Othello's Tower

Othello Tower
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Hindi adaptation of Shakespeare's Othello

Hindi movie 'Omkara' directed by Vishal Bhardwaj, stars Ajay Devgan, Kareena kapoor, Vivek Oberoi, Bipasha Basu, Saif Ali Khan, Konkona Sen and Naseruddin Shah is adapted from Shakespeare's play Othello. 

The story line was all so similar that many viewers claimed that Shakespeare would be very happy if only he is still alive now. The story was put into a modern yet village society where politics are nothing more than a dirty game. Story line, dialogue, and casting of bollywoods rising stars made the movie a huge success. Each and every point was noted by Vishal before starting the movie, for example the casting of Omkara fits Shakespeare's Othello who was dark, skinny, uneducted, rough while the cast of Dolly fits Desdemona, the very beautifull, fair complexion, educated, rich girl. 

The names of characters were changed slightly into a more indian names but still have certain similarity with the original name. Othello as Omkara, Desdemona as Dolly Mishra, Lago as Lagda Tyadi, Cassio as Kesu Firangi, Bianca as Billo, Emilia as Indu, Roderigo as Rajjan Tiwari, and Duke Of Venice as Bhaisab (a very respected name for the elders, meaning big brother). 

As Othello is considered as one of the huge success of Shakespeare during his era, this movie which is a exact remake of Othello won many national awards, hiting the box office list and become one of the finest movie ever made on bollywood. The emotions of jeolousy, hatred, fanatic, gruesome is sucessfully demonstated by the cast.

Actor	Character in the movie	Character in the play
Ajay Devgan	Omkara 'Omi' Shukla	Othello
Kareena Kapoor	Dolly Mishra	Desdemona
Saif Ali Khan	Ishwar 'Langda' Tyagi	Iago
Vivek Oberoi	Keshav 'Kesu Firangi' Upadhyaya	Cassio
Bipasha Basu	Billo Chamanbahar	Bianca
Konkona Sen Sharma	Indu	Emilia
Deepak Dobriyal	Rajan ’Rajju’ Tiwari	Roderigo
Naseeruddin Shah	Bhaisaab	Duke of Venice

Analysis of Major Characters in Othello

Analysis of Major Characters

Othello

Beginning with the opening lines of the play, Othello remains at a distance from much of the action that concerns and affects him. Roderigo and Iago refer ambiguously to a “he” or “him” for much of the first scene. When they begin to specify whom they are talking about, especially once they stand beneath Brabanzio’s window, they do so with racial epithets, not names. These include “the Moor” (I.i.57), “the thick-lips” (I.i.66), “an old black ram” (I.i.88), and “a Barbary horse” (I.i.113). Although Othello appears at the beginning of the second scene, we do not hear his name until well into Act I, scene iii (I.iii.48). Later, Othello’s will be the last of the three ships to arrive at Cyprus in Act II, scene i; Othello will stand apart while Cassio and Iago supposedly discuss Desdemona in Act IV, scene i; and Othello will assume that Cassio is dead without being present when the fight takes place in Act V, scene i. Othello’s status as an outsider may be the reason he is such easy prey for Iago.

Although Othello is a cultural and racial outsider in Venice, his skill as a soldier and leader is nevertheless valuable and necessary to the state, and he is an integral part of Venetian civic society. He is in great demand by the duke and senate, as evidenced by Cassio’s comment that the senate “sent about three several quests” to look for Othello (I.ii.46). The Venetian government trusts Othello enough to put him in full martial and political command of Cyprus; indeed, in his dying speech, Othello reminds the Venetians of the “service” he has done their state (V.ii.348).

Those who consider Othello their social and civic peer, such as Desdemona and Brabanzio, nevertheless seem drawn to him because of his exotic qualities. Othello admits as much when he tells the duke about his friendship with Brabanzio. He says, -“[Desdemona’s] father loved me, oft invited me, / Still questioned me the story of my life / From year to year” (I.iii.127–129). -Othello is also able to captivate his peers with his speech. The duke’s reply to Othello’s speech about how he wooed Desdemona with his tales of adventure is: “I think this tale would win my daughter too” (I.iii.170).

