Saif Ali Khan was stunned by Deepak Dobriyal’s performance in Omkara, asked Vishal Bhardwaj, ‘where he is from?’
Deepak Dobriyal recalls shooting for the first time with Saif Ali Khan in Omkara and how his performance earned appreciation from the entire crew, including Saif himself.
Omkara is a film that reshaped Hindi cinema in more ways than one. Vishal Bhardwaj’s gritty adaptation of Shakespeare’s Othello not only pushed narrative boundaries but also redefined careers. While Saif Ali Khan stunned audiences with his portrayal of the menacing Langda Tyagi; a performance still remembered with admiration, it was also a breakout moment for another stellar performer: Deepak Dobriyal. Deepak Dobriyal, known today for his nuanced and magnetic screen presence, played Rajju in Omkara. His chemistry with Saif Ali Khan remains one of the film’s highlights, especially in a powerful scene on a bridge where the story takes a dramatic turn. In an exclusive conversation with SCREEN, Deepak Dobriyal revealed that the bridge scene was, in fact, the first scene shot for the film. It was also the first time he met Saif Ali Khan.
“That bridge sequence of Omkara was the mahurat shot, it was the first day. And it was with Saif Ali Khan and it was the turning point of the film. And the way we performed, everyone was in awe. Phone calls went to Mumbai, praising my performance.” Deepak Dobriyal recalls how emotionally charged he was during the first take, channelling years of personal struggle as an actor trying to find his footing in the industry: “In the first take, I was really out there, very high on energy, as I had seen a lot of struggle as an actor in the industry. So all those frustrations were coming out in the take, because that character was also very frustrated.” He said director Vishal Bhardwaj and co-writer Abhishek Chaubey were stunned after the first take and praised his intensity. Saif Ali Khan too was taken aback by his range.
“When the scene got cut, Vishal ji and Abhishek Chaubey came to me saying it was fantastic, they were really shocked. And Saif also praised me a lot, saying ‘He is amazing, man!’ and asked where I’m from. I said, ‘I’m from Delhi.’ So he asked, ‘Are you from NSD?’ I said, ‘No.’ Then he was like, ‘What have you done before?’ And I told him I have done films like 1971 and Gulaal, and they are not out yet. And he was completely stunned. He told Vishal ji, ‘He is terrific, man.’” But even in the moment of praise, Vishal Bhardwaj offered Deepak Dobriyal a valuable note.
“Vishal ji told me that this was quite high on emotions, let’s try to tone it down a bit, by like one degree. This one is quite aggressive. So in the second take, I did it very differently. And forget one degree, I went five degrees down. And that’s when the scene truly came alive. That’s when the impact came.” Deepak Dobriyal also shared insights into how he approached building on-screen chemistry with Saif, especially since they had multiple scenes together.
“Sometimes what happens is that you have the scope to make your own [space], but there what I did was, I focused more on Saif’s role. Because I was sure that he is the star, and if his role comes across well, then mine will automatically make its impact. Because otherwise, if I’m only focusing on mine, then he could have been like, ‘Edit this person’s role out, don’t give him that much footage.’ So I focused more on his role and how it’s coming out. And [on] our tuning.”
Deepak Dobriyal was most recently seen in Jugnuma: The Fable, which is currently playing in theatres.
Anas Arif is a prolific Entertainment Journalist and Cinematic Analyst at The Indian Express, where he specializes in the intersection of Indian pop culture, auteur-driven cinema, and industrial ethics. His writing is defined by a deep-seated commitment to documenting the evolving landscape of Indian entertainment through the lens of critical theory and narrative authorship.
Experience & Career
As a core member of The Indian Express entertainment vertical, Anas has cultivated a unique beat that prioritizes the "craft behind the celebrity." He has interviewed a vast spectrum of industry veterans, from blockbuster directors like Vijay Krishna Acharya, Sujoy Ghosh, Maneesh Sharma to experimental filmmakers and screenwriters like Anurag Kashyap, Vikramaditya Motwane, Varun Grover, Rajat Kapoor amongst several others. His career is characterized by a "Journalism of Courage" approach, where he frequently tackles the ethical implications of mainstream cinema and the socio-political subtext within popular media. He is also the host of the YouTube series Cult Comebacks, where he talks to filmmakers about movies that may not have succeeded initially but have, over time, gained a cult following. The show aims to explore films as works of art, rather than merely commercial ventures designed to earn box office revenue.
Expertise & Focus Areas
Anas's expertise lies in his ability to deconstruct cinematic works beyond surface-level reviews. His focus areas include:
Auteur Studies: Detailed retrospectives and analyses of filmmakers such as Imtiaz Ali, Anurag Kashyap, and Neeraj Ghaywan, often exploring their central philosophies and creative evolutions.
Cinematic Deconstruction: Examining technical and narrative choices, such as the use of aspect ratios in independent films (Sabar Bonda) or the structural rhythm of iconic soundtracks (Dilwale Dulhania Le Jayenge).
Industrial & Social Ethics: Fearless critique of commercial blockbusters, particularly regarding the promotion of bigoted visions or the marginalization of communities in mainstream scripts.
Exclusive Long-form Interviews: Conducting high-level dialogues with actors and creators to uncover archival anecdotes and future-looking industry insights.
Authoritativeness & Trust
Anas Arif has established himself as a trusted voice by consistently moving away from standard PR-driven journalism. Whether he is interrogating the "mythology of Shah Rukh Khan" in modern sequels or providing a space for independent filmmakers to discuss the "arithmetic of karma," his work is rooted in objectivity and extensive research. Readers look to Anas for an educated viewpoint that treats entertainment not just as a commodity, but as a critical reflection of the country's collective conscience. ... Read More
