There are many uses of lighting in a film. Oliver Parker uses lighting to great effect at the beginning of Act 5 Scene 2. He sets the scene by using very subdued lighting; this technique reflects the impending doom and Othello’s, dark dull frame of mind. Desdemona’s chamber gradually becomes darker as Othello extinguishes the candles as he walks down the hallway towards Desdemona. This signifies that Othello is indeed going to kill Desdemona who was the ‘light of his life’ before the whole escapade. His approach towards his wife is slow and deliberate, helping to build up the tension which we the audience feel in relation to our hopes, fears and expectations regarding the fate of Desdemona. Parker adds further to the dramatic effect by the powerful pause prior to Othello speaking. He uses this opportunity to show his first close up of Othello’s tear-stained face.
As well as omitting lines from Shakespeare’s text Parker inserts lines from previous scenes because they seem to make more sense as regards to interpretation of events. For example after line 73 Oliver Parker inserts line 128-129 from Act 5 Scene 1.
In the film Othello roughly throws Desdemona back onto the bed, (line 78 in the text). Again the eerie, haunting music begins signalling impending doom. Shakespeare does not describe Desdemona fighting back. Parker, however, seems to suggest that she simply wasn’t a passive victim.
The first climax in Act 5 Scene 2 is Othello smothering his poor bride. It is a most powerful heart-wrenching scene to watch. Here Parker strikingly uses the close-up technique to its fullest advantage as we see the whites of Othello’s eyes whilst suffocating his wife, clearly displaying his distress and angst. Another powerful image is one of Desdemona white hand lovingly covering the head of her murderer, followed by a hunting close up of Othello’s tear stained face.
In line 140, haunting music returns as Emilia realises that Iago has lied about Desdemona’s behaviour to Othello, resulting in her untimely death.
In lines 156-158, in Parker’s adaptation, Emilia shouts “murder.” Again we see a powerful close up of Othello’s grief at the grim realisation that he has wrongly killed his beloved wife.
The second climax to this scene is when Othello stabs Iago who collapses to his knees. Othello also drops to his knees. Here we see an image of both actors staring each other out. This image is undoubtedly one of good facing evil. Then Othello delivers a moving speech to his audience summing up his life. Out of the corner of our eyes we see the glint of a dagger hidden in the palm of Othello’s hand, this increases the tension in the audience. We then see shots of Cassio’s and Iago’s reactions. We see a slight drop of remorse in Iago’s eyes. We then see Othello using his necklace as a noose before he fatally stabs himself. He is then filmed crawling onto the bed, struggling to reach Desdemona whereupon he kisses her highlighting their love for each other.
Parker has created his own ending to the unresolved original text. We watch Iago join Desdemona Emilia and Othello on the bed; this possibly shows his regreat. He stares at the camera as if questioning the audience. Hope is symbolised by Cassio opening the shutters whereupon light enters the room, bathing the characters. Parker has also added a scene showing Othello and Desdemona being berried at sea against a glorious deep red sunset. This is symbolic of the passion that existed through the two characters. This clip is particularly powerful as it can be associated with an earlier seen showing Iago throwing too chess pawns, one black and the other white into a well. A pawn is the least valuable chess pieces in a chess game. This symbolises how Othello and Desdemona where both pawns in Iago’s game.
Parker also uses the effect of costumes to add to the film. Desdemona is wearing a white nightdress, which is symbolic of her purity. Othello is wearing a white hooded cloak, which also shows his innocence in Iago’s game. He is also wearing a lot of jewellery symbolising his wealth. Iago is wearing a dark brown outfit throughout the film unlike his personality, which changes constantly.