Othello sometimes makes a point of presenting himself as an outsider, whether because he recognizes his exotic appeal or because he is self-conscious of and defensive about his difference from other Venetians. For example, in spite of his obvious eloquence in Act I, scene iii, he protests, “Rude am I in my speech, / And little blessed with the soft phrase of peace” (I.iii.81–82). While Othello is never rude in his speech, he does allow his eloquence to suffer as he is put under increasing strain by Iago’s plots. In the final moments of the play, Othello regains his composure and, once again, seduces both his onstage and offstage audiences with his words. The speech that precedes his suicide is a tale that could woo almost anyone. It is the tension between Othello’s victimization at the hands of a foreign culture and his own willingness to torment himself that makes him a tragic figure rather than simply Iago’s ridiculous puppet.

Iago

Possibly the most heinous villain in Shakespeare, Iago is fascinating for his most terrible characteristic: his utter lack of convincing motivation for his actions. In the first scene, he claims to be angry at Othello for having passed him over for the position of lieutenant (I.i. 7–32). At the end of Act I, scene iii, Iago says he thinks Othello may have slept with his wife, Emilia: “It is thought abroad that ’twixt my sheets / He has done my office” (I.iii.369–370). Iago mentions this suspicion again at the end of Act II, scene i, explaining that he lusts after Desdemona because he wants to get even with Othello “wife for wife” (II.i.286). None of these claims seems to adequately explain Iago’s deep hatred of Othello, and Iago’s lack of motivation—or his inability or unwillingness to express his true motivation—makes his actions all the more terrifying. He is willing to take revenge on anyone—Othello, Desdemona, Cassio, Roderigo, even Emilia—at the slightest provocation and enjoys the pain and damage he causes.

Iago is often funny, especially in his scenes with the foolish Roderigo, which serve as a showcase of Iago’s manipulative -abilities. He seems almost to wink at the audience as he revels in his own skill. As entertained spectators, we find ourselves on Iago’s side when he is with Roderigo, but the interactions between the two also reveal a streak of cowardice in Iago—a cowardice that becomes manifest in the final scene, when Iago kills his own wife (V.ii.231–242).

Iago’s murder of Emilia could also stem from the general hatred of women that he displays. Some readers have suggested that Iago’s true, underlying motive for persecuting Othello is his homosexual love for the general. He certainly seems to take great pleasure in preventing Othello from enjoying marital happiness, and he expresses his love for Othello frequently and effusively.

It is Iago’s talent for understanding and manipulating the desires of those around him that makes him both a powerful and a compelling figure. Iago is able to take the handkerchief from Emilia and know that he can deflect her questions; he is able to tell Othello of the handkerchief and know that Othello will not doubt him; he is able to tell the audience, “And what’s he then that says I play the villain,” and know that it will laugh as though he were a clown (II.iii.310). Though the most inveterate liar, Iago inspires all of the play’s characters the trait that is most lethal to Othello: trust.

Desdemona

Desdemona is a more plausible, well-rounded figure than much criticism has given her credit for. Arguments that see Desdemona as stereotypically weak and submissive ignore the conviction and authority of her first speech (“My noble father, / I do perceive here a divided duty” [I.iii.179–180]) and her terse fury after Othello strikes her (“I have not deserved this” [IV.i.236]). Similarly, critics who argue that Desdemona’s slightly bizarre bawdy jesting with Iago in Act II, scene i, is either an interpolation not written by Shakespeare or a mere vulgarity ignore the fact that Desdemona is young, sexual, and recently married. She later displays the same chiding, almost mischievous wit in Act III, scene iii, lines 61–84, when she attempts to persuade Othello to forgive Cassio.

Desdemona is at times a submissive character, most notably in her willingness to take credit for her own murder. In response to Emilia’s question, “O, who hath done this deed?” Desdemona’s final words are, “Nobody, I myself. Farewell. / Commend me to my kind lord. O, farewell” (V.ii.133–134). The play, then, depicts Desdemona contradictorily as a self-effacing, faithful wife and as a bold, independent personality. This contradiction may be intentional, meant to portray the way Desdemona herself feels after defending her choice of marriage to her father in Act I, scene iii, and then almost immediately being put in the position of defending her fidelity to her husband. She begins the play as a supremely independent person, but midway through she must struggle against all odds to convince Othello that she is not too independent. The manner in which Desdemona is murdered—smothered by a pillow in a bed covered in her wedding sheets—is symbolic: she is literally suffocated beneath the demands put on her fidelity. Since her first lines, Desdemona has seemed capable of meeting or even rising above those demands. In the end, Othello stifles the speech that made Desdemona so powerful.

