Oliver Parker's Othello

6 Pages 1381 Words

When Oliver Parker made the decision to film a version of “Othello”, he had to know he was taking a risk. Critics love to destroy films based on Shakespeare’s work, and to be honest; many of them loved destroying Parker’s. Rothwell tells us that many view the film as not thematic enough, while others praise its interpretation. There is room for both arguments, as there were many things done correctly and some done poorly, scenes added and excluded, characters completely changed into barely recognizable faces.
Iago is probably the most common point of discussion, so it seems logical to start there. What is perhaps the most interesting about this version is the way Iago delivers lines directly to the camera. It is as if the viewer is a co-conspirator, a confidant of Iago’s and someone he feels he can trust. This is interesting in its departure from the traditional soliloquy, often performed as if the character is speaking to himself. Additionally, these moments seem to serve as narration, helping the viewer understand what might be lost in the language. Kenneth Branaugh also deserves some credit for this help, as his delivery often clears up what might be confusing when just reading dry text.
While Parker’s choice to go this way is visually interesting, it raises questions about the character of Iago. Iago, throughout the play, confides in no one, not even his wife. This impression of conspiring with the viewer seems slightly out of place, as if we are supposed to sympathize with this villain, somehow. This impression is not really one of choice, but one that is thrust upon us by Parker’s direction. Branaugh does not look just to the left or right of the camera; he stares directly into it, even lowering his voice to speak to it when he feels he might be overheard. There is a strange moment in which Laurence Fishburne’s Othello seems to be looking at us, and Iago glances over his shoulder as if to make ...