Omkara VS Othello

I will be discussing William Shakespeare’s play ‘Othello’ alongside the adaptation ‘Omkara’. William Shakespeare’s play surrounds the downfall of the character Othello as a result of his personal flaws. Othello’s jealous nature and weak personality made him an easy target for the antagonist Iago to manipulate him which ultimately led to his demise. The adaptation by director Vishal Bhardwaj, set in rural Uttar Pradesh, North India, also follows the protagonist’s downfall, caused by his personal character flaws. Although the adaptation shares many themes with the original play, including love, prejudice and betrayal, there are numerous differences in the actual events that unfold, which also leads to the character ‘Omkara’s’ downfall.

Although Othello had a tragic ending, the characters were managed gracefully with each being similar but somewhat different to one another. Iago plays a crucial role within the original play of ‘Othello’, not only does he have the biggest share of dialogues but is an archetypal villain. This being, Iago knew the sore points of Othello and was able to manipulate him easily. By this his evilness as well as his angst can be seen throughout the play. The character Othello is a highly egotistical individual and Iago took advantage of this flaw through the use of cunning, carefully planned lies and implications in order to bring Othello to his own downfall. He ingeniously manipulated Othello’s own ego against himself without Othello having a realization. The audience is introduced to Othello when he is at his position as a general and witnessed the journey leading to his tragic fall, with this focus on him portraying him as the main character of the play. Othello overcomes numerous hardships and disadvantages which arise because of the colour of his skin to obtain his respect and power in the beginning of the play.

Whereas the adaptation of Othello, the Bollywood film Omkara, directed by Vishal Bhardwaj, released in 2006, is seen that the characters are an imitation of Shakespeare’s Othello but with a cultural difference and Indian characteristics to them. Omkara was an analytically applaud and awarded movie as it had a rustic look to the story and the language used within the film had plenty of insults in Hindi specifically in the Khariboli dialect which caught the attraction of the local people. The language was appreciated by many of THE LOCAL PEOPLE however there was a vast majority who belittled the dialect as there were many phrases which only on the people of khariboli dialect could comprehend. Race is reframed, in the Indian context it is known as a caste issue, which is a deeply imbedded and unjust social stratification which is still inflicting the social and political constitution of modern day India. Bhardwaj instigated this ongoing issue within the adaptation when the people of the village within the movie tend to look down at Omkara as he is of half-caste. As well as this Bhardwaj implemented the names of the characters from the original play into his film. The character of Othello was known as Omkara, Desdemona was known as Dolly, Cassio was known as Keshav ‘Kesu Firangi’, Bianca was known as ‘Billo’, Iago was known as Ishwar ‘Langda’ Tyagi, Emilia was known as Indu Tyagi and Rodrigo was known as Rajan ‘Rajju’ Tiwari. The names of the characters begins with the same or similar sound as their counterparts from the original text. Bhardwaj would have selected these specific names in order for the film to blend into the adaptation.

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The adaptation of Othello, Omkara, remains true to the storyline of the play while also creating several slight differences within the film. Bhardwaj departs Omkara from Shakespeare’s Othello by intentionally taking Iago, the antagonist within Othello, and altering him in a way which portrays him as more ‘human’, and subsequently ‘less’ heinous, character of Langda. Langda, in Omkara, is the equivalent character of Iago in Othello. The film forms a similar correspondence between the characters of Iago and Langda. Langda is the villain of the film, as well as the main cause of destruction and tragedy, just as Iago is in Othello.

Love and Prejudice. Love. The attachment and endearment between two people. Prejudice. A preconception that is not based on actual experience or reason. Desdemona’s relationship with Othello is one of love, and she is loyal only to her marriage. The atmosphere of racial prejudice in Venetian society is present, in which both Othello and Desdemona are aware of. Desdemona handles prejudice by repudiating its access within her own life. Othello on the other hand, is not mindful of how prejudice has infiltrated his own personality. This engrossed prejudice demoralizes him with thoughts similar to ''I am not worthy of Desdemona,' 'It cannot be true that she really loves me,' and 'If she loves me, then there must be something wrong with her.' Corresponding the atmosphere of racial prejudice within the play. Dolly’s love towards Omkara is portrayed when Dolly runs away from home in order to be with Omkara. Her love is further proved when, Raju creates accusations of Omkara forcefully taking Dolly, but Dolly responds with that it was her who wanted to willingly be with Omkara. The racial prejudice is further depicted within the movie when Omkara has his second encounter with dolly’s father and omi is seen to touch raghunaths feet as an utmost sign of respect but in return is to be treated poorly due to the fact that he is ‘adha-cast’ which translates into half-cast. Half cast being – Omi’s mother is of a low cast and his father is of a higher cast known as the braahman.

Betrayal is the breaking of trust that produces moral and psychological conflict within a relationship amongst individuals. Betrayal is revealed through the irrational behavior of the characters within the play as well as the film. The betrayal of Desdemona is perceived when she marries Othello without her father's knowledge or consent. Brabantio (desdemona’s father) goes on and warns Othello,' “Look to her Moor, if thou hast eyes to see. She has deceived her father and may thee.” act 1 scene 3. Suggesting that Desdemona has therefore shown a potential for disloyalty and betrayal. This was of utmost importance as it was something which stuck within Othello’s mind and was remebered later on. The father of Dolly, in a statement very similar to the one made by Desdemona's father in Othello, 'Bahubali, aurat ke tariya charitra ko mat bhulna. Jo ladki apne baap ko thag sakti hai, woh kisi aur ki sagi kya hogi.'. Which translates into May you never forget the two-faced monster a woman is. She who can dupe her own father will never be anyone’s to claim.' The 'two-faced monster' is the term used to describe Dolly. When Raghunath, Dollys father says this, he is looking at Dolly, who is standing on the opposite side of the car. The same words uttered by Raghunath would later come in the way of Omkara's ability to trust Dolly. Dolly's father evolved the impression of her untrustworthiness in Omkara's mind in that very moment. Omkara will later look at Dolly through the views of her father and will see the two apparent faces of Dolly, and is unsure which one is her true one either the one who is supposingly having an affair with kesu behind his back or the one who truly loves him. Raghunath bitterly warns Omkara that the daughter who betrayed him once this easily would one day betray Omkara without a doubt as seen in the play.

The historical play of Othello made by Shakespeare within the 17th century alongside the adaption Omkara released in 2006 has shown the conversion of the periodic era and the modern day era altered and made into a Bollywood film without the disappointment to both the 21st century and the 1600’s, allowing the excitement of both a Shakespearean fan and a Bollywood fan to flourish.