Great Works I: Remixing Memory

The film adaption of Othello from 1995 includes many memory flashbacks. These flashbacks illustrates a different point of view that isn’t shown in the book. These flashbacks show the love that Othello and Desdemona had for each other since the first time they laid eyes on each other. Another thing that is showed by these flashbacks is how intrigued Desdemona was by the experiences and problems that Othello had gone through. The meaning behind his speech is clearly tied together due to his flashbacks. The small additions of these flashbacks help the people watching figure out the scene much better, the movie cut down some lines throughout the text but the plot was still quite similar to the book.

The 1995 film adaptation “Othello” directed by Oliver Parker incorporates memory flashbacks when Othello is giving his speech to the assembled senate and Duke. These memory flashbacks provide the viewer with a more detailed point of view that one cannot get out of the written text. It specifically illustrates how Othello and Desdemona caught each others eye from the first time they had spotted each other, and how Desdemona was intrigued and showed pity for the obstacles and experiences he had gone through in his past. She is seen in a flashback memorized of his tattoos and markings that were all reminders of his past experiences in battle and war, sharing a kiss with him at the end. These flashbacks help tie together Othello’s meaning behind his speech. The movie itself seems to cut down upon the original text lines but the main ideas are still intact and fall very close to how the original text goes according to plot. The movie also initially shows how Brabanzio is already being haunted by something in his sleep before the news of Othello and Desdemonia reaches him. These small additions help the viewer get the mood of the scene better than if they were simply reading the text.

This was a really enjoyable adaptation to watch, and as some others here have already noted, it was successful in its presentation due to the cutting and addition of certain lines. I think it worked well for the most part, though I was disappointed to see these lines cut:

“She wished she had not heard it, yet she wishes/That heaven had made her such a man. She thanked me,/And bade me, if I had a friend that loved her,/I should but teach him how to tell my story,/And that would woo her. Upon this hint I spake.” (1, 3, 187-192).

I think these are important lines that give Desdemona some depth beyond the story of the adaptation; the unfortunate wife of a jealous husband. These lines don’t so much alter the story or her character, but inform her motivation to be with Othello beyond her faithfulness due to her religion. In these lines, it’s revealed by Othello that she expressed her desire to endeavor on such adventures, and getting close to the source of this journey, namely himself, pleased her to no end. The stories made her want to be with him and they were the key to her seeing more to Othello than “the Moor”. Her motivation to be with Othello is closely related to her lack of stories, his make up for her void. He completes her, and she, in listening and accepting these stories through his eyes, completes him. Not including these lines in the film simply makes for a character that goes unexplored, a character in Desdemona that would have been really interesting to see. In the same way that Othello’s tales give depth to his character in Desdemona’s eyes, these lines give Desdemona depth in Othello’s eyes and in our reading of her.  I think the addition of these lines would have been more valuable than it may at first let on.

Also, Emilia’s scene at the end of the play was really really well done.

Othello and Desdemona in Venice

This painting is by French artist Theodore Chasseriau, from the 19th century. It particularly resonated with me at first glance, because the artist puts it on the viewer to determine how Othello as a subject of this painting is supposed to be seen. Whether it is a deliberate choice, bad lighting, or simply the artist’s style, Othello’s face is undoubtedly supposed to be hard to make out. I’ve looked at different versions of this painting, and in each one, even when the lighting seems to be better and the image clearer, Othello’s face and the details of it are difficult to see. Othello is a Moor, he is dark-skinned, but something tells me that the artist did not look upon this fact to make the artistic decision he ended up making. The artist clearly looks to represent Othello as darkness, as shadow, as an overwhelmingly bad presence, corrupting Desdemona’s pure image. This is evidenced by the way the shadow falls over the top half of Desdemona, while her white, flowing gown is in the light. The artist wants to show that part of Desdemona is still uncorrupted by Othello’s influence. This is highlighted especially by the contrast in Othello’s clothing. His clothing is rich and dark and he wears a turban. The play however makes no mention of it, and the play itself makes Othello’s character clear to be a Venetian who has cast away his Muslim roots. All in all, this is not a positive depiction of Othello. I think that the influence of Orientalism was the strongest factor that the artist counted on to make these decisions. Orientalism was a popular theory among the Western world  in the 19th century, and though our study of it has only applied to the reading of The Arabian Nights, there is undoubtedly Orientalism’s mark on this painting. Othello, even though he has canonically turned away from his former religious identity, is still depicted in this painting as “one of those”. The artist doesn’t seem to care about canon, the artist portrays Othello here as a Muslim who corrupts fair Venetian girls.

The 1995 film adaptation of “Othello” is a very well done film that gives watchers a new way of seeing the tragic story of Othello. Although some lines are taking out and some scenes are added in, the movie gives viewers a new way of seeing Othello without diverting too far from the original story.

The main scene I want to look in depth would be the scene where Othello is being accused by Brabantio of using sorcery to force Desdemona to marry him. In the movie, this scene also gives a flashback to Othello and Desdemona’s first meeting and subsequently showing how they fall in love with each other. Since a play can only give words without pictures, the addition of this scene gives viewers a look into how they fell in love with each other. This is definitely a very successful addition for the film because it gives a more proper background look into Othello’s past and personality.

“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 Rodrigo, 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.

