Introduction
It is always an enriching experience when a literature student has the chance to find different versions of the classics of world literature, such as a film or a stage version. However, it is also an opportunity for a classic to become even more popular among contemporary viewers. This is the very purpose of the film Othello (1995), directed by Oliver Parker), and the stage adaptation of the same work, directed by Iqbal Khan, in 2015. For literature enthusiasts, it is essential to discuss and compare the various art forms derived from Shakespeare’s work, along with their similarities and, especially, their dissimilarities.
Immediate Differences in Approach
The film, unsurprisingly, and among other things, gives some extra focus to the beauty of Desdemona, and it starts with a scene (at 01:53) that focuses on her – even though it uses medium shots – instead of the initial dialog between Iago and Roderigo. Her image allows the viewer to feel and realize the reasons (relatively simple and fitting to the patriarchal mindset) that drive Iago and Roderigo to oppose each other. The conversation(03:40) will come afterward, which shows an immediate appeal to modern audiences. As cited in the poem, their dialog is impressive:
“I follow him to serve my turn upon him.
We cannot all be masters, nor all masters
Cannot be followed” (Shakespeare, n.d., 45-50).
The stage version, however, in this aspect, is closer to the original written version, and it starts from the conversation between the characters above.
The Use of Semiotics to Enhance the Setting
One can note the director’s desire to match the reality to enhance the viewer’s immersion in the story’s reality. Conformity to the milieu and culture allows the viewer to blend seamlessly into the story, feel it, and seek their own role among the requisite. Oliver Parker takes advantage of semiotics in the use of signifiers of royalty during scenes of banquets (27:52) filled with golden cups and other symbols of richness, as well as events that contrast the life of the wealthy with the life of the poor, such as a scene of sexual interaction(28:30) outdoors, on top of a medieval cart—adding music during a scene where Desdemona dances to Othello(27:52) is another obvious advantage of a film version and adds sensuality to the story.
Also, the movie explores signifiers related to the Early Modern Period in history to enrich the setting where the drama takes place: it shows regular citizens outdoors, with their animals, reflecting the predominantly agricultural life (25:17) of the time. Reinforcement of historical reality and similarity to reality is conducted to make the story real and show its relevance after time. Despite the setting being expressed in a historical context, the viewer can see how the story becomes part of their perceptions. Those details emphasize the historical context of this particular work of Shakespeare even more.
The Use of Head Shots to Emphasize the Personality and the Emotional State of the Characters
Othello’s internal struggle is the film’s centerpiece, which the director reveals to the viewer. The exposure of such feelings is used to show how much can be hidden behind the lines of the play itself, used as a framework. Othello ponders whether or not Desdemona is faithful to him: his day and night nightmares are presented, in which he sees Cassio and Desdemona (58:20) together in scenes of sex and nudity that echo his ongoing thoughts and hallucinations.
There are also scenes of nudity and sensuality (32:15) between Othello and Desdemona. The nudity scenes are crucial to the director’s understanding of Othello’s feelings. In this case, the nudity is not to show the beauty of the characters but to reveal feelings. In Oliver Parker’s understanding, nudity is the final layer where emotions become most vivid and robust, thus revealing the truth to the viewer. Nudity proves how the characters relate to each other and what kind of solution they seek – honest and transparent, hidden behind emotional “clothes” and other layers.
To show and enhance the idea of Iago’s personality, one particular moment of the movie shows that, after the fight between Cassio and Roderigo, Iago stands behind Cassio, and the latter begins to cry. A few seconds before asking if Cassio is hurt, Iago looks both ways to make sure nobody is around to watch one of his usual deceitful speeches toward people. His facial expression (41:07) is a subtlety that only cinema can capture. We can conclude that Oliver Parker appreciates the beauty and precision of the words with which Shakespeare conveys the emotional background of each character’s story.
However, he wants to intensify the vividness of emotions, so he uses close-ups, and one would think he even breaks the “fourth wall.” Throughout the movie, he also directly talks about his evil plans, looking at the camera. The director skillfully reveals Iago, finding parallels with the interpretation of his character in the poem: “But sith I am entered in this cause so far / Pricked to ‘t by foolish honesty and love, / I will go on” (Shakespeare, n.d., 468-470). Especially during the part when Othello kills Desdemona, the film grammar is set to highlight Othello’s emotional fight. Several headshots (1:43:26) force the viewer to pay attention to him while he hesitates and engages in his last conversation with his wife.
The director uses solid emotional scenes to connect the story’s plot, sensual aspect, and the reality in which the audience can experience the same emotions. While Othello searches his soul for true feelings and Desdemona agonizes in her powerlessness, the viewer looks for sincerity in their actions and can find it. Emotions are revealed in facial expressions, gestures, and behavior; for Oliver Parker, the main goal is not to let the viewer see the emotion but to feel it. This makes the movie like a play, enhancing its sensual aspect.
A Different Interpretation of Racial Interactions and the Inclusion of Modern Elements
Although the stage version starts more faithful to the original written version (with the dialog between Iago and Roderigo), it presents more significant variations in semiotics: Iago is also a black man (00:38- Act I). While in the original story, skin color is the basis for the conflict between Iago and Othello to dissolve, the focus shifts to Othello’s personality in the film. It stands out because his understanding of society is different and makes him a lively and sincere person. Race is not the reason why Othello is perceived as an outsider; instead, his temperament and personality traits become the main differences. His character is bright and brave, and he has a strong appreciation for women, which can be seen to be similar in the poem:
“Where virtue is, these are more virtuous.
Nor from mine own weak merits will I draw
The slightest fear or doubt of her revolt,
For she had eyes and chose me” (Shakespeare, n.d., 217-220).
The presence of a modern setting plunges the viewer into the concept of time to show the applicability of Shakespeare’s story to any era in which there will always be scoundrels, beauties, and brave young men.
The signifiers, such as the clothes of all characters, relate to a more modern setting (14:30), bringing Shakespeare’s story to a contemporary context. Another considerable variation is that one of the Dukes who meet with the council to decide about matters of war is a woman (14:30), reinforcing the modern character of the stage version. Moreover, a computer and a photographic camera are included in the scenery, as well as a video call (14:36).
During the party (45:45) in which Cassio gets in trouble and loses his title of lieutenant, Iqbal Khan includes even more contemporary elements, such as diverse music genres: hip-hop, rap, which are helped by modern instruments, such as the guitar – it did not exist in the 1600s- that, as a whole, appeal to the modern viewer, and show that the story Shakespeare intended to tell about human nature can very well be applied to modern society. The music starts with Iago singing a capella in African style, making more than evident that there is an intent to emphasize the interpretation that there might have been great cultural diversity when the story was written.
Conclusion
Finally, the overall experience of watching the modern versions of Shakespeare’s work is very enriching. The regular viewer, as well as the lover of literature or the professor, can enjoy and make great use of the adaptations to show that the messages intended by William Shakespeare about human nature are timeless, showing that his work will be remembered and appreciated for years to come.
Reference
Shakespeare, W. (n.d.). Othello. Folger Shakespeare Library. Web.