OTHELLO a Shakespearean tragedy directed by Oliver Parks (1995) and written by William Shakespeare (1608)
Oliver Parker has brilliantly directed a Shakespearean tragedy which shows the era it was created for, as well as including exquisite costuming, filming and acting that compliments this tragedy, unlike Baz Luhrmann's attempted at Romeo and Juliet. In this modern teenage version of Romeo and Juliet, Luhrmann's has unsuccessfully tried to create a film with Shakespearean language set in the current period. Unfortunately the film Luhrmann created does not work, as it is not as tragic as the play.
Oliver Parker ingeniously used the camera to involve the audience and also used close ups of hands to symbolise love and commitment. Throughout the film Oliver had a tendency to film a full profile of a person rather than just the top half. In some scenes such as sexual scenes between Othello and Desdemona he used camera shots from the ground. I do not believe that shots from the ground were necessary, as we did not really need to see the size of the room or the furniture it stored during these private moments. Iago successful engages the viewer's attention by gazing deep into the camera and talking to it as though it was his comrade. This seizes the audience's attention, as the audience is the only people who know the truth. When Iago speaks to the camera his voice changes and we see the true side to his personality. This is especially noticeable when he says,
"I hate the Moor"¦ This is said with absolute passion and hatred that is not only heard in his voice but also seen in his eyes. The moment is captured perfectly as the camera zooms in on his face when he says these four words.
Oliver has creatively used close ups of hands and made them a feature of the film. The close ups of the hands clasped together shows intense feelings between two people. When Othello and Iago become blood brothers the camera zooms in on their hands, which shows the love and trust Othello had for Iago and thought Iago shared the same feelings. When Desdemona and Othello make love Oliver gradually brings the camera closer to their hands, which are embraced tightly together. This symbolises the mutual feeling of love present between these two characters. At the beginning of the film during Othello and Desdemona¡¦s wedding the close up of their hands shows commitment.
Chess pieces in the film distinctly represent particular characters. A black king represents Othello, Desdemona is a white queen and Iago is symbolised by a black knight. The black king shows Othello's status and also his colour. The white queen symbolises a pure, innocent female who is married to the black king and the black knight signifies a malevolent person whom is about to destroy the alliance between two people. When Othello kills Desdemona he is dressed completely in black and she is dressed in a white guiltless nightgown. The chess pieces at the start of the film are placed on a chessboard next to a fire and then later on in the film they are pushed into a well. If the viewer has paid attention to the film the ending will fit into place with the importance of the chess pieces. The film finishes with the dead bodies being pushed into the sea and it looks similar to the chess pieces falling into the well.
When Othello has a fit he talks to the camera and captures the audiences attention similarly to the way Iago does. In the dungeon where Iago talks to Cassio about his feelings towards Bianca and Iago disguises Cassio's feelings to sound as though they are about Desdemona, Othello is hidden behind bars. Iago has imprisoned him into a cage full of jealousy and suspicion. The cage is full of jealousy and suspicion as Othello's feelings are increasing and building up and he is trapped as the bars prevent him from escaping. Jealousy is slowly taking control of his mind and body. Flute music is discretely playing in the background as Othello sees what he is told to see.
Powerful instrumental music is played when Othello is having a fit in the dungeon as he is imagining Desdemona making love to Cassio. As the images become more vivid the music gradually gets louder, quicker and stronger. Music is symbolic in the film as it expresses the characters emotions. The film begins with intriguing and mystical music that creates an atmosphere that draws the viewer into the film. In scenes where Othello is alone with Desdemona the music used is soft yet represents the jungle and creates a romantic mood. In the final scene when Othello kills Desdemona the music expresses Desdemona's feelings and makes you sympathise with her as she is so honest, beautiful and devoted to her husband. During intimate moments Oliver Parker used dark lighting and then in the final scene when Othello kills Desdemona he chose to use no lighting. In this scene Othello¡¦s costuming is all black which blends in with the background.
Iago fantastically played by Kenneth Parker is a malicious, almost devilish, greedy and two-faced character. He had an extraordinary character change throughout the film as he went easily from a trusting friend to a wicked and hateful man. His companions see him as an honest and dependable man but like most friendly and trust-worthy characters, he has another side that is revealed in the final scene. He cleverly engages the audience by looking deep into the camera when he is being devious, saying something untruthful or expressing his true personality and feelings. He discretely puts ideas into
Othello's head and slowly turns Othello into a jealous, cold and irrational man.