We’ve talked quite a bit this semester about adaptation as a form of interpretation. We’ll wind up that conversation by considering a film version of Othello, directed by Oliver Parker in 1995.

First, you’ll watch the film. It’s available on our course reserve page (until the end of the semester) at this link: http://remote.baruch.cuny.edu:2048/login?url=http://ereserve.baruch.cuny.edu/eres/coursepage.aspx?cid=3793&page=docs#

You’ll need to log in with the password hershinow2800. If you’re prompted to log in, use your Baruch email user name and password. If you have any trouble accessing the film, let me know. (You might also try using a different browser, if possible.)

Then, in a post of your own on this blog, consider the film version as an interpretation of the play. Focus on one particular choice: how does this choice indicate a particular understanding of the play? Do you think it’s successful? If not, what do you think is lost?

You may (but don’t have to) revise this post for inclusion in your final commonplace blog.

Remember: you’ll be presenting what you have of your blog in class next Thursday. Be prepared to show off but also to get feedback on anything you’re still trying to figure out. We’ll have snacks and–hopefully!–some fun.

Finally, next Thursday’s class is the last day to turn in extra credit assignments. Instructions are on the syllabus; let me know if you have questions.

Passage:
Iago: Lines 69-75

“Call up her father,” “Rouse him, make after him, poison his delight,” “Proclaim him in the streets; incense her kinsmen,” “And, though he in a fertile climate dwell,” “Plague him with flies. Though that his joy be joy,” “Yet throw such changes of vexation on’t,” “As it may lose some color.”
This passage by Iago shows his true colors as a character. He is sneaky and intends to cause havoc for the family already by calling upon the father to inform him of his daughters doings. He is a servant to Othello but he shows no respect for him. His attitude towards the Moor are extremely negative. He is already developing his ideas on what to do to destroy Desdemona’s relationship with her father by destroying his pride in her and eventually he moves onto her relationship with Othello. He does not have any problem in involving himself in family affairs. This behavior continues throughout the play, the reader sees him constantly manipulating others to get the right outcome for himself. The reader should also be able to tell that he is going to be very dramatic about his plans of malice. He is aiming to hurt others with no remorse.

The name of Shakespeare´s book it is Othello, therefore my question is why the first act they do not even mention the word Othello and they use ‘Moor’ or another adjectives to called him?

The first characters that appear are the lieutenant, Lago, and Roderigo. Both of them highly intervene in the play but none of them mention Othello´s name. As the paly it is called ‘‘Othello’’ you might think that the name that will be the most pronounced it will that one, but it is actually the less called or the one that no one says. And my question is why?
• He is referred as ‘‘he’’ or ‘‘him’’ throughout the entire Act. This both pronouns are commonly and well use and above all they do not have a classist background or a racist layer behind it.
• However in other cases he is referred as ‘‘The thick lips’’ ( Act1,pp72 ) making a reference to the typical protruding lips that a black person has. Not only he is discriminate it by this name.
• They also called him ‘‘Barbary Horse’’ (Act1,pp125) making from him an brown big animal far from the domestic area. How racist and intense is this nickname but at the same time how descriptive it is. Lago describe Othello to his girlfriend’s father, the Senator, as this bestial animal that has sexual appetite.
• The last nickname, and the most important one that Othello has is ‘‘Moor’’, including in the main cover of the book as a complement of the title. It is the most important one because it does not only give us an idea of a black person it also gives as a religious and geographic idea of a Muslim African Black from Mauritania.
This names that he was given all are given with malice and they signify that he is dark skinned and African Black also we know that he is a men for the pronoun that they referred when they talk to him plus the title of the book. This is a way of keeping anonymous the name of the Othello and by analyzing the first act it gives a sense of mystery and how you can picture him in your mind just with reading the racist but in a sense comic names that Shakespeare use to refer to him.

In Act 1 Scene 1 lines 74-80 of Othello, Iago says “Call up her father. / Rouse him. Make after him, poison his delight, / Proclaim him in the streets; incense her kinsman, / And though he in a fertile climate dwell, / Plague him with flies. Though that his joy be joy, / Yet throw such chances of vexation on ‘t / As it may lose some color.” This passage is hard to paraphrase because Iago has a dramatic way of saying tell Brabantio about Othello’s relationship with Desdemona. I take “poison his delight” to mean Iago wishes to make Brabantio go into a foul mood. “Proclaim him in the streets” would serve to notify everyone of what happened in Brabantio’s house and further anger Brabantio. Iago wishes to drive Brabantio into a murderous rage and send him towards Othello. Iago shows that he wishes harm upon Othello and instead of doing it himself, he sends a senator and the senator’s kinsmen after Othello. This passage shows that Iago is manipulative and enjoys the theatrics of exacting revenge on Othello. As a result of Iago’s theatrics, the passage becomes hard to paraphrase completely while the gist of it is still present. This passage is significant to the play because is shows that Iago is an important part of the story. Iago can be assumed to be a mastermind of most the troubles that Othello will have to face. This passage shows that Iago plots to ruin Othello just because he did not receive a promotion he thought he deserved. This pettiness hints that Iago will become a sort of villain in this play. When I first read this passage, it led me to assume that Iago would be the antagonist of the play, more so than Rodrigo (who had a stronger reason for wanting to ruin Othello). This passage is important because it introduces the villain and provides insight of the villain’s motivations and characteristics.