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Time of India
11-07-2025
- Entertainment
- Time of India
Naseeruddin Shah once revealed he was sceptical of Ajay Devgn-Saif Ali Khan starrer Omkara: 'Almost every Hindi film borrows heavily from Shakespeare'
Nearly two decades after its release, Omkara continues to be celebrated as one of the most daring and transformative films in Hindi cinema. 's raw and riveting adaptation of Shakespeare's Othello not only redefined how literature could be translated for Indian screens but also challenged the norms of mainstream storytelling. Tired of too many ads? go ad free now However, what many might not know is that even veteran actor had initial doubts about joining the film — until the script changed his mind. In an old interview with Wild Films India, Naseer revealed his early doubts about the film. He admitted being sceptical—until he read the script. He went on to explain that while it might seem like India hasn't made many films based on Shakespeare, the influence of the playwright runs deep in Hindi cinema. From mistaken identities to family feuds and love across class divides, he pointed out how many Bollywood tropes actually trace back to Shakespearean plots—unintentionally borrowed over the years by generations of writers. The actor didn't hold back in criticising the film industry's habit of borrowing from Shakespeare without giving credit. Reflecting on the deep yet often unacknowledged influence of the playwright on Hindi cinema, he pointed out how many classic Bollywood storylines are rooted in Shakespearean themes—but rarely is the source acknowledged. He noted that the industry has strayed so far from the originals that it's hard to even recognise where these ideas came from. Citing 's wry comment that 'the only original thing is that whose source hasn't been discovered,' Shah expressed his disagreement, calling out the broader mindset of Bollywood creators who often pass off borrowed ideas as their own. It was only after reading the script that he fully came on board with Omkara, realising it was an even more rooted and authentic adaptation than Maqbool. Tired of too many ads? go ad free now While Othello wasn't his favourite Shakespearean play, the actor found Omkara deeply resonant—especially because of its realistic portrayal of life in Uttar Pradesh, a world he was familiar with. Coming from a town near Meerut, Shah had seen firsthand the kind of local gangsters and power struggles depicted in the film. Unlike the Mumbai underworld of Maqbool, which felt distant to him, the characters and settings of Omkara felt strikingly real and relatable, making Vishal Bhardwaj's vision all the more compelling in his eyes. Reflecting on Omkara's portrayal of Shakespeare's most puzzling villain, Iago—reimagined as Langda Tyagi—Shah applauded Vishal Bhardwaj and his writing team for adding clarity and emotional weight to characters often left ambiguous in the original play. He noted how Iago, one of literature's greatest enigmas, is traditionally depicted as a villain without clear motive. But in Omkara, the motivations of both Langda Tyagi and Omi (Othello) are far more fleshed out, lending a stronger psychological grounding to their actions. Shah even remarked that while it might seem bold to say the adaptation improves on Shakespeare, Bhardwaj's take offers a deeper, more relatable understanding—especially of jealousy, a central theme in the story. Today, Omkara stands as a cult classic in Indian cinema. 's career-defining performance as Langda Tyagi remains a high point, supported by a powerful ensemble cast including , Kareena Kapoor, Konkona Sen Sharma, , and Bipasha Basu. The film's earthy, unapologetically rustic dialogue and unforgettable one-liners continue to leave an impact nearly two decades later. Gulzar's evocative lyrics and Vishal Bhardwaj's music—from the fiery 'Beedi' to the haunting 'Naina Thag Lenge'—further cemented the film's place in pop culture, making Omkara not just a literary adaptation, but a cinematic milestone.
