We often associate art with the opportunity to learn. From reading a classic novel or looking at an intriguing piece of art, we can gain an immense amount of insight and knowledge. In that same manner however, we can also learn much from great works of film and cinema. Giving proper recognition to a great work of cinema, however, can be incredibly difficult. When we write or try to analyze movies, we must reflect and understand a large variety of elements and information that is presented in a fairly short period of time. Perhaps it is the idea that movies combine so many forms of art that could make them to be one of the most complex and highest forms of art. Of course, when we view a film that truly does embody the essence of filmmaking and higher art, we can gain a virtually unlimited amount of insight from analyzing and picking it apart. Doubtlessly, one such film as that would be Orson Welles’ Othello. A classical rendition of the play by William Shakespeare, Othello, explores the way in which each and ever person can willingly contribute to his or her own downfall, simply by choosing to remotely and briefly entertain but a single damaging ideal.
One of the primary ideas throughout Othello is definitely the notion of self-consciousness. Through the entire plot of the movie, it is Othello’s self consciousness, and his resulting behavior that continually drives the plot forward and acts as the fuel for key events. Of course, Othello’s feelings of self doubt and social consciousness should come as know surprise, considering the many events and situations that have complicated and added stress to his life. The fate of Venice was laid on his shoulders when he was tasked towards leading his men to defeat the Turks, his fight for the marriage of Desdemona, despite the powerful and overwhelming disapproval of her father, and especially the idea of being black in what is nearly an all-white culture. Perhaps one of the best examples of his self consciousness that can be seen early in the movie is the speech given by Barbantio, Desdemona’s father. Barbantio goes off an a rather racist tirade, ending with his feelings that his daughter could never be attracted to a man such as Othello. We can also find evidence of his self consciousness at various points in the movie. Namely, he readily adopts the idea that Desdemona would be dishonest and have an illegitimate relationship with another. We can also see that Othello’s social actions, as far as Welles’ plays them off, are awkward at points and give the impression that Othello is very much discomforted in the presence of others. We can even see several points throughout the film when being with Desdemona seems to put him on edge. Othello places everything that he has with Desdemona, she represents a sort of security to him in a world that he feels painfully out of place in, and, throughout the movie, Othello’s personal demons become more and more revealed as his relationship with Desdemona breaks apart, due largely in part to his own actions. However, if we are looking for examples of self-consciousness, perhaps no scene in the movie stands out more than the one in which Othello addresses his wife before a group of people. His tone is of a very business like nature, and it seems as though he is speaking more to avoid judgment by the crowd of people then to speak to Desdemona as he should. Throughout the movie, it becomes easy to get the impression that Othello is far more interested in keeping up his public image than treating his wife properly. The very nature of Othello’s extreme rage over the words of Iago also point out his self-conscious nature.
However, this is not to say that Othello entirely destroyed himself. In fact, it was the intended actions and words of Iago that started the chain of events that would lead to the death of both Othello and Desdemona. Throughout the movie, Iago repeatedly sets up Cassio and Desdemona to be in a relationship. On an interesting note however, it seems that Cassio is, ironically, the only male character in the play that does not have romantic feelings for Desdemona. However, Iago attempts to persuade both Cassio and Othello into believing his lies and playing into his deception. It is important to remember, however, that Iago does not really act alone. It is Othello who allows the untrue thoughts to enter his mind and to take complete control of his thoughts. Iago is perhaps one of the most perceptive characters in the play, his approach and his methods are constantly changing, he anticipates whether or not his methods will work and then follows up on that accordingly. Perhaps one cannot entirely blame Othello for being brought down by Iago’s words and actions, after all, one must also consider the role that Othello plays and the many factors that are at work in his life. Iago is aware of Othello’s nature to avoid the flaws in people, and he plays up this idea when he gets Cassio drunk and initiates the fight. He tries to make himself seem as honorable and pure as possible, while degrading the other characters in the drama. However, Iago’s plan does indeed bring Othello down, and it is because of the “worm” that he plants in his mind, that Othello eventually orders the death of Cassio, kills Desdemona, and then takes his own life. Iago perfectly deceives Othello, who falls into nearly all of his actions and words. It is important to note that Good versus Evil is an important element of the plot and throughout the play, however, while it seems that Iago represents evil, every character in the play has character flaws and blemishes which make them excellent and fallible targets for deception and
deceit.
