abhishek-saha

One of the questions that the director and the scriptwriter have to deal with when making a film adaptation of a classic is that of balance. One would like to remain true to the original story, yet each medium has its own modes of expression and a literal translation of a story would usually result in a long, incoherent, and ultimately powerless film. "The trick is," as director Trevor Nunn says in an interview about The Merchant of Venice, "to make a completely new piece of work while preserving the original piece of work." And Omkara, Vishal Bharadwaj's adaptation of Shakespeare's Othello is that rare beast. It is stunningly true in details and spirit to the original play (despite the substantial changes necessitated by transferring medieval Europe to modern day Bihar) and also be one of the finest Hindi movies made in recent times.

The reason for Shakespeare's huge popularity and general regard as one of the greatest playwrights ever is the timelessness of his themes- love, relationships, race, class, gender, jealousy, hatred, betrayal and death. He created unforgettable characters who remained people we can relate to. The basic premise of all his plays is usually simple. Shakespeare was a master who wrote for everyone, a fact that is sometimes forgotten by those intimidated by his high-brow reputation. And Omkara stays true to that spirit by making no attempt to intellectualize itself. The characters are crude and their language is coarse, in a way that compliments the feel of the film perfectly. Some of the elements of the film are deliberately over-the-top or violent and the scene in which Omkara smothers Dolly is extremely long and vivid; it is to Bharadwaj's credit that he turns this lack of subtlety into an asset. Indeed Omkara couldn't have been made any other way.

The acting throughout the film is splendid. Saif Ali Khan, in particular, is extraordinary as the wily, manipulative Langda Tyagi. Khan is one of the most versatile actors in Bollywood and it hard to believe this is the same guy who so brilliantly played 'Sameer' in 'Dil Chahta Hai'.

And oh, the ambiance! Bharadwaj creates the perfect setting for the film with a combination of great music, wonderful cinematography and a relentlessly dark atmosphere. This is a director who knows what he is doing and is a master at it.

I could go on and on about 'Omkara'…but probably it is best that the reader go and judge for himself. A word of caution though, Omkara is not for the weak-hearted.

"Knife in the water" has just three actors, is shot in essentially one location, and has a plot that can be told in half a sentence. And the result is a subtle, many layered masterpiece.

A couple take a hitch-hiker out on their sailing boat. What follows is the subtle underplay of power, sexual tension and male posturing. The suspense -like in most of Polanski's movies- is psychological, and the conclusion ambiguous. The only thing constant is the beauty. It is one of those films that belong to the director. It is technically perfect, yet the 'technique', as in all good art, never takes center-stage.

The acting is excellent, all the actors look tailor-made for their roles. Komeda's score is very good too.

It is a film that requires close, possibly multiple watching. And the rewards are utterly fulfilling. Whether you are a Polanski fan, or just a lover of good cinema, "Knife in the Water" won't disappoint you.

Earth is one of those movies that, despite not being a masterpiece, still manages to 'affect' you in a deep, almost undefinable way. There is something harrowingly beautiful about this intense story of love and betrayal set in the backdrop of the partition of India.

Based on Bapsi Sidhwa's novel, 'Cracking India', Earth tells the story of the partitioning of India seen through the eyes of a eight year old girl. Yet Earth is best viewed not as a historical drama, nor a political fable. Certainly the historical elements are there-the communal violence, the British snobbery, the flight across the border for the millions who were rendered homeless by the events of 1947. But above and beyond that Earth is a story about love and the destruction of innocence. Too many movies that depict historical events either err on the side of showing too much historical detail or relegate the history to a mere footnote. Earth steers clear of being a movie about the events of partition; rather, by concentrating on its effects upon a small group of friends and how it affects their friendships and relationships, it shows the soul of partition.

Earth is shattering, stunning...and eerily beautiful. There are jarring moments, like ones that stretch symbolisms too far, yet they pale in comparison to the beauty that Deepa Mehta portrays.

Earth takes you on a ride of tenderness, poignancy, shock and ultimately leaves you with a feeling of numbness. The climax, especially, contains an emotional punch as powerful as any I have witnessed. All the actors give excellent performances, especially Aamir Khan, the 'ice-candy man', who is astonishing in the last scene. And the music by A.R. Rehman is wonderful, even by his lofty standards.