Othello by William Shakespeare is a polysemic tragedy of love and betrayal which has transcended the challenge of time with its ability to be reinterpreted through various approaches, while retaining the quintessential issues of jealousy, appearance and deception. Adaptations of the play include Orson Welles (1952) and Oliver Parkers (1995) films, which both explore views on gender and racial inequality. These transformations have augmented my impression of the play by furthering my knowledge of the issues it addresses.
Ultimately, I believe Shakespeares tragic tale serves as a warning of unbridled jealousy to bring about mans downfall, which is primarily evident through the plays central protagonist, Othello. Whilst Othello is initially portrayed as a noble general who is gifted in speech, as evident in his eloquent verse I will a round unvarnished tale deliver of my whole course of love, the seeds of jealousy which eventually bring about his tragic demise are sown from the inception of the play. In fact, Iago warns Othello early on to beware of the metaphorical green eyed monster as it doth mock the meat it feeds on, which, ironically, is what Othello becomes by the end of the play. His madness is also indicated through his shift to vulgar prose by the end of the text, as seen when he berates his Desdemona for being an impudent strumpet. I believe that it is this tragic journey which has captivated audiences for centuries, as we see in Othello part of ourselves. For jealousy is a part of the human condition, and Othello reminds us of the danger of allowing jealousy to overcome our reason.
However, Shakespeares text transcends context due to the various messages it imparts regarding a number of universal ideas, another of these being its warning that appearances can often be deceiving. Iagos deceptive nature has intrigued audiences since its first performance in the Jacobean Era. His desire for vengeance and disregard for the consequences of his machinations has seen him labelled as Shakespeares most evil villain. Iago presents the audience with his modus operandi in his dramatic monologue at the beginning of the play Thus do I ever make my fool my purse, as he seeks to put the Moor at least into a jealousy so strong that judgement cannot cure. Oliver Parker in his filmic adaptation, brings to the fore the evil inherent in Iagos plan when he has Kenneth Branagh talk directly to the camera in lieu of the traditional soliloquies, making the audience all too aware that our perception and the other characters perceptions of him are completely different, thus proving the truth of Iagos paradoxical statement, I am not what I am.
The fact that Othello has been reinterpreted continually throughout the centuries has allowed me to appreciate the role of women in the play and thus, the nature of Othellos jealousy and the misleading appearance of ones true character. Such an approach is explored in Parkers version, as can first be seen through the directors casting of Desdemona as a dark-haired, exotic and sensual woman who Othello falls in love with, rather than as the typical blonde-haired embodiment of innocence. Parkers use of rapid montages of Desdemona copulating with Cassio demonstrates the insecurity of Othellos mind resulting from his jealousy and obsession over his wife. Conversely, Parker presents Desdemona as the manifestation of the empowerment of women through her portrayal as a strong-willed character. This is evidenced in the penultimate scene of Desdemonas death, where she resists violently to Othellos attempts to kill her. Dramatic tension is enhanced through the use of close-up shots, while the balance of power is constantly switched through the interplay of low and high camera angles. I agree with this representation of Desdemona and after analysing Parkers approach, have seen how the original plays ambiguous nature has allowed it to be adapted to more contemporary societies, as it explores a greater balance between the genders.
In contrast, Welles 1952 filmic adaptation explores the opposite end of the spectrum in regard to the role gender equality, typifying them as weak and submissive beings, following an androcentric reading of the play. By downplaying the female characters in the film, Welles creates focus on Othellos responsibility for his downfall due to his hamartia his ability to accept things at face value, as said by Iago, The Moor is of a free and open nature. Welles achieves this through expressionistic cinematography including visual motifs, fragmented shots and a modernistic score, creating an eerie, gothic atmosphere. The symbolism of the shadows of spears during Desdemonas conversation with Emilia about making her husband a cuckold is later used to convey Iagos entrapment of Othello, portraying Desdemonas imprisonment in her nave views of female subservience to their husbands, thus foreshadowing her death. Moreover, Desdemonas reduced role is indicative of Welles notion of her insignificance, with her dialogue frequently being truncated. By reflecting the strong chauvinistic attitudes of post-World War II America, Welles interpretation has shown me how Othello transcends time by allowing itself to be adapted to various contexts.
My overall impression of Othellos jealous nature and identity has also been enhanced by interpretations that illuminate issues regarding racial inequality. In this way, the play highlights his otherness, thus absolving him of some responsibility; instead imparting blame upon his society which alienates him due to his ethnicity. Moreover, Shakespeare reflects his societys racial prejudices, where black people were discriminated against, evidenced by Queen Elizabeths expulsion of Moors from England in 1599, through Iagos various racial slurs such as thick lips, devil and Barbray horse, as well as through Othellos objectification with constant references to him as the Moor. Iagos use of depersonalising, animalistic imagery when speaking to Brabantio reduces Othello to the level of a mere animal: Youll have nephews neigh to you, youll have coursers for cousins, and jennets for germans. Furthermore, Shakespeares use of contrasting black and white imagery emphasises the breakdown of Othellos relationship with Desdemona as his jealousy consumes him, where Othello says that she is the more angel, and you the blacker devil. I believe that through Othellos isolation, Shakespeare has brought to the fore the issue of racial inequality and its presence in his society, while the texts ambiguous nature has allowed it to be reinterpreted by more contemporary audiences and be reproduced to fit their contexts.
One such production is Parkers version, which foregrounds the issue of race. Parker alienates Othello visually through several means, such as the iconography of his tattoos and scars. The imagery of chess pieces is also used in Iagos soliloquy, where Othello is portrayed as the black king and Desdemona as the white queen, thus utilising the contrast in colours to other Othello. Furthermore, Othellos entanglement in chains when in the dungeons during his epileptic fit epitomises the enslavement of colonised peoples during Shakespeares time. Welles version also creates focus on Othellos othering, particularly through his use of avant-garde cinematography. The use of extreme long shots and the imagery of nets and bars to separate Othello in Desdemonas death scene highlight his isolation, while Welles clever use of lighting amplifies the juxtaposition of light and shadow. The close-up shot of his illuminated face against complete blackness emphasises his estrangement, while the kinesthetics of his facial gestures convey his deep sense of loss. Thus, I believe that both films are true examples of how Othello can be reinterpreted over time by presenting varying views on gender and racial inequality, thus enhancing my view of the plays key issues and concepts.
In conclusion, I can say that after evaluating Othello and the interpretations of gender and racial inequality explored through both Parkers and Welles films, I have developed my own personal view of the play that Shakespeares intentions were to convey a warning about the destructive nature of jealousy and that appearances can often be deceiving. The plays inherent ambiguities have thus allowed it to be reinterpreted over time whilst still retaining these archetypal issues.
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