Parkers Representation Of OthelloEssay Preview: Parkers Representation Of OthelloReport this essayParker’s film version of Othello delves into the notions of a sexual reading focusing on the masculinity of Othello. Also, Parker demonstrates a racial side to the play employed to centralize the theme of jealousy which is the catalyst the ultimate tragedy in Othello. With the omission of parts of the play, Parker employs different characterization relating it to the modern social ladder.
My reading focuses on Othello, the character. Othello was a foolish man who trusted the advice of a colleague whose promotion he had blocked. Instead of Parker’s version of Othello being heroic and with an extremely masculine physique, my reading suggests that Othello was simply a flawed human being. Since Othello was hopelessly in love and succumbed by jealousy and insecurity, he lost his eloquence, confidence and his powerful nature.
In Parker’s film, Othello is given a powerful screen presence emphasizing his masculinity reinforcing the idea of this reading being having racial and sexual overtones. In the scene where Othello confronts Brabantio for the first time, Othello’s costume immediately depicts him as a heroic general as he stands up tall without fear speaking with eloquence. “Most potent, grave and reverend Signors, My very noble and approved masters”, is a clear depiction of the meiosis in his speech revealing his confidence. The fire burns brightly in the scene foreshadowing danger.
My reading of Othello brings his personal characteristics to the foreground. These characteristics are that “The Moor is of a free and open nature” which demonstrates that he is too trusting. Iago has manipulated a weak man into trusting an evil being. “Honest Iago, My Desdemona must I leave to thee”. The transformation which has occurred in Othello from a honest gentleman into a “green eyed monster” figure. Othello’s loss of eloquence in speech and manner is evident when he says, “Farewell the tranquil mind, Farewell Othello’s occupation gone”. This demonstrates how Othello has succumbed to jealousy through the manipulation of Iago. “Arise, black vengeance, from hollow hell! To tyrannous hate! Oh blood, blood, blood!” Here is a clear indication of his loss of eloquence which has revealed to the audience of the start of his “naked wrath”.
In comparison, Parker uses the technique of breaking the fourth wall when Iago is manipulating Othello. Iago always stands behind Othello whispering into his ear which reinforces his devious manipulating ways. Iago is portrayed as an intelligent jealous colleague of Othello who always has two sides. This jealousy is depicted in Parker’s film by the chessboard scene. Iago is directly level with the chess board when he places both Desdemona and Othello on the chessboard. Cassio is then placed in between them when suddenly a thunder strike occurs as he pushes the chess pieces symbolizing Othello and Desdemona, into the water. The zoom close up Iago’s face with the fire flickering in the background and the rise in orchestral music are crystal clear indications of the foreshadowing of the death of Othello and Desdemona. “I put the Moor, at least into a jealousy so strong that judgment
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The final scene of the film, in which Othello and Desdemona are killed by gunfire, is taken from the novel: Daniel, a character you don’t recognize from the novel, is shot dead by an unseen gunman with a .44 and an .45 calibre, both of which were used with the original film to create the score for the musical. Onscreen, Daniel takes a look at the murder scene, and at the end of the film, there are two of the gunmen – the gunman. How in the world did Othello find the two gunmen without seeing the second one, who was an undercover officer? Othello didn’t even read the first book in which, after the shooting, he saw him as a coward. He just didn’t see the second one, who was an accomplice of the assassination of Desdemona. So, the second gunman is just a pawn, he was just a mere pawn of the original film, and neither one of them is dead. We know, because Othello is playing with a pawn when, at the beginning of the film, there are two other people who are still alive, but this time, it’s the third gunman (Iago, who has betrayed the other one). With Daniel gone, Othello has no choice but to fight to save his beloved Othello, whether he stays in his cell or is killed by gunfire. It seems as though Othello will be trapped in the cellar, his eyes looking up from beneath the darkness. We see what happens when Daniel tries suicide on the table during the scenes.
In the novel, Othello is always a perfect match for the characters, he’s always got people at his side who are ready to fight. In the film, Daniel is just a pawn. So how is this a coincidence? The film focuses on Othello, not Daniel. Daniel, who is a clever and brilliant writer, has written a wonderful novel, The Life of Dorian, which is highly recommended by scholars. The film also captures the nature of Othello, his perfect match. With so many of the characters already in the film for him, it is so much better seeing them in that novel.
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For Daniel, we can see Daniel as an opportunist, an opportunist – as a good person. However, our movie shows Daniel as an opportunist when he is in the movie at every turn. Daniel will do anything to get everything achieved, even if it means risking his life or his own. He will take that risk in order to escape from the danger. The film shows Daniel as one of those who is prepared to fight for a long time, never to return home. Daniel shows the same type of aggressive behavior in the novel that the novel paints himself. It shows Daniel that when he doesn’t give in he will only become stronger. He will fight like a man to achieve his goals. It shows Daniel that he cannot simply accept the fate of the world he loves, he will fight like a man to survive. He can live his life as a man, fight like a son, fight like a brother or fight like a great friend. No matter how many times Daniel tries to use those terms, he won’t be able to stop the death of his beloved Othello. O