Othello’s Character in Parker’s Movie and Shakespeare’s Play
Oliver Parker’s 1995 analysis of Shakespeare’s 1600’s timeless traditional Othello provides a differing building and construction of Othello from the initial play, achieved through uses of a wide variety of movie devices. Both the play and the film masterfully spin a tale of love, disaster and death telling the fall of glory of Othello due to the acts of his ensign Iago, albeit with a number of differences in the discussion.
Both Shakespeare and Parker check out styles of jealousy, power, and bigotry through the crucial characters of Othello and Iago. Parker uses cutting, close-ups, mise-en-scene, music and a range of others to bring his own thorough dissection and building and construction of Othello. In the opening scenes of the play, Othello is the noble hero, he is a Moor, a black man yet he is at the top of hierarchal ladder, being the leader of Venetian army, his opinion and input is extremely arranged and respected by both the Duke and senators of Venice.
In act 1 scene 3 of the play, Shakespeare makes use of blank verse throughout Othello’s line to reveal a calm and collected figure one, ‘most powerful, serious and reverend signiors’. His calm and brave nature is further emphasised when after Brabantio uses racial slurs and implicates him of witch craft he still reacts without anger, even staking his power and life as evidence of his honesty, ‘if you do discover me foul in her report, the trust, the office I do hold of you, not just remove, but let sentence even fall upon my life’.
Styles of discrimination and the theme of Othello being compared to a wild animal and monster is presented in this sector of the play, ‘or with some dram conjured to this result, he wrought upon her’ and ‘barbary horse’, foreboding the improvement of Othello into one such beast. Parkers film opens with a venetian gondolier sailing into the fog and darkness, accompanied by dark, eerie and foreboding music serving as tip of what is to come. Parkers movie in the opening scene’s constructs a similar character of Othello, he cleverly integrates flashbacks and a marital relationship scene to show Othello as a worthy character.
Close-ups of Othello throughout Brabantio verbal abuse reveal him as calm and collected, his speech towards the duke and senators is even however dominant at the very same time. At the same time in addition to the audience seeing the surface area of Othello, Iago is presented a dark and damaging force filled with jealousy, ‘I am not what I am’. Rather than the play in which Iago is an incomprehensible identity one whose real goals leave viewers thinking today, the Iago of the movie has a much clearer purpose, ‘I hate the moor’. Parker tips towards Othello’s rue nature as the film advances, performing a research study on the very basis of the character of Othello. Throughout the sex-scene between Othello and Desdemona, Parker utilizes quick and abrupt cuts between the 2 characters together with a quick paced however passionate noise track, all of this presuming the unreflecting nature of Othello, his red clothes and the tortures also being symbolic of this. His downfall is further delighted in through the symbolic black and white chess pieces, with Othello the black king toppling into darkness due to Iago’s pushes.
As the play progresses, Othello’s decline tremendously increases, in his compulsive requirement of power, his insecurities are shown, through which Iago takes advantage, ultimately resulting in the collapsing of Othello’s mindset. Othello’s insecurities about Desdemona have actually been maximized by Iago whom now manipulates Othello like a puppet in act 3 scene 3 the formerly honorable knight is gone, replaced by a beast filled with anger and violence,’ o, blood, blood, blood’. The jealousy in Othello has actually transformed into the monster explained by Iago ‘green-eyed monster which doth mock the meat it feeds upon’.
In the totality of the movie Parker puts many symbols, inferring the failure of Othello, through smart picturesque locations and the addition of his own locations, Parker has the ability to supply a different and fresh analysis of Othello. In the film Parker has the ability to reveal Othello having visible seizures while revealing false pictures of Desdemona together with Cassio, enabling the development of Othello’s collapse to be observed, in another scene Parker places Othello in a dungeon hidden behind bars, symbolising the introduction of the dark ‘green eyed monster’ from within him.
Parker incorporates the plays act 3 scene 3 and turns it into an entire new entity revealing the marriage 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 happen caused by Othello insecurities being pounced on by Iago. Parker’s film constructs a special and unsteady character of Othello, whose downfall is brought on by his insecurities being preyed upon by the harmful Iago.
Both Shakespeare’s and Parker’s text check out themes of power and jealousy utilising Iago and Othello as vessels for these concepts. Othello is built to be an honest guy, whose is consumed with power and control, without his mask of power, Iago outlining is able to bring upon his downfall. Parker expresses this through filmic methods utilizing the classical literary genius of Shakespeare whilst likewise bring his own visual style to add a personal interpretation on a deep and significant character.