Othello is an insecure, honest and proud man played superbly by Laurence Fishburne. Othello was a very clear and strong character as he spoke confidently about past battles and was very much in love with Desdemona (Irene Jacob). Although his colour made him an outsider to the white cast his costuming and make-up that was accurately chosen also separated him as it represented his culture, background and religion. The most important line that Desdemona said was ¡¥I have not deserved this.¡¦ Due to her unnatural accent and acting this line was not expressed as forcefully as it should have been. This line would have to be one of the most important in the whole film, as she did not deserve her fate and it sums up the whole film. Her strong feeling of love towards Othello could be heard in her voice and when he walked into the room her face light up. He body language and expression showed that Othello was her life. Michael Maloney played a very nervous and anxious
Roderigo. Michael's role in the film was excellently portrayed, as he was not too over powering. Nathaniel Parker was a down-to-earth character who had such an honest face and adequately fulfilled the requirements of Othello's lieutenant, Cassio as he acted true to his role.
Overall I enjoyed Oliver Parker version of Othello and would give it a rating of 9 out of 10. The clever use of symbols such as the chess pieces and the cunning way Oliver used the camera to draw the audience into the film made the film more entertaining. The instrumental music was just as important as the acting as it made the scenes more dramatic. The acting generally speaking was of a high standard due to an excellent performance by Othello and Iago.
Reviewed by Sam K
To See or Not to See?
"Othello" (1995)
rating 3/5 stars
Othello - Laurence Fishburne Iago - Kenneth Branagh Desdemona - Irene Jacob Cassio - Nathaniel Parker
Directed by Oliver Parker. Screenplay by Oliver Parker. Based on the play by William Shakespeare.
by Andrea K
"Men should be what they seem," declares deceptive Iago. However, as in all Shakespeare's plays, nothing is as it seems. In "Romeo and Juliet", star-crossed lovers suffer from an ill-deserved fate. In the tragedy "Julius Caesar", the ambition that caused the conspirators to kill Caesar resulted in the death of several of the conspirators themselves. "Othello" combines all the great Shakespearean elements, creating a tumultuous storm of love, betrayal, conspiracy and murder that can only create an astounding resolution in the ultimate tragedy.
On a moonless night, shadows bathe the depthless, Italian canal, taking place during Shakespeare's period. The scene is set that produces an all-consuming jealousy. The remarkable lighting and suspicious music creates the shadowy mood where the antagonist Iago plots his revenge upon Othello and Cassio, motivated by Othello's induction of Cassio as his lieutenant. This dim lighting has a continuing effect through out the movie as Iago's scheme is divulged to the audience. Creative use of contrasting lighting illuminates Cyprus in an atmospheric scene where the victory of brave Othello and his fleet is celebrated. Othello and his fair wife Desdemona dance engagingly, entranced by their true love that at this time appears indestructible. The shift between light and dark beautifully emphasizes the love and destruction throughout the movie. For inevitably, innocence, truth and beauty become the victims of the irrational Othello to show the destructive power of jealousy.
Laurence Fishburne produces a successful portrayal of Othello's imposing physicality, while representing a striking contrast of culture and traditions, apparent through his insecurity and trust. Othello is remarkably portrayed as a leader and a man of action rather that words. And indeed at times his words are lacking strength and character. Upon discovering his wife is allegedly involved in an affair he suffers from an over exaggerated epileptic fit, where his body convulses in a total breakdown. In contrast, Kenneth Branaugh's remarkable acting as evil Iago, stirs havoc with his manipulative words. Only Branagh could absorb us into the intelligence and duplicity of such a dishonest character so that the audience could not help but repulse and admire a character to such an extreme at one time. Unfortunately the rest of the cast is incapable of executing the Italian dialect with such ease. While Irene Jacobs managed to produce the accent it remained inconstant, as did her acting. Yet at the climax of the play, one could not help feel that she did "not deserve this."
