True, the raw material is already there, and in the case of a play like Othello, the essential story is well known. In his film, Othello, Oliver Parker has accomplished this task admirably. It is a film that succeeds both as an interpretation of Shakespeare and as a compelling film. Othello is a tragedy based on the corrosive power of jealousy.
Get Full Essay Get access to this section to get all help you need with your essay and educational issues. In this essay, we look at how this age old play is dealt Parker s filmic interpretation of othello by the medium of film, reviewing the director? This analysis focuses mainly on techniques and devices used to achieve this and their effect.
The effectiveness of Parker? The idea was to make the erotic relationship between Othello and Desdemona the emotional hinge of the play, and this aspect at least, was handled well by the American actor. The casting for all of the other parts is just as creative, for example Desdemona is not portrayed as the blond-haired embodiment of innocence as has been the norm in traditional productions.
Rather she is sensual and dark-haired, played by the actress, Irene Jacob. With this is mind, the audience already witnesses a hint of the contrasting value of the play, mirrored well and in fact improved by the film.
The movie begins with the image of Othello lifting a black and white mask onto his face the mask is appropriate? This image is also significant of the two faced god Janus, who is linked to Iago.
The symbol is effective as it is a mask of sorrow donned, signifying that it is this? This likeness is Iago? It is very important to notice that Iago is repeatedly stationed on a threshold, between inside and outside, often ushering the characters in and out.
In the opening of the film, Iago and Roderigo are seen lurking in the foreground beside a door, apparently spying on Desdemona who is hurrying to some secret place to be wedded to Othello in the middle of the night.
This is also apparent in Act III, scene 3, where when Othello collapses on his bed partly out of shot, the camera reveals Iago still lurking in the doorway. Unexpectedly Iago appears stealthily behind him, as if he had been lurking there, and remains for a while in the doorway of the palace with his eyes on Othello before joining him on the beach.
It is believed that from standing at the entrances of houses, at the doors, Janus is considered the patron of beginning and endings. So is Iago given the role of opening and closing most of the scenes. Parker utilizes this, having Iago linger behind the characters after leaving any place he is in.
This gives Iago a diabolical, supernatural effect, as he seems to appear behind and aside characters out of some dark abyss.
The director makes this even more apparent with his adaption of the significance of the soot in the play, after the villain has devised his plot.
The scheming mastery possessed by Iago is excellently captured and portrayed by the visual devices and symbolic imagery used by the director to make effective his interpretation of Shakespeare?
Very important is the use of camera focus, a device Parker liberally utilizes to make up for the scenes from the play he has omitted from the film. He particularly makes use of the technique of?
This technique is used for dramatic and symbolic effect, significant for instance in the night after the fight scene where Cassio?
This works to further emphasize Iago? By illuminating the faces of these victims, Parker is forcing us to concentrate on the effects of his words.
Alternately Iago who is standing in the background comes progressively into focus, while the character in the foreground fades out, which produces a new backward?
This is dramatized on several occasions. As fore-mentioned, in Act II, scene 3, while Iago is reporting to Othello how the fight came about, the camera repeatedly changes focal point, alternately shooting Cassio in focus, while Iago and Othello in the background blur out, and vice versa.
The device is again loaded with meaning when, in the vaulted armory, Iago who is at first sitting in the background starts making insinuations to Othello, whose face is screened by swords displayed on racks.
The same device will be at work at the end of the play, while Othello is reading the letter brought from Venice by Lodovico, to convey the double focus of the scene.
The focus keeps shifting from Othello who is perusing the letter and Desdemona in the background who is talking with Lodovico about Cassio, showing the build-up of intensity leading to the slap.
This use of indirection and distortion of the gaze is a device utilized again by Parker, seen when the characters arrive in Cyprus, Iago observes behind him without being seen, the courteous exchange between Desdemona and Cassio reflected on the blade of his knife, uttering the words: This is very significant, as the image blurred on blade shows that Iago is unsure of the authenticity of this action, yet pounces upon it?
Once again his likeness to the two-faced god is apparent as he sees everything, before him and behind him, forward and backward. One of the most important signifiers of Othello? These images are particularly tormenting for Othello as his potent love for Desdemona and insecurities about his age and race result in a sense of unworthiness.
His possessiveness of Desdemona is an important pioneer to his jealousy which is predominantly sexual as he treats Desdemona? In conclusion, Fishburne and Jacob may not have been the ideal candidates for the portrayal of Othello and Desdemona respectfully, due to their lack of?.
Saved by the acting genius of Kenneth Branagh as Iago, as well as the devices and effective camera use previously mentioned, this production would have indeed been a disaster.Othello Movie by Oliver Parker — Analysis.
The film Othello by director Oliver Parker, is based on the Shakespearean tragedy based on the insecurities of one man, being played upon leading to his undoing at the hands of the one he most trusts, honest Iago.
Cinematic Analysis of Oliver Parker's Othello In five pages Oliver Parker's film adaptation of Othello is reviewed and analyzed with critical reaction also included. Four sources are cited in the bibliography.
Parker’s film makes this even more obvious than Shakespeare’s play by filming scenes of Desdemona and Cassio caressing each other in Othello’s bed, which Parker interpolates as Othello’s waking dreams, and the catalysts for his seizures.
Shakespeare on Film: Oliver Parker’s Othello Adapting a Shakespearean play to the screen is a difficult task for any filmmaker. True, the raw material is already there, and in the case of a play like Othello, the essential story is well known.
Analysis of adaptation “Othello” () by Oliver Parker May 10, Written by VALERIA KUBLIY | 1 Comment “Othello” () directed by Oliver Parker is an excellent adaptation of William Shakespeare’s The Tragedy of Othello, the Moor of Venice.
Othello Essay. Parker’s filmic interpretation of Othello attributes power to the appearance and identity.