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Parker's "Othello" and Nelson's "O"

Parker's "Othello" and Nelson's "O"


In the following paper I will discuss two most recent adaptations of the celebrated Shakespeare’s tragedy "Othello" – the play which has come through centuries and proved that real masterful works will always remain modern and their subject matters actual.
Oliver Parker held on to entertainment demands of the genre while maintaining central features of the play – that is, he presented both the epoch and settings established by Shakespeare (Wikipedia). Furthermore, the alterations in the dialogue were implemented naturally organic, and this is the common trait of the both adaptations: Parker upholds the story narrated in the central dialogues, yet he transfers the language into the present days. Both Nelson and Parker understood that a feature of contemporary production is realism, therefore the feeling of "closeness" to the character should be communicated in order for the viewers to identify with the heroes and their state of affairs. In the Parker's Othello, for example, Laurence Fishburne demonstrates a grand extent of emotions that, as I believe, are rather complex to render in the text.

It is significant, however, that the adaptation fell short due to it being deficient in elucidation in regards to the fact that the main character was a Moor. The production staff progressed as far as to give Othello more profundity with the intention of providing the viewer with the insight into his plight. However, I think that 'Othello' did not reflect the racial question amply.

Still, the 1995 version has another strong point – it is the representation of romance. In light of the main issues discussed in the play, one would say that the movie adaptation was unexpectedly very mellow. The viewers are presented with enough amorous moments between Desdemona and Othello to realize the existence of an intense connection between them. Nonetheless, the adaptation never exaggerates or exposes too much, particularly when it concerns what Othello visualizes while reflecting on his worst fears.

Parker offered one more innovation in his work - almost everything that goes on in the adaptation was presented from Iago's standpoint. Therefore, Kenneth Branaugh acts as both storyteller and as the designer of the whole scheme. Again, I would like to stress the brilliancy of performance in regards to the scope of emotions.

As to the Nelson's "O" version, it is also an adaptation of Shakespeare's play with contemporary language (American Film Institute). Moreover, the director has shifted the time period and location to a nowadays’ high school basketball background. It may initially sound ludicrous – Othello and contemporary teen-prevailing environment, a combination of the majestic and the trivial. However, my opinion is that not only the 2001 version is not ludicrous, but far more profound in particular aspects than its predecessor. The production staff dealt with the film so that neither high school was changed to go well with Shakespeare, nor Shakespeare was twisted or tempered to become appropriate for high school.

This approach resulted in the story of adolescent aggression taking on such traits as being timeless and universal (a feature which would have not otherwise be accessible), whereas the "Othello" story becomes as close and familiar to the audience as it has never been.

I think that those viewers who prior did not see or read any version of Shakespearean tragedy will perceive this movie as the most passionate film about teenagers' life as has ever been produced. As to those acquainted with "Othello", and especially its 1995 adaptation, will experience the supplementary contentment of appreciating the play modifications and renovations that were presented by the production makers. For an instance, the most noteworthy of these alterations was a new character introduced to the story - the basketball coach. While In the Parker's "Othello," the government of Venice is the basis and resemblance of reputation and praise, in "O" tributes are granted by the trainer, who, with accordance to the tradition of South, sees one and only purpose in any activity – winning (Wikipedia).

One factor that makes Nelson's adaptation more advantageous than Parker's "Othello" is that it is a more fresh film - not a classical version, - which is why it has the ability to astonish. O's filmmakers demonstrated that Hugo's contrive, in the same way as Iago's, is quite fragile. One error, one extra word and the whole scheme would fall down: this is what makes the adaptation's tension so potent. It is also interesting that although the audience's inclination is to be on Odin’s side, the filmmakers, following the pattern presented by Parker's version, provided the account from the standpoint of Hugo; consequently, they made the viewer watch the film in a mixture of always changing strain.
When talking about the issues of ethnicity, I would say that it is race and not racism that is in the prime focus of "O," which is thoroughly opposite from what I have seen in the "Othello". "White girls are snaky" – this is what Odin has to believe, according to Hugo, and this is the point where his personal feeling come into conflict. Mekhi Phifer is especially powerful in making the audience see the tension as Odin attempts to preserve his self-respect and detachment, whilst slowly but surely coming to perceive himself as an outsider surrounded by adversaries whose deceitfulness he is unable to comprehend (American Film Institute).

My opinion is that when comparing these film adaptations it would not be appropriate to state which one is better – they are simply different, different in the center of attention, in the setting and in the aimed audience. Both Parker’s classical version and modern adaptation presented by Nelson are created by talented people and therefore are worth appreciation.




Works Cited

1."Shakespeare on screen." Wikipedia, The Free Encyclopedia. Wikimedia Foundation, Inc. 28 Jan 2007 <http://en.wikipedia.org/w/index.php?title=Shakespeare_on_screen&oldid=103169002>.
2."Modern film adaptations of Shakespeare." American Film Institute. 28 Jan 2007
<http://www.fathom.com/course/28701907/session1.html>.

Posted by: Kate L. Rizal

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