Tragically, Desdemona is apparently aware of her imminent death. She, not Othello, asks Emilia to put her wedding sheets on the bed, and she asks Emilia to bury her in these sheets should she die first. The last time we see Desdemona before she awakens to find Othello standing over her with murder in his eyes, she sings a song she learned from her mother’s maid: “She was in love; and he proved mad / And did forsake her. She had a song of willow. / . . . / And she died singing it. That song tonight / Will not go from my mind” (IV.iii.27–30). Like the audience, Desdemona seems able only to watch as her husband is driven insane with jealousy. Though she maintains to the end that she is “guiltless,” Desdemona also forgives her husband (V.ii.133). Her forgiveness of Othello may help the audience to forgive him as well.

From

Sankari

Reference

http://www.sparknotes.com/shakespeare/othello/characters.html

Characters In Othello

Othello - The play’s leading man is a Christian Moor and general of the armies of Venice. Othello is an eloquent and physically powerful figure, respected by all those around him. In spite of his elevated status, he is nevertheless easy prey to insecurities because of his age, his life as a soldier, and his race. He possesses a “free and open nature,” which his pennant, Iago uses to twist his love for his wife, Desdemona, into a powerful and destructive jealousy. At the end he murders his beloved and himself for being a fool to a destructive accusation.

Desdemona  -  The daughter of the Venetian senator Brabantio. Desdemona and Othello are secretly married before the play begins. While in many ways stereotypically pure and modest, Desdemona is also determined and self-possessed. She is equally capable of defending her marriage, jesting bawdily with Iago, and responding with dignity to Othello’s incomprehensible jealousy. Eventually gets murder by her husband because of his unjustified jealousy.

Iago  -  Othello’s pennant (a job also known as an ancient or standard-bearer), and the villain of the play. Iago is twenty-eight years old. While his ostensible reason for desiring Othello’s demise is that he has been passed over for promotion to lieutenant, Iago’s motivations are never very clearly expressed and seem to originate in an obsessive, almost aesthetic delight in manipulation and destruction.

Michael Cassio -  Othello’s lieutenant. Cassio is a young and inexperienced soldier, whose high position is much resented by Iago. Truly devoted to Othello, Cassio is extremely ashamed after being implicated in a drunken brawl on Cyprus and losing his place as lieutenant. Iago uses Cassio’s youth, good looks, and friendship with Desdemona to play on Othello’s insecurities about Desdemona’s fidelity. Iago stabs him in an attempt to kill him for Othello on false accusation of being Desdemona’s lover. Later becomes leader of Cyprus and is to punish Iago for his villainy.

Emilia  -  Iago’s wife and Desdemona’s attendant. A cynical, worldly woman, she is deeply attached to her mistress and distrustful of her husband. At the end gets killed by her husband for speaking the truth

Roderigo  -  A venetian nobleman who is a jealous suitor of Desdemona. Young and rich, he foolishly, gives Iago money to help him win Desdemona’s hand. Gets himself killed by Iago when he desperately agrees to help Iago kill Cassio because he believed Cassio is in pursuit of Desdemona after following her to Cyprus with encouragement from Iago.

Bianca  -  A courtesan, or prostitute, in Cyprus. Bianca loves Cassio, who teases her with promises of marriage. Iago arrest her on false allegation on conspiring with Roderigo to kill Cassio

Brabantio  -  A Venetian senator and Desdemona’s father, a somewhat blustering and arrogant senator. He dislikes Othello for marrying his daughter in secret.

Duke of Venice -  The official authority in Venice, the duke has great respect for Othello as a public and military servant. He overrules Brabantio accusation of Othello using magic to charm Desdemona, his daughter into loving him. He sends Othello to capture Cyprus in war.

Montano  -  The former governor of Cyprus. We see him first in Act II, as he recounts the status of the war and awaits the Venetian ships also he is the when to capture Iago when he tried to flee.

Lodovico  -  Venetian ambassador, acts as a messenger from Venice to Cyprus. He arrives in Cyprus in Act IV with letters announcing that Othello has been replaced by Cassio as governor and witness the chaotic event the enfold at end of the play.

Graziano  -  brother of Brabantio, accompanies Lodovico to Cyprus. Lodovico rewards him of Othello assets and mentions the news of Desdemona’s father death.

 By Abigail

Summary of Othello

Act I.