While Iago intends to bring down Cassio and Othello with his actions, it is very likely that he does not foresee the consequences that will come to befall him as well. As Iago further and further manipulates Othello into believing the reality that Iago has constructed, so to does Iago seal himself into his own fate. For all of his perception and careful manipulation of others, Iago does not conceive the possibility that someone will turn on him, much less that his own wife will betray him to his death. Iago’s plan proceeds perfectly until his wife reveals that the handkerchief so central to the nature of Desdemona’s fidelity, was actually stolen and then given to Iago. In perhaps one of the more humorous things in the plot, Cassio himself never really possesses the fabric, as it is constantly being traded off to another character. However, as his plan to bring down Cassio and Othello comes to a conclusion, Iago’s web of deceptio, which has been so carefully constructed becomes instantly unraveled. As his actions are revealed, Iago is punished to death. Thus, it becomes that Iago’s intentional deception of Othello also results in his own eventual demise.
However, as mentioned before, it was not Iago alone that brought Othello down. Othello’s own actions and ideas also work towards his eventual fate. Othello’s self-consciousness, as well as his fear of his social status and position make him incredibly susceptible to Iago’s lies. Had Othello trusted both his own instincts as well as his wife, he would never have let Iago manipulate him as deeply as he does. Perhaps much of the blame for Othello’s actions, however, can be blamed on the many stressors in his life, as well as his self-consciousness of both himself and the role that he must play and act out in society. It is Iago who sets Othello up to be deceived, however, it is Othello’s own actions and beliefs that lead him to make accusations and fail to trust either Cassio or even his own wife. Othello simply cannot stop focusing on the image that Iago has planted in his mind. If Othello had been able to overcome the notions placed their by Iago, he would have suffered, both mentally and physically, as he did. One cannot help to feel bad for Othello, however, as his decisions and the factors that led him to believe Iago factors that are largely out of his own control. His failure to listen to Desdemona or even further question Iago or his motivations are powerful factors that contribute to his own downfall. Another critically important idea that brings about the demise of Othello is his inability to see the flaws in those whom he feels love for, this can best be seen in Iago, Othello chooses not to look at Iago’s motivations or even further question the ideas that he plants regarding Desdemona and Cassio.
However, also of incredibly important nature in the film is the innocence of Desdemona, and whether or not it is, in fact, real, or contrived, or even maybe a mix of both. Of course, throughout the course of the movie, it becomes increasingly evident that Desdemona is perfectly innocent of the crimes that she is accused of committing. She does no wrong other than the simple act of befriending and attempting to help Cassio with his situation with Othello. Interestingly enough, it seems that Cassio may be the only male character in the film that does not express any physical desire for Desdemona. Even in death she is still loving of Othello and does not blame or hate him for his actions. Desdemona is a purely innocent character, however, at times her actions and speech may make it seem otherwise, at least in the eyes of Othello. Perhaps the most notable example of this would be scene in which she goes to Othello asking him to pardon Cassio, and repeatedly ignores Othello’s requests to see the missing handkerchief that he believes Desdemona gave to Cassio. Of course, all of Cassio’s and Desdemona’s actions are set up and orchestrated by Iago. Note that Desdemona is never truly at fault at any point throughout the film. She simply does what she believes is right, this is not a sin, nor is a matter of infidelity to Othello. It is the actions and words of Iago that seems to tarnish Desdemona’s character, and not her personal actions.
Of course, in order to make any movie a truly great work of art, great cinematography is needed as well. Throughout Othello, Welles’ cinematography adds greatly to the dramatic and ultimately tragic tensions of the play. To begin with, the sets and backgrounds of the movie complement the story wonderfully. The characters are set against sparse and empty backgrounds, mirroring Othello’s singular rage and purpose, as well as the evident barrenness that can be found in his own heart. Even the opening moments of the film set the scene for a tense and dramatic experience, with faceless marchers and birds taking to flight amidst the visible contrasts of the dark earth and brooding sky. The way that Welles’ sets up each individual shot or scene is something to be marveled at. The movie is full of close-ups, the facial expressions and many low angled shots throughout the movie are used to greatly add to the tension and overall drama of the film. In an incredibly interesting style, very often foreground objects are used to foreshadow and add details to the plot in a nearly subconscious manner. The soundtrack, which is composed of dark and simple music also adds an incredible amount of tension and drama to the story. Welles’ utilizes an amazing amount of skill in his film making and scene set up to add to the overall affect that the drama has on the audience.
While Othello is not considered to be Welles’s best work, and, indeed, the film maker had limited resources to use while making it, there are very few points in the movie in which his skill and the strength of the story and film making do not expressively stand out. The tragedy of Othello is brilliantly scripted and played out, but it is not a unique story, rather, it should serve as a warning for each and every person. It is easy to become consumed by rage and jealousy, easy to let the things that we do not wish to think about burrow deep into our minds, and it is easy to become swept up in the words and suggestions of another. Perhaps one of the most important lessons to be taken from Othello, is that trust is a precious thing, but that alone must not be our basis for decisions. In our everyday lives we must incredibly careful of what goes on, and we must always remember to trust ourselves and our own thoughts, life is far to precious to spend it consumed by rage and jealousy.