Indian Express
11-07-2025
- Entertainment
- Indian Express
Naseeruddin Shah was sceptical of Omkara, slammed industry for always stealing from Shakespeare: ‘We tried to pass it off as our own'
Vishal Bhardwaj's Omkara is often hailed as a turning point in mainstream Hindi cinema. A gritty adaptation of Shakespeare's Othello, the film brought the politics, language, and layered morality of heartland India into the spotlight like never before. Released in 2006, it wasn't just a bold creative leap, it was a foundational moment that paved the way for films like Gangs of Wasseypur a few years later. Raw, unfiltered, and unapologetically desi, Omkara showed that commercial films could also be rooted in strong literary tradition and regional authenticity. As the second installment in Bhardwaj's Shakespearean trilogy, flanked by Maqbool (Macbeth) and Haider (Hamlet), Omkara became both a cinematic triumph and a literary homage. But few know that one of the most respected actors in the film, Naseeruddin Shah, was initially unsure about being part of the project. In an interview given to Wild Films India during the lead-up to the film's release, Naseer candidly admitted, 'I was sceptical. Until I read the script. Because it may seem as if we haven't made too many films on Shakespeare in India, but the truth is that almost every Hindi film borrows heavily from Shakespeare. All the clichés of Hindi cinema have been borrowed from Shakespeare, every single one. And the reason for that is that at the time when movies became talkies, we had a lot of very literate writers around. And today's writers merely ape the old tricks of the trade and imagine that these are original things, whereas in fact, you find the mistaken identities, the twin brothers, the poor boy, rich girl, the man becoming a woman, the woman turning into a man, the warring families etc., everything is there in Shakespeare.' Naseeruddin Shah further critiqued the industry's longstanding tendency to lift directly from Shakespeare without acknowledgment: 'And we've gone so far away from it that it's difficult to recognize the source of the factors Hindi films have always borrowed. But never have we admitted that we are stealing from old Mr. William and tried to pass it off as our own. And many times it has passed off. As Javed Akhtar says, 'The only original thing is that whose source has not been discovered.' Well, I don't agree with that statement, but it shows, it indicates, the attitude of our Bombay filmwalas.' It was only after reading the script that he became convinced that Omkara was a far more grounded and authentic adaptation than even Maqbool. 'So Othello, which is not my favourite play among Shakespeare's play, I was very sceptical until I read the script and realized that it's perhaps a better adaptation than the Maqbool one. It rings more true to me, and because I am from UP, I've seen people like that. Making films about the Bombay underworld is always very dicey because I've never met a person from the underworld and I don't know what they're like. But about the UP gangsters I've seen, my family belongs to a small place near Meerut, and I've seen these kinds of things operating. The UP kind of strong-arm characters I have happened to see a lot of, and the depiction of that world rings very true in Vishal's adaptation.' Also Read | Naseeruddin Shah writes on Diljit Dosanjh controversy: I feel no need to prove anything, including my patriotism Discussing Omkara's interpretation of Shakespeare's most enigmatic villain, Iago, known in Omkara as Langda Tyagi, Naseeruddin Shah praised Vishal Bhardwaj and his writers for giving depth and motive to characters who were originally left ambiguous. 'And secondly, the character of Iago, which is one of the perennial enigmas of literature, a villain without a motivation at all, and volumes have been written about it. I think it's a bit presumptuous to say that they've improved upon Shakespeare, but they've certainly given both Iago and Othello much more reason to behave the way they do in this script. And I stand by this statement: when I read the play Othello, it strikes me that this man Othello is a complete idiot. He is nothing like a tragic hero, he is a complete idiot. In fact, it comes across almost as a racist play at times. But Vishal seems to have had a better understanding of jealousy than poor old William.' Today, Omkara is widely considered a cult classic. From Saif Ali Khan's career-defining performance as Langda Tyagi to the brooding, combustible chemistry among its ensemble cast, including Ajay Devgn, Kareena Kapoor, Konkona Sen Sharma, Vivek Oberoi, and Bipasha Basu, the film has only grown in stature. Its earthy dialogue, unforgettable one-liners, and razor-sharp writing continue to resonate. And of course, Gulzar's lyrical brilliance in the soundtrack, from 'Beedi' to 'Naina Thag Lenge', helped immortalize the film's mood in Indian pop culture.
Time of India
10-07-2025
- Entertainment
- Time of India
Did you know Sanjay Dutt was ‘nervous' while shooting Munna Bhai MBBS with father Sunil Dutt? ‘He scolds me a lot in real life too'
Bollywood film 'Munna Bhai MBBS' still lingers in the minds of fans, especially the unforgettable moment when Sanjay Dutt and Sunil Dutt share a heartfelt embrace on screen. The iconic "jadoo ki jhappi" scene holds a special place in people's hearts due to the connection the father-son duo shared. Sanjay Dutt once opened up about feeling nervous while acting alongside his father. Sanjay Dutt was nervous while doing 'Munna Bhai MBBS' with father Sunil Dutt 'Dhurandhar' Teaser Drops on Ranveer's 40th Birthday- Fierce New Avatar Revealed! In an old interview with Wild Films India, Sanjay shared his experience of working with his father for the first time in a film. 'It was a great experience working with him. I'd never done a scene or a film with him before, so it was a big moment, and I was scared from the beginning. But he eased me up. I was nervous just because he is my father, and I respect him a lot,' he stated. Dutt also pointed out how their on-screen dynamic wasn't far from reality. 'I think they saw what we are like in real life, as he scolds me a lot – in the film too.' Director Rajkumar Hirani 's initial narration about the movie convinced him to sign it immediately, without thinking twice. About 'Munna Bhai MBBS' Director Rajkumar Hirani once revealed that after he called 'cut,' both Sanjay and Sunil Dutt remained in that embrace, overwhelmed by emotion. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like 5 Books Warren Buffett Wants You to Read In 2025 Blinkist: Warren Buffett's Reading List Undo In a recent interaction with The Indian Express, Hirani confirmed that he is actively developing Munna Bhai 3. He said he is 'genuinely excited' about the upcoming film in the franchise. He further added, on a light-hearted note, that Sanjay might get angry with him if he delays its release or production.
