Othello’s Character in Parker’s Film and Shakespeare’s Play
Oliver Parker’s 1995 analysis of Shakespeare’s 1600’s ageless classic Othello presents a varying building and construction of Othello from the original play, achieved through usages of a myriad of film gadgets. Both the play and the movie masterfully spin a tale of love, tragedy and death telling the fall of splendor of Othello due to the acts of his ensign Iago, albeit with a number of distinctions in the discussion.
Both Shakespeare and Parker explore themes of jealousy, power, and racism through the essential characters of Othello and Iago. Parker uses cutting, close-ups, mise-en-scene, music and a variety of others to bring his own thorough dissection and building of Othello. In the opening scenes of the play, Othello is the worthy hero, he is a Moor, a black man yet he is at the top of hierarchal ladder, being the leader of Venetian army, his viewpoint and input is highly arranged and appreciated by both the Duke and senators of Venice.
In act 1 scene 3 of the play, Shakespeare uses blank verse throughout Othello’s line to show a calm and gathered figure one, ‘most potent, severe and reverend signiors’. His calm and brave nature is more emphasised when after Brabantio uses racial slurs and accuses him of witch craft he still responds without anger, even staking his power and life as proof of his honesty, ‘if you do discover me nasty in her report, the trust, the workplace I do hold of you, not just take away, however let sentence even fall upon my life’.
Themes of discrimination and the motif of Othello being compared to a wild animal and monster is introduced in this sector of the play, ‘or with some dram conjured to this result, he wrought upon her’ and ‘barbary horse’, foreboding the change of Othello into one such monster. Parkers film opens with a venetian gondolier cruising into the fog and darkness, accompanied by dark, eerie and foreboding music serving as hint of what is to come. Parkers film in the opening scene’s constructs a similar character of Othello, he cleverly integrates flashbacks and a marital relationship scene to show Othello as an honorable character.
Close-ups of Othello throughout Brabantio verbal abuse show him as calm and gathered, his speech towards the duke and senators is even however dominant at the exact same time. At the very same time together with the audience seeing the surface area of Othello, Iago is introduced a dark and devastating force filled with jealousy, ‘I am not what I am’. Rather than the play in which Iago is an incomprehensible identity one whose true objectives leave audiences guessing today, the Iago of the film has a much clearer purpose, ‘I dislike the moor’. Parker tips towards Othello’s rue nature as the movie advances, performing a study on the really basis of the character of Othello. Throughout the sex-scene between Othello and Desdemona, Parker utilizes quick and abrupt cuts in between the two characters alongside a quick paced however enthusiastic sound track, all of this inferring the unreflecting nature of Othello, his red clothing and the tortures likewise being symbolic of this. His failure is additional enjoyed through the symbolic black and white chess pieces, with Othello the black king tumbling into darkness due to Iago’s pushes.
As the play advances, Othello’s decrease greatly increases, in his compulsive requirement of power, his insecurities are revealed, through which Iago capitalizes, ultimately resulting in the collapsing of Othello’s mindset. Othello’s insecurities about Desdemona have actually been made the most of by Iago whom now controls Othello like a puppet in act 3 scene 3 the formerly noble knight is gone, replaced by a monster loaded with anger and violence,’ o, blood, blood, blood’. The jealousy in Othello has changed into the beast explained by Iago ‘green-eyed beast which doth mock the meat it eats’.
In the totality of the movie Parker positions numerous symbols, inferring the downfall of Othello, through smart beautiful places and the addition of his own places, Parker has the ability to provide a various and fresh interpretation of Othello. In the film Parker has the ability to reveal Othello having noticeable seizures while revealing false pictures of Desdemona together with Cassio, enabling the development of Othello’s collapse to be observed, in another scene Parker positions Othello in a dungeon concealed behind bars, symbolising the development of the dark ‘green eyed beast’ from within him.
Parker integrates the plays act 3 scene 3 and turns it into a whole brand-new entity revealing the marital relationship of Othello and Iago, this scene is the climax of both of the play and the movie with Othello catching Iago’s words that Desdemona is a ‘whore’. They form a blood bond, this symbolising the blood shed about to occur caused by Othello insecurities being caught by Iago. Parker’s film constructs a distinct and unsteady character of Othello, whose failure is brought on by his insecurities being preyed upon by the destructive Iago.
Both Shakespeare’s and Parker’s text explore styles of power and jealousy using Iago and Othello as vessels for these concepts. Othello is built to be an honest man, whose is obsessed with power and control, without his mask of power, Iago plotting has the ability to bring upon his failure. Parker reveals this through filmic strategies utilizing the classical literary genius of Shakespeare whilst also bring his own visual style to include an individual analysis on a deep and meaningful character.