkara-vishal-bhardwaj-othello-indian-men","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=3047","title":{"rendered":"13 Years of Omkara: How a Play About Race Became a Critique of Toxic Masculinity"},"content":{"rendered":"\n

T<\/span><\/p><\/div>

here\u2019s a reason why Vishal Bhardwaj is considered a master when it comes to telling stories on the big screen: The director\u2019s genius lies in his astute understanding of the complexities of human nature. It\u2019s this precise quality that has aided him in adapting three Shakespearean tragedies set in different parts of medieval Europe to <\/span>modern India<\/span><\/a> in a way that all their elements seamlessly transform into visual poetry. He\u2019s also one of those directors who doesn\u2019t just stay faithful to his source material, but also gives it a contemporary twist rooted in the Indian milieu. Like Othello, who transformed into Omkara, in a film that turns 13 today.<\/span>\n\nA tragic tale of <\/span>love<\/span><\/a> and jealousy, Shakespeare\u2019s <\/span>Othello<\/span><\/i>, is coloured by its titular protagonist\u2019s insecurities. Othello was a \u201cMoor\u201d, a disparaging term used to describe <\/span>dark-skinned<\/span><\/a> or African Muslim people in medieval Europe. Several times during the course of the play, Othello\u2019s complexion is brought up and it\u2019s this innate inferiority complex that makes Othello a victim of manipulation by his ensign, Iago.<\/span>\n\nIf there was ever a character tailor-made for Indian sensibilities, it is Othello. In 2006, when Bhardwaj adapted <\/span>Othello<\/span><\/i> to<\/span> Omkara<\/span><\/i>, he turned race into <\/span>caste<\/span><\/a>. In the film, Omkara was half-Dalit, half-Brahmin, living in the badlands of rural Uttar Pradesh. But unlike Othello, Omkara wasn\u2019t insecure about his caste identity. Instead, he wore it as a badge of honour. Despite this deviation, Omkara perfectly embodies Othello\u2019s jealousy and insecurities solely because of his reality as an <\/span>Indian man<\/span><\/a>.<\/span>\n\nOmkara lives in a land full of patriarchal institutions, including <\/span>arranged marriage<\/span><\/a>. A country where women are both a burden and an object of desire. <\/span>\n

It\u2019s this superiority that drives Omkara to assume that he has the right to punish Dolly as well, without even hearing her side.<\/blockquote>\nIt\u2019s this shared mentality that creates millions of Omkaras: men who end up with women who deserve far, far better and yet continue to believe that they own them. Despite their inflated self-worth, they can still never shake off the underlying feeling of not being good enough. Deep down, they are aware that the women they are with could\u2019ve done better, but are hardly given a choice to.<\/span>\n\nIn the film, it\u2019s his runaway lover Dolly\u2019s father who plants the first seeds of doubt in Omkara\u2019s mind. He tells him (repeating<\/span> Othello\u2019s<\/span><\/i> most significant line almost verbatim) that a woman who can betray her <\/span>father<\/span><\/a> can betray anyone. He sets the tone of the film by reminding Omkara of \u201ca woman\u2019s two-faced nature,\u201d reflecting India\u2019s ingrained <\/span>misogyny<\/span><\/a>.<\/span>\n\n\"Omkara\"\n
\n

Omkara lives in a land full of patriarchal institutions, including arranged marriage.<\/p>\n

Image credit: Shemaroo Entertainment<\/p>\n<\/figcaption>\n<\/figure>\n\n\nLater, when Dolly goes to Omkara\u2019s home for the first time, his right-hand man Langda Tyagi (Iago)\u2019s wife, Indu makes a jibe about the difference in the couple\u2019s skin colour. But what catches Omkara\u2019s attention is the metaphor that she uses to describe their coupling: \u201cKaare Krishna ke honthon pe baansuri\u201d (a flute on the lips of the dark-skinned Krishna). That it\u2019s this observation that pleases Omkara is revealing of how incapable countless men like him are of viewing the women they love as their equals. It\u2019s this superiority that drives Omkara to assume that he has the right to punish Dolly as well, without even hearing her side. <\/span>\n\nIn the film, Omkara decides to elevate Kesu (Vivek Oberoi playing Cassio in a wonderful turn) as the party baahubali instead of Langda only because of the former\u2019s college education. It\u2019s what drives Langda to exact revenge on him, by insinuating to Omkara that Dolly is having an affair with Kesu. <\/span>\n\nBoth Dolly and Kesu are easy targets because of what they have in common: They\u2019ve both studied in the same college and <\/span>speak English<\/span><\/a> fluently. Omkara, on the other hand, speaks in the rustic Hindi dialect unaltered by any sign of formal education. By tricking him into believing that Dolly is cheating on him with Kesu, Langda realises that he can reduce Omkara to a sum of his failings. By making Omkara the outsider in this equation: Dolly could have easily chosen Kesu for a grander life \u2013 a life inaccessible to Omkara due to his illiteracy. <\/span>\n\nThis is Bhardwaj deftly weaving India\u2019s third-most pervasive and ingrained malaise after misogyny and caste into the film\u2019s narrative: Macaulayism. For <\/span>Omkara<\/span><\/i> does offer a peek into the minds of less-educated men across the country, who let their inferiority complex manifest in toxic ways. In the film, Omkara sees Dolly only as a prize he\u2019s entitled to, which is why he views her supposed betrayal as an insult to his machismo. It\u2019s also the reason her father\u2019s words torture him repeatedly.<\/span>\n\nIn doing so, Bhardwaj exposes the hypocrisy of Indian men in <\/span>Omkara<\/span><\/i>. For them, it\u2019s not enough that women like Dolly leave everything behind and choose to love them fiercely. Because of their own inadequacies, men like Omkara are completely unable to trust them. <\/span>\n\nIt\u2019s the exact sentiment that Indu encapsulates in one scene: \u201cJab granthon ne kalank ko humaare <\/span>maathe ki bindi<\/span><\/a> bana diya hai, to aapki kya galati hai?\u201d (When even the scriptures have branded us sullied and untrustworthy, who can blame you?). <\/span>\n\nIn its two-hour-long runtime, <\/span>Omkara <\/span><\/i>gives us a lot of things: an able update of <\/span>Othello<\/span><\/i>, Saif Ali Khan\u2019s fine form, a taut plot. But more importantly, it gives us a searing commentary on how hesitant Indian men are to battle their inner demons. The price in the end, is always paid by unsuspecting women.<\/span>\n","protected":false},"excerpt":{"rendered":"

Thirteen years ago, Vishal Bhardwaj gave us the masterful Omkara based on Othello, the Shakespeare play about race and misogyny. The play is tailor-made for Indian sensibilities, where race turns into caste and the misogyny is dialled up several notches.<\/p>\n","protected":false},"author":176,"featured_media":3050,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[5987,141,19,1204,5988,5989,1207,5990],"class_list":["post-3047","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood","tag-12-years","tag-bollywood","tag-india","tag-kareena-kapoor","tag-omkara","tag-othello","tag-saif-ali-khan","tag-vivek-oberoi"],"yoast_head":"\n13 Years of Omkara: How a Play About Race Became a Critique of Toxic Masculinity<\/title>\n<meta name=\"description\" content=\"Thirteen years ago, Vishal Bhardwaj gave us the masterful Omkara based on Othello, the Shakespeare play about race and misogyny. 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