Oliver Parker's film interpretation of Shakespeare's Othello uses cinematic techniques to express to the audience two major themes that are present in the original play. Appearance verses reality and racial discrimination are both significant themes that Parker focuses on throughout the film. Through the use of camera angles, language, tone, symbols, costuming and voice-overs, Parker conveys clarity of the themes for the audience to interpret.
Appearance verses reality or deception is a strong theme present in the play. Deception is perceived as a powerful and destructive force. In one of the first scenes of the film, it becomes the main source of tension between the protagonists, and continues to degenerate their mental state throughout the play. Eventually a web of deception crafted by Iago leads to the final downfall of the main characters.
The most obvious character in Othello that appears to deceive everyone is Iago. He is a character that hides behind the mask of an honest soldier who is blunt, unsophisticated, honest and well-intentioned. This is the view of Iago portrayed at the opening of the film. It is not until the end of the third scene in the film, when we hear his soliloquy, that the audience learns of his real intentions.
The Director uses camera angles, voice-over and choice of tone and language to highlight Iago’s malicious actions. Iago's direct and menacing soliloquies with the audience via the camera conveys his Machiavellian intentions to destroy Othello with much more force. The director deliberately zooms in on Iago's face as he begins his soliloquies and informs the audience of his true plans. In one of the first scenes of the film, when Iago and Roderigo are watching Desdemona and Othello's marriage, I...
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... the Black King, as this piece is said to be the weakest piece on the board and the capture of the king is the goal of the game. Iago sees Othello as weak due to his race and therefore he plans to bring Othello down using the other pieces on his board. The White Queen is said to represent Desdemona and is viewed as the most powerful piece. This shows that Iago believes Desdemona to be more superior as she has whiter skin. The use of these symbols has highlighted racism in the film to a greater extent.
The cinematic techniques used by Parker successfully compliment the wide range of emotions experienced by the characters within Shakespeare’s complex plot. A variety of themes within the script of Othello, including racism and appearance verses reality, are more effectively portrayed allowing the audience to have a heightened understanding and enjoyment of the movie.
When Shakespeare composed the tragedy Othello televisions were not. Along with no televisions, life in the late 1500s had many different qualities than it does today. This time period had no war on drugs and no high school shootings. Peer pressure was not an issue. The audiences of Othello in the 1500s did not face the circumstances that we, American high school students, face today. With these significant differences in daily life, come the attempts of movie creators to help prevent our modern day tragedies.
Shakespeare’s plays show the complexity of human beings. Everyone is different in reactions, actions, and thought. Shakespeare explores various themes throughout his writing career. Each play is unique, and their themes are handled in a very distinct way as Shakespeare writes each work with great care. Two major themes are appearance versus reality and relationship between motive and will; Othello, Hamlet, and Henry IV, Part 1 all portray these two themes in similar and different ways.
Throughout the mind bending play Othello we are deceived from the characters and their innocence and the tragedies that set out to do. During the play Othello by William Shakespeare, we meet a few iconic characters. Iago, the mischievous man who deceives everyone into believing he is the good guy and is there to help when all along he is trying to bring Othello down. Continuing through the play Iago takes charge into his plan, using anything he can get his hands on. Further bringing us to the scene that Iago gets a hold of Desdemona’s handkerchief from Emilia. Iago tries to use that to his advantage to turn Othello and Desdemona on each other. The archetypal perspective helps the audience understand what Shakespeare is trying to accomplish
From the very beginning of Shakespeare’s Othello, Iago is held in very high regard within the community in Venice. He is often called “honest Iago” by many people, including his superior, Othello. There is a large juxtaposition between Iago’s character in the beginning of the play, and the general perception at the end of the play, due to Iago’s many character flaws that cause him to create devious plans and a web of deception and lies, spun by his intense anger and hatred. The exposition of Othello holds many indications of the negative traits Iago possesses, and they escalate quickly as the play progresses. There are many points within the play that present Iago falling prey to his issues and therefore lets them control him. Iago’s anger and hatred kept him from dealing with these character flaws and lead to his descent into moral
In the play, Othello, written by William Shakespeare Iago is one of the most unique and interesting characters. Not only is Iago a main character, but he is also one of the most controversial, causing more drama and quarrels than any other character in the play. Shakespeare does a good job with the character of Iago by creating an atmosphere where Iago can keep the reader's attention on each and every individual scene throughout the entire play, as one tries to figure out Iago's true intentions. When reading the play it is easy for an individual to view Iago as an evil person who gets pleasure from malicious acts he inflicts upon others around him.
In the story of Othello we see how the actions of one man go on to ruin the lives of multiple people. The villain Iago single-handedly creates the tragedy of Othello through his puppeteer like control of the other characters in the play. Iago captivates the audience as his plan progresses. Readers are anxious to know what will happen next in the play. What makes Iago so fascinating is his mysteriousness as a character, his fully devious ways, and how magnificently clever he is in organizing the demise of Othello.