Shakespeare's famous play of love turned bad by unfounded jealousy, begins in Venice with Iago, a soldier under Othello's command arguing with Roderigo, a wealthy Venetian. Roderigo has paid Iago a considerable sum of money to spy on Othello for him, since he wishes to take Othello's girlfriend, Desdemona as his own.

Roderigo fears that Iago has not been telling him enough about Desdemona and that this proves Iago's real loyalty is to Othello not him.

Iago explains his hatred of Othello for choosing Cassio as his officer or lieutenant and not him as he expected.

To regain Roderigo's trust, Iago and Roderigo inform Brabantio, Desdemona's father of her relationship with Othello, the "Moor" which enrages Brabantio into sending parties out at night to apprehend Othello for what must obviously be in Brabantio's eyes, an abuse of his daughter by Othello.

Iago lies that Roderigo and not himself, was responsible for angering Brabantio against Othello, Iago telling Othello that he should watch out for Brabantio's men who are looking for him.

Othello decides not to hide, since he believes his good name will stand him in good stead.

We learn that Othello has married Desdemona. Brabantio and Roderigo arrive, Brabantio accusing Othello of using magic on his daughter.

Othello stops a fight before it can happen but Othello is called away to discuss a crisis in Cypress, much to the anger of Brabantio who wants justice for what he believes Othello has done to his fair Desdemona.

The Duke is in council with several senators discussing their enemy, the Turks (Turkish people). Brabantio complains to the Duke that Othello bewitched his daughter and had intimate relations with her. Desdemona is brought in to settle the matter, Othello meanwhile explains how he and Desdemona fell in love. Desdemona confirms this and the Duke advises Brabantio that he would be better off accepting the marriage than complaining and changing nothing.

The Duke orders Othello to Cypress to fight the Turks, with Desdemona to follow, accompanied by the trusted Iago.

Roderigo despairs that his quest for Desdemona is over now that she is married, but Iago tells him not to give up and earn money instead; soon Desdemona will bore of Othello.

Alone, Iago reveals his intention to continue using Roderigo for money and his hatred of Othello (Othello picked Cassio and not Iago for his lieutenant).

Iago explains that his plan is avenge Othello is to suggest to Othello that Cassio is sleeping with Desdemona (Othello's wife).

Act II.

Several weeks later in Cypress, Montano and several others are awaiting Othello's arrival by bark or ship. We learn that a terrible storm has largely battered and destroyed the Turkish fleet, which no longer poses a threat to Cypress. Unfortunately there are fears that this same storm drowned Othello as well.

Montano reveals his high praise of Othello, which is shared by many. Cassio, who has arrived, sings Desdemona's praises. A ship is spotted but it is Desdemona and Iago's not Othello's. Iago suspects that Cassio loves Desdemona and slyly uses it to his advantage.

Iago tells Roderigo that he still has a chance with Desdemona but Cassio whom Desdemona could love is in the way. Killing Cassio (who became Othello's lieutenant instead of Iago) will leave Desdemona to Roderigo, Iago slyly explains.

Othello finally arrives to everyone's great relief. Iago decides to tell Othello that Cassio is having an affair with Desdemona's so Iago will be rewarded whilst Cassio will be punished.

A Herald announces celebration that "our noble general Othello!" has defeated the Turkish fleet, calling on all to celebrate this great triumph and also to celebrate Othello's "nuptial" or wedding to the fair Desdemona.

Iago learns more of Cassio's high regard for Desdemona and Iago manipulates Cassio into drinking too much since he is certain Cassio will do something he will regret.

With Cassio gone, Iago tells Montano of Cassio's drinking problem turning Montano's high regard for Cassio into dust. Iago also tells Roderigo to attack Cassio. This happens, and Cassio wounds Roderigo and then Montano who was trying to break up the fight.

Othello is now awake and Cassio's name ruined.

Othello though he loves Cassio, has no choice but to demote him from his position as his lieutenant. Next Iago comforts Cassio by suggesting he speak with Desdemona who could put in a good word for him with Othello.

Iago comforts a wounded Roderigo, telling him he has won by ruining Cassio's name. Iago has his wife Emilia ensure Desdemona and Cassio will talk so Othello can see his wife talking with Cassio, allowing Iago to convince Othello that Desdemona is being unfaithful.

Act III.

Cassio tells Iago that he has arranged to meet Desdemona, Iago helping Cassio to do this.

