I must at the outset confess that it is only wild horses which can drag me to a cinema to endure a full length film- but having said that, must admit that dh is one helluva wild one!
So we both did manage to seek time out (together!) for watching Omkara this weekend. Given my extreme eagerness to trash such outings, dh was extra keen to reach in time and arm himself with plenty of popcorn and other edibles to continually pop into my complaining mouth. Actually, his job was made easy for him because though my jaw was dropped nearly through the entire first half, I was struck quite dumb!
It was quite a spectacle! The dusty Gangetic plain seemed to come alive in all its glory and yes, the gory was especially highlighted. Enough has been said and written about the movie- so without going into the story the characterisation, casting and so on, here are just a few impressions.
The language, of course, is just too typical to be offensive. To one whose sensibilities have been weathered continually by blasts of Dilli's patois shorn of its purani dilli etiquette (though even that has been considered inferior to the tehzeeb of Lucknow), the crassness sans lyrical softness of Punjabi, the earthiness of the agrarian Jat speak of western UP and the surrounding tracts of Haryana, the lack of sophistication of the doodhiya flow of yadavs and of course exposure to the more colourful language of the Biharis, the words used in the movie cannot seem offensive. If anything, they ring true.
As does the entire range of visuals. The nautanki counterposed with the naach-gana during ceremonial occasions, distinct in the latter's dirge-like tones from the celebratory abandon of the nautch-girl's dance. The delicate innocence of seemingly fragile but flesh and blood women who seem quite literally untouched by the sun contrasted against the rough and ready manner of the trigger happy men who live entire lives only as representatives of their caste, lineage and upholders of that typically fragile, typically male concept- honour.
It was a faithful, nay, vividly perfect recreation of the ethos and pathos of an anonymous small village in poltically surcharged western/Eastern UP or northern Bihar.So we both did manage to seek time out (together!) for watching Omkara this weekend. Given my extreme eagerness to trash such outings, dh was extra keen to reach in time and arm himself with plenty of popcorn and other edibles to continually pop into my complaining mouth. Actually, his job was made easy for him because though my jaw was dropped nearly through the entire first half, I was struck quite dumb!
It was quite a spectacle! The dusty Gangetic plain seemed to come alive in all its glory and yes, the gory was especially highlighted. Enough has been said and written about the movie- so without going into the story the characterisation, casting and so on, here are just a few impressions.
The language, of course, is just too typical to be offensive. To one whose sensibilities have been weathered continually by blasts of Dilli's patois shorn of its purani dilli etiquette (though even that has been considered inferior to the tehzeeb of Lucknow), the crassness sans lyrical softness of Punjabi, the earthiness of the agrarian Jat speak of western UP and the surrounding tracts of Haryana, the lack of sophistication of the doodhiya flow of yadavs and of course exposure to the more colourful language of the Biharis, the words used in the movie cannot seem offensive. If anything, they ring true.
As does the entire range of visuals. The nautanki counterposed with the naach-gana during ceremonial occasions, distinct in the latter's dirge-like tones from the celebratory abandon of the nautch-girl's dance. The delicate innocence of seemingly fragile but flesh and blood women who seem quite literally untouched by the sun contrasted against the rough and ready manner of the trigger happy men who live entire lives only as representatives of their caste, lineage and upholders of that typically fragile, typically male concept- honour.
The radiant jewel in the entire movie, I think, is the song Jag ja- vintage folksy Gulzaar - 'motiyon sa mogra', need I say more. And so lovingly crooned by Suresh Wadekar, a pleasure!
Note: If the sight of pot bellied men in khakhi in a kotwali, jerking their bodies lustily offends your patriotic sense, if you are worried how the mobile service providers can do any billing and enforce any revenue collection in such badlands, if the loud language grates your intact sensibilities, if the pervasive prescience of doom bothers you, if you are bothered that such movies may further glorify the credo of violence in the caste-ridden cow-belt, if you'd rather see a sappier 'family-rated' tear-jerker, take care!
6 comments:
Was wondering why the 'haina' at the end of the Jag ja song was lingering long after it was over. Then, in a flash, got it- Asha Bhosle, Gulzaar, Ijaazat, Mera kuchh samaan! Haina?
Wow you covered a cool lot in the 'Note' :)
Hmm-kara!! Nice..haha..
yeah..Dis movies is subjected all kinds of criticism these days..
The director?s dillemma is quite visible in deciding whether to stick with the classical or urbanise the nature of the narrative to customise it for the metros. What results is a confused narrative that uncomfortably juggles between cell phones and tools of the modern militia....and those and sardonic sexual remarks in a weird dialect.
But i'm not going to say that it's weird movie..but it's experimental..and our indian cinema badly need these kind of....
"sardonic sexual remarks in a weird dialect"
My point was that while this kind of talk may offend the sensibilities of those who have not been exposed to the 'weird dialect' earlier, it is nevertheless, truly the lingua of the bhaiyya!
No offense intended and none taken by me.
Well, after this post... all I can say is - 'Gangway! Let me at it!'
Msut give a dekko then.
Hi Prashanth,
Do, give it a dekko- as long as you have taken Note! ;)
Post a Comment