As Iago's role in the play begins to define itself, the plays main theme, which is jealousy, also begins to develop. Iago's role is unclear to the reader in the first scene. He appears to be an honest, trustworthy soldier who was angry because he was overlooked for a promotion. However, the reader later finds out that he is a "malignant and destructive plotter" and would do anything to destroy Othello and anyone close to him (Epstein 381). The fact that he is an evil character remains undetected by the rest of the characters in the play. "The other characters actually call Iago honest fifteen times throughout the entire play" (Campbell 156). Iago is jealous and resentful of Othello in everyway and uses this festering hatred to infect and destroy Othello. He filled Othello's mind with thoughts of deceit and betrayal until his unwarranted jealousy towards his beautiful, trusting, and innocent wife blinded Othello himself.
11 Dec. 2011. The "Othello". Shakespeare for Students: Critical Interpretations of Shakespeare's Plays and Poetry. Ed. Anne Marie Hacht.
Honesty is one of the most important factors in Othello. And although there is very little honesty actually present in the play the term is most commonly applied to Iago, who also happens to be the most dishonest character in Othello. Due partly to the other characters naiveté, Iago is capable of manipulating, brainwashing, and molding the other characters to satisfy his need for revenge against Othello.
One notable difference between William Shakespeare’s The Tempest and Julie Taymor’s film version of the play is the altered scenes that made quite a difference between the play and the movie version. This difference has the effects of creating a different point of view by altering the scenes affected the movie and how Taymor felt was necessary by either by keeping or deleting certain parts from the play. I use “Altered Scene” in the way of how Julia Taymor recreates her own point of view for the movie and the direction she took in order to make the audience can relate to the modern day film. I am analyzing the way that the altered scenes changes to make a strong impression on the audiences different from the play. This paper will demonstrate
Filmmaking and cinematography are art forms completely open to interpretation in a myriad ways: frame composition, lighting, casting, camera angles, shot length, etc. The truly talented filmmaker employs every tool available to make a film communicate to the viewer on different levels, including social and emotional. When a filmmaker chooses to undertake an adaptation of a literary classic, the choices become somewhat more limited. In order to be true to the integrity of the piece of literature, the artistic team making the adaptation must be careful to communicate what is believed was intended by the writer. When the literature being adapted is a play originally intended for the stage, the task is perhaps simplified. Playwrights, unlike novelists, include some stage direction and other instructions regarding the visual aspect of the story. In this sense, the filmmaker has a strong basis for adapting a play to the big screen.
The modern setting naturally incorporates the use of modern inventions, modern clothing, and modern behavior. These factors change the audience’s perspective and analyzation from the original play to the movie. For example, the use of bicycles made transportation easier and the running away seem less impossible. The modern clothing took away from the inherent magic, much like changing the setting originally affected this. The behavior of the characters that changed due to this setting change, however, disturbed the original emotions and analyzations one might make from reading the work as intended, through William Shakespeare’s original
In Shakespeare’s Othello, Iago is the antagonist and villain who causes all the trouble and disorder. Othello is the protagonist, and is the main person Iago’s destruction and revenge is aimed towards. Othello is nave and gives everybody his trust even though he may not know them or they haven’t earned his trust yet. He often refers to Iago as “Honest” Iago, which is a direct showing of irony because Iago is not honest at all (Shakespeare, I, iii. 289).
Iago uses his strategically apt abilities to come up with a very intelligent system that will eventually destroy Othello. After Iago and Rodrigo find out about Othello and Desdemona’s marriage, Iago manipulates Rodrigo into making him angry, because Rodrigo has feelings for Desdemona. Iago and Roderigo go to Brabantio’s abode to enrage him by telling him about Othello and Desdemona: “Call up her ...
Throughout the play, the audience is amazed by just how well Iago’s destructive plan worked. He changed Othello’s emotional state, from a man who holds himself well to a man driven to murder by jealousy, destroying not only the friendship between Othello and Cassio, but also Othello’s marriage to Desdemona. The audience again, may feel a varying degree of repulsion to Iago for the damage he had caused, but deep down the audience is satisfied with the mould of a villain matching Iago so well, and Iago bringing much more to the table. A reason behind the success of his plan, Iago is manipulative to everyone around him. Othello praises Iago as “a man he is of honesty and trust”, giving Iago the nickname, “Honest Iago”. He keeps his ‘friend’ Roderigo close, but his enemy closer, manipulating Othello to believe Desdemona did deceive him as “she did deceive her father marrying you.” His two-faced personality and ability to manipulate everyone around him allows his plan to be even with Othello “wife for wife” to work, while he fits the villainous mould well. He brings more to the table by hiding this behind a ‘heroic’ and ‘trustworthy’ mask, another factor that makes his attributes of a villain more