Oliver Parker's Othello

Iago is probably the most common point of discussion, so it seems logical to start there. What is perhaps the most interesting about this version is the way Iago delivers lines directly to the camera. It is as if the viewer is a co-conspirator, a confidant of Iago’s and someone he feels he can trust. This is interesting in its departure from the traditional soliloquy, often performed as if the character is speaking to himself. Additionally, these moments seem to serve as narration, helping the viewer understand what might be lost in the language. Kenneth Branaugh also deserves some credit for this help, as his delivery often clears up what might be confusing when just reading dry text.

�s choice to go this way is visually interesting, it raises questions about the character of Iago. Iago, throughout the play, confides in no one, not even his wife. This impression of conspiring with the viewer seems slightly out of place, as if we are supposed to sympathize with this villain, somehow. This impression is not really one of choice, but one that is thrust upon us by Parker’s direction. Branaugh does not look just to the left or right of the camera; he stares directly into it, even lowering his voice to speak to it when he feels he might be overheard. There is a strange moment in which Laurence Fishburne’s Othello seems to be looking at us, and Iago glances over his shoulder as if to make sure that Othello cannot see us. It is unclear if the moment is intended for humorous value or not, as Branaugh plays the moment a trifle nervously. His expression suggests that he has been found out, and he seems to glance at us to make sure that we didn’t tattle. Intentional or not, humor is what is achieved in this moment.

Parker chooses to show a strongly sexual story, to the chagrin of Shakespeare purists. I have often heard opinions of this film that focus on a moment of consummation between Othello and Desdemona, complete with nudity that seems to shock some audiences. In Parker’s defense, the scene is not, at least by modern terms, gratuitous; rather it is a sensual scene. Parker addition of this scene, which obviously does not appear in the original text, helps complete a picture of love between the couple. While Fishburne is shown as a somewhat dominate lover, it is only to be expected in a man such as Othello. Shakespeare never shied away from implied sexuality, and I doubt that he would have disagreed with this scene as much as some critics would like you to believe.

Parker’s visuals are one point that all should be able to agree on. The film is beautiful to watch, with appropriate sets, and a great use of light. His greatest victory, (or perhaps it is the actors’) is that as lush as the scen

Some topics in this essay:
Finally Parker, Desdemona Cassio, Othello Desdemona’s, Fishburne’s Othello, Parker’s Rothwell, Othello Desdemona, Iago Iago, Othello Shakespeare, Emilia Iago, Kenneth Branaugh, average movie, fair amount, film available,