“Othello” (1995) directed by Oliver Parker is an excellent adaptation of William Shakespeare’s The Tragedy of Othello, the Moor of Venice. Even thought, the movie departs from the original play, due to the cutting of many dialogues, and an addition of new scenes, still this infusion of the author’s vision and Shakespearean genius not only changes a common perspective of the play, but also uncovers the new angles of the characters ‘souls.
The director’s accession of a chessboard in the production is a very strong allegory, while both Othello and Desdemona are the chess-pieces Iago is playing with whenever he appears as a narrator of what is to come. Iago can predict their destiny, since he controls their figures’ motion, he knows their motives and steps and he plays with them at will. Especially symbolic this moment in the culmination of the movie, when Iago drops both figures in a water. He foretells the faith of this affection. In the finale we see a boat slowly sails towards a red sky, which symbolizes the sunset of great love and passion, and the dusk of their lives. The director is interrupting this progress, and we see the Venetians sending Othello and Desdemona’s corpses, forever joined with garlands and flowers, to the depths of the sea. Therefore, the Parkers choice to draw a parallel with the chess figures and human life, interrupted by someone’s wicked game, is very remarkable and emblematic.
Also, another noteworthy feature of this adaptation is Othello’s dreams filled with images of adultery. I found this part very interesting, since it helps us to see through the Othello’s inner state, understand his feelings and see how rapidly he let his imagination to win over him. Additionally, Parker did a really great job with using “voice-over” with some critical monologues, which helps to create the complex characters and scenes. For example, when Iago is smiling to the Othello’s face, meanwhile possessed with the idea to break him. By listening to this evil monologue in his head and looking at Iago’s facial expression we are introduced to his “double-faced Janus” nature.
Furthermore, the director’s casting decisions are remarkable. Iago is a very difficult and strong character, and the actor, who plays him in the movie, not only was able to reflect his complexity, but also added some irony to his image. Kenneth Charles Branagh, who plays Iago, seems very open and modest man. It was hard for me in the beginning to associate him with an evil mastermind. But after a while, I start to notice some irony in this visual dissonance. Especially after the Iago’s legendary remark “Man should be what they seem; Or those that be not, would they might seem none!”(3.3.150) Which makes Kenneth Branagh’s Iago intense in his evil wickedness, and wonderful in his show of innocence, love and concern for his master-friend, when he is in the company of Othello.
Also, very interesting choice of director is characterization of Roderigo, who in the play appears to us as a comic personage and an unwise prey of Iago’s manipulation, while the movie uncovers his personal drama and shifts his character from traditional minor position. Unlike Casio, who, as I think, is remained in the shadow in this adaptation .
Overall, the Parker’s production of Othello is mirroring the Shakespeare’s original play. Despite his addition to the traditional plot, he did not change the context much. His slight infusion of symbolism adds complexity to the story and keeps it compelling and moving.
