Om-Dar-Ba-Dar

Om-Dar-Ba-Dar is a surreal Indian avant-garde movie from 1988 that distinctly departs from the mainstream Bollywood genre. The film is a journey into surrealism and absurdity, filled with subtle satirical jabs at the socio-cultural norms of Indian society. Directed by Kamal Swaroop, the film features distinguished actors like Anita Kanwar, Gopi Desai, and Lalit Tiwari, known for their robust portrayals in Indian art films.

Right from its onset, Om-Dar-Ba-Dar begins pushing the envelope of cinematic storytelling. The film is primarily about Om, a young boy portrayed by Aditya Lakhia in his debut role, and his eccentric journey through adolescence. Om possesses an unusual talent: he can hold his breath underwater for an immensely long duration, a quality that eventually pilots him to a layered life of situations and subplots, which are miraculously interconnected.

Anita Kanwar plays the role of Om's mother, while Gopi Desai is cast as Om's girlfriend, an influential individual in his life. Lalit Tiwari embodies the character of Om's older brother, Jagdish (Jaggu), who, despite being a bright student, runs away from home only to return as a magician.

The film drops hints of magical realism while incorporating extensive metaphors, and numerous motifs of frogs, water, magical tricks, science, and astrology. This ostentatious mosaic gradually unfurls the colorful and chaotic picture of Indian society, its beliefs, superstitions, political climate, uprising feminism, and the dynamics of adolescent psychology. Unlike its peers, the movie encapsulates political satire and takes numerous metaphoric jabs at the socio-cultural setting of India during the 70s and 80s.

For the majority of Indian cinema followed a thriving formula of romantic drama blended with melodious soundtracks, Om-Dar-Ba-Dar no doubt took the road less traveled. While it might not ignite the immediate liking of those who yearn for a conventional storyline, the movie is sure to strike a chord with viewers who appreciate art-house film narratives and are on the hunt for meatier content.

Besides its unique storyline, the film is also renowned for its technical prowess. The black-and-white cinematography adeptly becomes a medium of storytelling, often using visual allegories and metaphors to complement the narrative. The editing and sound design are harmoniously married into the tapestry of the film, enhancing the narrative flow while accentuating the thematic depth of the movie.

Although the film did not achieve commercial success and sat shelved for several years, Om-Dar-Ba-Dar was screened and applauded at several renowned film festivals. It earned accolades for its innovative storytelling techniques and strong satirical elements. Today, it is considered a cult classic in Indian cinema and held in high regard by critics and art film enthusiasts for its audaciousness and directorial brilliance.

The performances were also noteworthy, with Aditya Lakhia delivering a solid act in his debut role. Anita Kanwar brings in a natural flair, portraying the role of Om's mother, blending phases of worry, confusion, and affections convincingly. Gopi Desai and Lalit Tiwari shine in their respective roles and contribute significantly in building the story's impressionist world.

The music and background score of the film are tailored uniquely, making a robust auditory impression that resonates with the film's narrative, characters, and thematic depth.

All in all, Om-Dar-Ba-Dar is an intriguing presentation that veers away from traditional cinematic norms and carves its niche. The film invites its viewer into a dimension that exists in the crevices of magical realism, absurdity, and societal satire. Its unconventional screenplay, layered narrative structure, and astounding performances aim to stimulate the viewer's mind, urging one to discern the film's subtextual commentary on Indian social and cultural landscape. It represents a distinctive era of Indian cinema that dared to venture into an uncharted domain of storytelling, hence creating a legacy of its own.