Omkara (2006)
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“Look to her, Moor, if thou hast eyes to see.
She has deceived her father, and may thee.”
Othello - Act I ; Scene III
Wafa ka suboot to nahi de paaye hum, tab jab tumne poocha tha, apne aankhon ki nami ko gusse ki ubaal se dhakne ki koshish kar. Jo nazrein hume kisi azeez nagine ki tarah nihaara karte the, unme apne liye bair dekh kar aisa lagaa ki shayad bas yahi tak ka tha humara aur tumhara saath ka safar. Maqam e qaffara tak ka safar ab hum, tumhari yaadein apne sath liye, akele tay karenge.
Khuda ko mohabbat par koi reham nahi. Mohabbat insani bala hai, jo unke daayro or kanoono ko laang ke, hum apni zindagi me shaamil kar lete hai. Mohabbat karne walo ko dozakh naseeb ho to jati hai, magar mohabbat se uss dozakh ko bhi firdaus bana lete hai. Bhagwan to amar hote hai, anant hote hai. Shayad isi ka malal ho unhe. Ki sadiya bita ke bhi unke hath kuch rehti. Mohabbat walo ko to apne yaar ke saath har lamha ek arsaa lagta hai. Kuch haasil na hote huwe bhi, pura jehaan mil jaata hai.
Hum to ab bhi uss shaam ke baashinde baney baithe hai, jab apni baahon me lekar tumne mujhko apne rooh me sama liye tha. Bas ab wahi milenge fir.
Tumhari ...
(Omkara 2006, directed by Vishal Bharadwaj)
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Omkara (2006)
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Omkara has one of the most haunting endings I've seen in a movie.
Kareena's Dolly is probably one of the characters that I'll sympathise with for a long time.
I just watched the movie. I know it's been there for ages. Better late than never I guess.
Vishal Bharadwaj really loves his Shakespearean tragedies.
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Bewakoof aur chutiye mein dhaage bhar ka farak hota haiga bhaiya… dhaage ke ingay bewakoof aur ungay chutiya… aur joh dhaaga hainch lo, toh kaun hai bewakoof aur kaun hai chutiya, crore rupiye ka prashan hai bhaiya.
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ना तो चक्कुओं की धार ना डराती, ना कटार
Na toh chakkuon ki dhaar, na darati na kataar
Not a sharp knife, nor a sickle can match her
ऐसे काटे कि दाँत का निसान छोड़ दे
Aisa kaate ke daat ka nisaan chhod de
Her love bites leave the marks of her teeth
–beedi,omkara
sunidhi chauhan, sukhwinder singh,clinton cerejo,nachiketa chakravorty | gulzar | vishal bharadwaj
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ওঁ
My ‘transcendental form’ is Omkāra, that is to say my effulgence-vibration— I am the alpha & omega—
I am also ākāra— the first sound— ‘energy form’ of creation…there I include all within creation—
I am also beyond (material) form—nirākāra—“formless”; but also anākāra— ‘not, not form’—
I am sākāra— all forms (energies, spiritual and material)—
————-—————————————
Only while we still draw a line between mind/matter or spirit/material worlds— do we need to say ‘I am not form’ or ‘I am also form’—
When we know— really see— that these layers grow out of One, then we have no need anymore to say— ‘I am beyond form’—
However, initially, the discrimination is necessary— and we use a certain language to elucidate our discrimination/knowing relative to the pervading belief of the current times/era of humanity.
Because we are born into this foundational paradigm where the split down the middle of reality, tears it in two— we are obliged— to use language in a certain way to convey understanding.
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The Ending of Omkara: The Tragic Loading of a Room
Omkara is Vishal Bharadwaj’s adaptation of Shakespeare’s Othello. The film is set in modern-day Uttar Pradesh and uses an array of political, social and familial matters to foreground Shakespeare’s tragedy in an Indian setting. As with any other tragedy by Shakespeare, there is a lot of violence and bloodshed involved, some of which are deliberate while some are purely accidental. Bharadwaj’s way…
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*Tiffany Pollard meme* LANGDA TYAGI??
my villianous little babygirl!!
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guess WHAT
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Listen to: Hare Krishna - Madhva Anderson by Madhva & Sundari Anderson, Kumari Kunti, Candravali
CC Audi 7.128 The Vedic sound vibration oṁkāra, the principal word in the Vedic literatures, is the basis of all Vedic vibrations. Therefore one should accept oṁkāra as the sound representation of the Supreme Personality of Godhead and the reservoir of the cosmic manifestation
Kirtan for life
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नदी की नियति – समंदर में मिलना । लेकिन नदी की हर धारा को ये नियति मंजूर नहीं होती । कुछ धाराएं बाग़ी होती हैं । वो खामोशी के साथ समंदर में अपना वजूद नहीं खोती, बल्कि मौका ढूंढती हैं एक अलग वजूद बनाने का । और जब कभी भौगोलिक परिस्थितियां थोडी सी भी अनुकूल होती हैं, यें बागी धाराएं अपनी नियति खुद लिखती हैं । चट्टानों को घोलकर बनाती हैं अपनी अलग पहचान। और तब ये ना तो नदी होती है और ना ही रहती हैं धाराएं। ये बन जाती हैं – झीलें । मीठी हो सकती हैं, खारी हो सकती हैं; गहरी हो सकती हैं, छिछली हो सकती हैं । पर होती हैं, अपने आप में मुकम्मल एक जल पिंड, एक जल शक्ति ।
https://vishnumaheshsharma.wordpress.com/2023/07/31/%e0%a4%97%e0%a5%81%e0%a4%b2%e0%a4%9c%e0%a4%bc%e0%a4%be%e0%a4%b0-%e0%a4%95%e0%a5%87-%e0%a4%97%e0%a5%80%e0%a4%a4-%e0%a4%ae%e0%a5%87%e0%a4%82-%e0%a4%85%e0%a4%ae%e0%a5%83%e0%a4%a4%e0%a4%be-%e0%a4%95/
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Omkara (2006)
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I really need Sukhwinder Singh to have more bollywood songs. He gives the songs a very powerful energy. Like the vibes are super 👌
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Grounding sitting practice
A sitting grounding practice to help you when you are feeling anxious, unsupported or need some extra love.
Take your seat on a chair. Close your eyes and allow your attention to rest on your experience of your body in the chair.
Notice the areas of contact between your body and the chair. Notice the support the chair is offering to you right now. Become aware that the chair is supporting your body right now by carrying most of your physical weight.
Allow this to happen. Allow a comfortable sense of…
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