In the latter half of act 4, scene 1 of Othello (lines 200 to 255), Director Oliver Parker

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1 Emma Quirk Assignment 3 ERH 206WX April 14, 2014 Analysis of 1995 Othello Movie and Original Script In the latter half of act 4, scene 1 of Othello (lines 200 to 255), Director Oliver Parker seems to have matched Shakespeare s interpretation of the play, however added his own small details to further enhance the dramatic irony and the underlying plot. In this emotional scene, Othello and Desdemona unknowingly dig deeper holes for themselves while the audience watches in frustration as Iago s malicious plan unravels as he hoped. Othello allows his anger to thicken without clarification from Desdemona that any of Iago s rumors are true and Desdemona s naiveté makes Othello more suspicious. In the movie version, Othello walks into a room and the first thing he sees is Lodovico slowly kissing Desdemona s hand. This opening interaction is not mentioned in Shakespeare s writing therefore was an addition by Parker. Though Othello does not appear threatened by this gesture, it is more for the modern audience. While a kiss on the hand was a normal greeting in Renaissance Italian culture during Shakespeare s time, it is an intimate greeting in modern, Western society. Parker opened this scene with that image to add reason to Othello s frustration with his wife s, seemingly lack of, chastity and loyalty. It seems everywhere he turns, she is in a situation with another man. In fact, Othello comments on her habit to turn, and turn (4,1,246). This rant is proof of Othello s trust issues and the way he has been brainwashed by Iago. He even alludes to a line that Iago fed him back in act 3, scene 3 line 419 referring to Goats and

2 monkeys! (4,1,256). Cinematically, the movie emphasizes Iago s involvement in the whole conflict by reverting the camera to his reaction after the slap and also always keeping him in the camera whether in the background or by someone s side. This scene closely follows the script but actually witnessing the abuse and hearing the lines come to life increases the dramatic irony and does well to to illustrate the complexity of the plot. The movie does well to illustrate the characters naiveté of Othello s anger while he reads the letter. Desdemona, unaware of what is boiling behind the scenes in her husband s head, expresses the friendly love (4,1, 219) she has for Cassio. This intensifies dramatic irony because the audience wants her advise her to, with lack of a better phrase, shut up. It is clear in both the movie and book that Desdemona is ignorant to the situation by the way she treats Cassio and Othello s argument as elementary. She claims that the two shall make well and in the background Othello questions, Are you sure of that? (4,1, 213). This is evidence that Desdemona doesn t know the full story and Othello thinks she is playing dumb. Othello didn t make a scene until Desdemona seemingly took Cassio s side. Besides Desdemona being well illustrated as naive in the movie, Parker also captured her submissiveness. When most women would become hysteric after being slapped by a man, Desdemona gathered her self and softly said did not deserve this (4,1, 232) Desdemona clearly doesn t want to upset Othello and is good natured but she hardly stood up for herself and easily tolerated his behavior. The movie did make Desdemona seem tougher than the written play because Shakespeare inserted that she weeps (4,1, 234) however Desdemona s actress did not cry right after the slap. After the slap Othello commands her to get out of my sight! (4,1,238) she submissively responds that she would not stay to offend him (4,1, 239). Though her tone

3 was stern she still walked away rather than fighting for herself. The expression on Lodovico s face after she simply walked off at Othello s command was sheer disappointment. He was the only individual in the scene standing up and trying to fix the issue and was shocked to see her excessive compliance. Desdemona also responded to Othello s demands with haste when he called her back. In fact, instead of calling her by name, he referred to her as mistress (4,1, 241) when summoning her back. Mistress tends to have a negative connotation and generally implies a women engaged with a man that she is not in a relationship. Calling Desdemona a mistress was condescending however she quickly returned to him. Another interesting difference in the movie was the addition of Desdemona s uncle. He has no lines and his character comes across as very aloof but Parker chose to insert him in this dramatic scene nonetheless. Parker did this to illustrate that family does not get involved in marital matters. He watched silently as his niece was slapped in the face and embarrassed in front of a handful of other men yet was forced to take it like the second class citizen she was. This abuse would not be tolerated in modern society but in this scene it seems everyone is watching as Desdemona submits to her husband and allows Iago s deceptive plan to unravel according to plan. The setting and on set choices made by Parker also had an effect on screen and bring Shakespeare to the modern viewer. An obvious addition is the dimness of the room this event takes place in. This decision made on lighting can have two different purposes. For starters, dim light reiterates the idea of tragedy. The lighting in room is seemingly solemn which foreshadows an tragic plot twist. This dimness can also correlate to Othello and Desdemona s relationship. Both have dim knowledge on the web being strung around them. Othello is also a close minded or dim individual. He made vows with a woman and is unable to confront her on and issue in

4 their marriage or trust her to tell him the truth. The room is full of individuals who are being played by Iago like pawns, dim minded and ignorant to the fact. Though lighting is a small feature, it provided a somber atmosphere to the scene and is symbolic to the seemingly contagious dim mindedness. The costumes worn in this scene captured the Venican Renaissance culture. Each character was wearing a different and vibrant color. The outfits were very authentic and personal. This vibrant and individualistic way of dressing was an essential change occurring in the Renaissance Era, especially in Italy. Individuals were starting to branch off as their own person and a way of doing this was wearing a variety of exciting colors. The Renaissance influence of breaking off from the norm is very alive in this play considering it revolves around an interracial relationship. Parker wanted to express character individuality through costumes. The choice of colors worn by the characters can also be analyzed. Othello was appropriately wearing a green outfit which subtly corresponded to his envy toward Cassio. Desdemona wore blue foreshadowing the sadness of her husbands angst that would soon consume her. Another color symbol was Ludovico s silver, metallic outfit. This stood out because it appeared shiny and new. A similar effect to chrome. This costume matched Lodovico s advanced and modern perspective. In this scene especially he was very sensitive to Desdemona s feelings and the conflict between Othello and Cassio. While everyone stayed quiet after the monumental slap, Lodovico asked Othello to call her back (4,1, 240) and make her amends (4,1,234). Ludovico's sympathy for Desdemona is evidence of his grasp of the new changes in gender power shifting in the Renaissance period. His shiny and new costume is a reflection of his progressive mindset.

5 Similar to lighting, costumes are another detail of Parker s direction that add a larger significance to the plot. Parker also used camera angles to his advantage in recreating Shakespeare s play. It was particularly important in this scene to get a camera angle where Othello seemed to be talking to and looking at each individual viewer. The audience was easily able to understand his facial expressions and commentary because of how intimate the angle was. Shakespeare would most likely move Othello aside facing the audience but this strategy was more effective in the movie. Othello physically made eye contact with the viewer while reading the letter from Venice. This allowed the audience to interact in the scene. After Lodovico mentioned Cassio s name Othello gave the camera a look expressing how annoyed just hearing that name makes him. We get a similar look only a couple lines later before Othello has his first outburst. The camera angle stays at the same height as the characters to make the audience feel like they are involved in the scene and on the same level as the actors. The camera angles are critical in keeping the audience engaged in the scene. Parker directs this key scene as sudden and intense keeping the audience at the edge of their seats hoping the couple will fix the situation. Iago s plan is unfolding just as he wanted and even more frustrating for the audience is that he is in the scene as if with no conscious. This scene is the climax of the tension for the previously happy couple because it is when Desdemona becomes aware of Othello s anger. The way Parker directed the actors and constructed the setting of this scene added effect to the plot and dramatic irony than cannot be captured when reading a script.