Dramatic irony keeps the audience on the edge of their seats as Iago deceives the other characters. Along with the shadowing created by powerful symbols, one can only fear the fate of the protagonist and his true love as two chess pieces, one white, one black, sink slowly into the gloomy water. Black and white are contrasted at several stages during the movie. Talented filming draws the audience to the uniting of Othello and Desdemona: black hands grasping white hands. Once again, irony grabs the audience as 'honest' Iago and Othello join hands to become blood brothers in a second union that like the other cannot endure. Stage direction and filming are at their finest, to show the moor's alienation from the rest of the Italian society. Right from the beginning, Othello appears out of place in the Venetian Court. Amongst the ornate dresses, hair-pieces and renaissance attire, not only is he the only black man, but his dark clothes, bold jewellery and accent are also foreign. To make Othello jealous of Cassio's relationship with Desdemona, Othello is concealed in a 'cage of suspicion' as the men jest about Cassio's affair with his whore. The bars and shadows further separate Othello from the white men and place him 'in the dark' about Iago's conspiracy. Overall, the movie is an accurate portrayal of Shakespeare's "Othello", while keeping dialogue to a minimum. "Othello" is an historical movie that is still relevant today with it's themes we can all relate to today - jealousy, love, trust and revenge. To see or not to see? It's your choice.
Reviewed by Andrea K
A
film review by Courtney S
- Starring
Laurence Fishburne, Kenneth Branagh and Irene
Jacob
- Directed
by Oliver Parker
- Rated
R, running time 125 minutes
- Rating
out of OOOO(O)
- Year
of production -1996
Othello
is a tail of two lovers, marrying against the will of Desdemona’s
father, turning to a tragedy after the fangs of the devious and jealousy
spider, Iago, poison Othello’s strong, black, war-like character.
The
tale of Othello is another of Shakespeare’s greats, and this film does
not only justices to the great play but redeems it to higher perfection. The director Oliver Parker, has completed a task that not a
great many can match, he has succeeded in created an in-depth film that
has passion in its roots. Oliver
Parker has also produced another compelling film ‘ The another
Husband’ which also portrays his marvellous directing capability.
Oliver Parker’s choice of actors to
fill the two main roles, Iago and Othello, is immaculate.
His only flaw remains in his casting of the sweet, innocent and
doomed Desdemona. Irene
Jacob’s
portrayal of Desdemona results in an insubstantial
and flimsy performance. The
lovely Swiss-French actress with limited English, doesn’t always get her
tongue around Shakespeare’s intricate dialogue.
Her performance may have had more regard, if Kenneth
Branagh and Laurence Fishburne’s performances hadn’t been so
unbelievably flawless. Against
their powerful and screen dominating performances, she is sedate in
comparison.
Parker's
most important decision, the casting of his Othello, is on the money.
Laurence Fishburne is a powerful Othello who ultimately falls from his
majestic height with such
compelling
jealousy, that the audience is dragged from their seats into the film.
It leaves them begging for Othello to realise the fatal decision he
will make before it is too late, just as it is in Romeo and Juliet.
It is one mistake, one moment that if left for ‘but for one half
hour more’ would, could have been resolved and the tragedy avoided.
"Othello"
is the film Lawrence Fishburne will be remembered for. His powerful,
furious performance as Shakespeare's betrayed Moorish general who kills
his wife out of unjust jealousy is far and away the best performance of
1996. And it is a measure of
Fishburne's ability that he holds his own with Branagh, a veteran
Shakespeare actor playing one of the Bard's most scene-stealing characters
and who is arguably the leading Shakespearian actor of his generation.
Branagh plays the deliciously evil Iago and adds the vicious bite to the villain almost sympathetically. Almost.
Oliver
Parker seems to be making a habit of fiddling with acknowledged stage
classics and achieving surprisingly satisfying results. In 1996 the
screenwriter and director took Shakespeare's ‘Othello’ and trimmed it
to a relationship-intensive two hour movie, re-interpreting the dark tale
of deception and revenge as a tragic and erotic thriller. It was not a big
hit, but it is the best Shakespeare movie of the last 20 years not
directed by Kenneth Branaugh (although it did feature him, opposite
Laurence Fishburne, giving a memorable performance as the duplicitous Iago).
Unlike Orson Welles' 1952 "Othello," which feels a little
chopped up at two hours, this film flows. Those unfamiliar with the play
won't even realize anything is missing.