Indian Express
10-07-2025
- Entertainment
- Indian Express
When Sanjay Dutt recalled being ‘nervous' while shooting with father Sunil Dutt in Munna Bhai: ‘Just like in the film, in real life, he scolds me a lot'
Everyone remembers the iconic jadoo ki jhappi moment from Munna Bhai M.B.B.S., when Sunil Dutt's character forgives his son, played by Sanjay Dutt, and the two embrace. It's a scene that continues to resonate with fans, so much so that it was even recreated in Sanju, the biopic on Sanjay Dutt's life. In an old interview with Wild Films India, Sanjay Dutt reflected on the film, his character, and most significantly, working with his father Sunil Dutt for the very first time on screen. 'It was a great experience working with him. I'd never done a scene or a film with him before, so it was a big moment, and I was scared from the beginning, but he eased me up,' he said. 'Nervous just because he is my father and I respect him a lot.' He added that the warmth and tension seen between them on screen was a reflection of their real-life bond. 'I think they saw what we are like in real life, as he scolds me a lot, in the film too.' Sanjay also recalled his first reaction to the film's narration by director Rajkumar Hirani, saying he quite literally 'fell off the chair' and instantly agreed to do it. Also Read | The 'Animal' appeal of Sanjay Dutt: How the star's life unfolded like a Sandeep Reddy Vanga movie Not many people know, but there's a touching bit of trivia associated with that iconic hug scene. Rajkumar Hirani once revealed that even after he called 'cut,' Sunil and Sanjay Dutt remained locked in that embrace, both in tears. It was a deeply emotional moment, not just for them, but for the entire crew who witnessed it up close. In fact, in a recent exclusive conversation with SCREEN, Rajkumar revealed that he has an idea for Munna Bhai 3 that he's genuinely excited about, and has already begun working on it. He also joked that if he doesn't make another Munna Bhai film soon, Sanjay Dutt might get angry with him.
Indian Express
05-07-2025
- Entertainment
- Indian Express
Guru Dutt@100: Here's looking at the man behind the artist
There are unmistakable shades of Guru Dutt in Vijay and Suresh Sinha, the protagonists of Pyaasa (1957) and Kaagaz Ke Phool (1959), lending the characters an authenticity, pathos and timeless aura. Vijay, an idealistic and impoverished Urdu poet, gains recognition only after he is presumed to be dead. Disillusioned by the materialistic world, he ultimately chooses to walk away from it. Suresh, once a celebrated filmmaker, goes through upheavals in his personal and professional life, struggles with fleeting success, fading glory and loneliness. It has been over six decades since Dutt passed away on October 10, 1964, but cinephiles still search for traces of the master filmmaker in these unforgettable characters. Even though he officially directed only eight films, the haunting pathos of Pyaasa and Kaagaz Ke Phool came to define his signature filmmaking style and cinematic vision. His son, the late Arun Dutt, in an old interview, archived by Wild Films India, refuted the suggestion that the conflicts portrayed in these films mirrored his father's real-life experiences. However, Arun did acknowledge that if some personality traits of Vijay and Suresh were to be combined, it would come close to understanding how Dutt was in real life. The theory that these roles reflected the filmmaker's inner turmoil gained traction following his untimely death at the age of 39. While many assume his death to be a case of suicide, since he had attempted it a couple of times earlier, family and those close to him believe it was an accident, caused by overconsumption of alcohol and sleeping pills. On October 9, 1964, Dutt had discussions with screenwriter Abrar Alvi, from evening till after midnight, regarding the climax of Baharen Phir Bhi Aayengi (1966), the last film Dutt acted in. The next morning he was found dead. These portions were reshot later as Dharmendra stepped in to complete it. Born on July 9, 1925, in Bangalore, Dutt was the eldest of five children born to Vasanti and Shivkumar Padukone, a Burma Shell employee. The family moved to Kolkata when he was five years old. After finishing his schooling there, Dutt joined Uday Shankar's academy in Almora to be trained in dance. This paved his way to join the film industry in 1944 as an assistant choreographer at Pune's Prabhat Studios where he met Dev Anand, then a newcomer. When he formed his production company Navketan, he roped in Dutt to direct Baazi (1951), honouring a friendly pact they had made earlier. The duo worked on two more successful films — Jaal (1952) and CID (1956). Dutt, who played the role of a protagonist for the first time in Baaz (1953) eventually went on to play the lead character also in Aar Paar (1954) and Mr & Mrs 55 (1955) — both were box-office successes. Those who have closely examined the works of Dutt believe that working on these movies were his way of exploring the cinematic medium. 