This
film, directed by Oliver Parker, is everything Shakespeare should be when
put to film, articulate, concise, and visually striking. The actors add spice and depth to the dramatic, visual
scenes. And finally a black
man, instead of a white man dressed in black make-up, plays Othello.
The film takes full advantage of both Shakespeare’s brilliant
storyline and a film’s more personal connection with the audience.
The
lighting, camera angles, music and setting provoke the viewer to earnestly
anticipate a character’s outcome. When
Iago whispers into Othello’s ear, the close up of the mouth and ear,
form the image of Othello’s conscience, speaking to him, whispering to
him. Which to choose the
‘right’ path or the ‘wrong.’
Also
the constant reminder throughout the film of Othello’s blackness
juxtaposed to the whiteness of the rest of the community.
The constant close ups of Othello’s black hands and Desdemona’s
white hands, references to black and white chest pieces, Iago knocking
down the black king on the chest board.
All these symbols enable the viewer to realise that Othello
doesn’t belong in this community, and that any links he builds within it
will inevitable be destroyed.
"Othello" keeps the viewer engrossed and entertained. One is able to feel the passion of the characters, as well as, experience their downfall. All those who have, at one point or another, been a victim of jealousy should view this touching tragedy. "Othello" portrays a valuable lesson that should be acknowledged by all. Trust is a precious thing. Give that gift only to those who truly deserve it.
After previously watching Baz Luhrmann’s punk
version of Shakespeares ‘Romeo and Juliet’, it was nice to watch
Oliver Parkers version of ‘Othello’. Parker chose to use historical
sets and original Shakespearean dress settings, minus the guns and minus
the big angel wings. Although there was one scene in this memorable film
where the costuming took away from the intensity of the moment. I must say
I had a laugh at Lodovico, with his triangular shaped hair indescribable
pants? But if he had not been dressed as he was in that scene I would not
have been laughing. For in that scene the true extent to which Othello’s
jealousy was amounting was shown when he slapped Desdomona. I was shocked
that he slapped her but I started to giggle when in the background I could
see the puffy little pants of Lodovico.
From the dark and intriguing opening of the
first scene, the lighting and music lead us through the story line. The
lighting is warm and bright with a renaissance feel and at times dull,
dark and damp. The music changes from scene to scene, with jungle music on
Othello and Desdomona’s wedding night to show attitude and sexuality and
the differences in these ways of Desdomona and Othello.
throughout the movie Parker uses a few key
symbols, for example the joining of hands. Desdomona’s farther joins her
hand with Othello’s in the Venecian court, Othello and Desdomona’s
hands join in their wedding bed, and again the joining of hands was used
when Othello and Iago clasp their bleeding hands together towards the end
of the movie. Other symbolic scenes in the movie involve the black and
white chess pieces, which are used to show the different cultures.
Kenneth Branagh must be congratulated on his
role as Iago. I felt that it was as if he had been pulled from the book
and put onto the screen and therefore really was Iago. Throughout the
movie Branagh has direct conversations with the camera which shows us how
his demeanour changes and how easily he can draw people in. The technique
of making him talk to the camera makes us like him and makes us feel as if
we were his friends, which I feel worked well.
To be
truthful Irene Jacob frustrated me! She just could not pull of the role,
instead of being the vulnerable and innocent character that she was meant
to be she played an annoying wife with an almost whining voice. Oh and I
must mention the Italian accent which only she seemed to have. The
strength of her accent changed from scene to scene, and was sometimes hard
to understand. Moving away from her accent though I felt that when Othello
was trying to kill her it was if she was playing a game of pillow fights.
I think Parker could have done a little better at his casting here.
The black actor, Laurence Fishburne, played
Othello. Fishburne played the part well adding his own touches of an
imposing physicality and an ability to change from scene to scene.
He shows the changes in Othello from sure and decisive to jealous
and melancholy. But at times I felt he lacked personality, and the ability
to draw in the audience.
Overall I enjoyed the 1996 Oliver Parker version of Othello and feel that even non Shakespeare lovers would enjoy this jealousy driven movie, with an overall good acting cast.
Review
by Cassie E
These reviews are reviews of the film version of "Othello" starring Kenneth Brannagh. They are indexed on the left