'Through his early movies, he was exploring how to build a character and how to take a shot. Then, he made Pyaasa, which hd an enduring impact on Indian cinema. His character of Vijay, a poet, reminds me of Ghalib's couplets: Dil hi to hai na sang o khisht dard se bhar na aaye kyun (It's just a heart, no stony shard; why shouldn't it fill with pain),' filmmaker Sudhir Mishra tells The Indian Express and adds that sensitive poets and filmmakers connect with the lament of the world. 'That kind of talent is a curse since they feel what others don't,' he adds. Filmmaker and archivist Shivendra Singh Dungarpur believes that Dutt's journey as an auteur was primarily to make Pyaasa. 'This movie is so personal and reflective. He tries to express so many things. He also lets the audience think, as a true artist should,' he says. Dungarpur, who wanted to direct the now shelved biopic of the legendary director-actor, believes that Dutt was fascinated with Post-Impressionist artist Vincent van Gogh. 'Pyaasa is about a poet, whose story is parallel to that of the Dutch painter in many ways. Guru Dutt imagined that, like van Gogh, what if he became famous after his death,' says Dungarpur. Incidentally, Dutt stepped in as Pyaasa's Vijay after Dilip Kumar declined the offer. Though Pyaasa was critically acclaimed and brought him significant recognition, Dutt, during that period never quite achieved mainstream commercial success enjoyed by his contemporaries such as Raj Kapoor, Mehboob Khan, V Shantaram and BR Chopra. Actor Waheeda Rehman, one of his close collaborators, in an old interview (available on Wild Films India) spoke about his growing disillusionment with fame and how he was deeply affected by the commercial failure of Kaagaz Ke Phool. 'I was supposed to do a film, titled Raaz, with him. I was cast in a double role. But his heart was not in it. He was restless,' she recalls. After that, Dutt did not direct a movie again, at least not officially. He, however, used to be deeply involved in his home productions made under the Guru Dutt Films banner such as Chaudhvin Ka Chand (1960) and Sahib Bibi Aur Ghulam (1962). However, as the years went by, Kaagaz Ke Phool was praised for its cinematic excellence and hailed as a film ahead of its time. When one goes through the essay 'Classics and Cash', written by Dutt (published in Nasreen Munni Kabir's Guru Dutt: A Life in Cinema), some of the questions regarding his artistic concerns and approach towards art are answered. 'In the formula-ridden film world of ours, one who ventures to go out of the beaten track is condemned to the definition which Mathew Arnold used for Shelly: 'An angel beating wings in a void'. I believe that one who goes out against the winds has to be prepared for bouquets as well as brickbats, for triumphs as well as heartbreaks, whether or not one only makes a classic or collects the cash. It is this baffling unpredictability that gives edge to the thrill of movie-making,' writes the director-actor, whose work was underappreciated during his life, possibly leading to a sense of alienation and despair. It was not till the '80s that Dutt came to enjoy the status of a master filmmaker and a wider recognition. A revival of interest in his cinema began with French critic Henri Micciollo's writings on his films. The Channel 4 documentary In Search of Guru Dutt (1989), which traced his life and artistic journey through interviews with family members and colleagues, further sparked interest in the West. In recent years, several contemporary filmmakers, including Anurag Kashyap and Karan Johar, have openly admired his cinema, often remarking that Pyaasa and Kaagaz Ke Phool resonate with audiences even today. In the end, Guru Dutt may not have been entirely wrong in his belief that true fame and appreciation would come to him posthumously.