Iago's wife, Emilia, tells Cassio that Othello would like to reinstate him as his lieutenant but the fact that Cassio's fight is public news, prevents Othello from doing this immediately.

Emilia tells Cassio that she can arrange a meeting with Desdemona.

Some time later, Cassio speaks with a very sympathetic Desdemona who assures him that Othello still very much loves Cassio. Furthermore, Desdemona resolves to keep putting in a good word for Cassio until he is again Othello's lieutenant.

At a distance, Iago manipulates Othello by first suggesting shock and then hiding his outbursts from Othello. This guarantees Othello's attention, as Iago plants seeds of doubt in Othello's mind about Desdemona's fidelity especially where Cassio is concerned.

Iago leaves Othello almost convinced that his wife is having an affair with Cassio.

Othello now complains of a headache to Desdemona, which results in her dropping a strawberry patterned handkerchief, Othello's first gift to her. Emilia picks this up gives it to Iago who decides the handkerchief could help his manipulation if he ensures Cassio receives it.

Iago arranges to place the handkerchief near Cassio's lodgings or home where he is certain to find it and take it as his own, unaware that it is Othello's gift to Desdemona.

A furious Othello returns to Iago, certain his wife is faithful and demanding proof from Iago of Desdemona's infidelity.

Reluctantly and hesitantly, Iago tells Othello he saw Cassio wipe his brow with Desdemona's handkerchief. Othello is convinced, cursing his wife and telling Iago who is now promoted to lieutenant to kill Cassio. Othello will deal with Desdemona.

Desdemona worries about her missing handkerchief and comments that if she lost it, it could lead Othello doubting her fidelity. Emilia when asked about Desdemona's lost handkerchief, lies, denying having seen the handkerchief she picked up and gave to Iago.

Othello enters; asking Desdemona for the very same handkerchief and Desdemona assures him that the handkerchief is not lost and will be found.

Desdemona now tries to change the subject to Cassio, but Othello continually stresses the value the handkerchief has to him, this leading to Othello angrily ordering his wife away.

Cassio arrives, Desdemona telling him that her attempts to help him are not going well. Iago claims total ignorance to the cause of Othello's fury.

Cassio gives Othello's handkerchief, which he found, to his suspicious mistress Bianca who reluctantly starts to copy its patterning (presumably its strawberry motif / design) for him.

Act IV.

Iago fans the flames of Othello's distrust and fury with Desdemona's supposed "infidelity" by first suggesting Desdemona shared her bed with Cassio and then that her giving away the handkerchief is no big deal when Iago knows exactly how hurtful to Othello, giving away this sentimental gift is.

Next Iago suggests to Othello that Cassio will "blab" or gloat to others about his conquest of Desdemona before telling Othello that Cassio boasted to him that he did indeed sleep with Desdemona.

Meeting later with Cassio, Iago cunningly talks to Cassio about Cassio's mistress Bianca, each smile and each gesture made by Cassio infuriating a hidden Othello who thinks Cassio is talking about sleeping with Desdemona (Othello's wife).

Next Bianca (Cassio's mistress) arrives, angrily giving back the handkerchief Cassio gave to her.

This infuriates Othello since as Iago puts it, Cassio not only received Othello's handkerchief from his wife but then gave it away to his whore (Bianca) as if it were worthless.

Othello decides to kill Desdemona by strangulation in her bed, Iago's idea. Iago pledges to kill Cassio. Lodovico arrives, announcing that Othello is to return home and Cassio is to be the next Governor of Cypress. Desdemona's joy for Cassio enrages Othello, leaving Lodovico and Iago to wonder how much Othello seems to have changed and leaving poor Desdemona to wonder how she offended the man she truly loves.

Othello questions Emilia as to whether Desdemona was unfaithful to him. Annoyed that Emilia's answers suggest nothing has happened between Desdemona and Cassio, Othello dismisses her comments as those of a simple woman. Othello meets Desdemona, Desdemona becoming increasingly upset with her husband's anger towards her, an anger she cannot understand.

Othello eventually reveals to Desdemona that her infidelity is the source of his anger, Desdemona pleading her innocence on deaf ears.

Emilia and Desdemona discuss Othello's strange behavior. Emilia is certain some evil fellow has twisted Othello to believe Desdemona has been unfaithful, not realizing that this evil man is her own husband Iago. We learn that Iago has been pocketing Roderigo's gifts to Desdemona, which never reached her. Fearing Roderigo will learn this, Iago tells Roderigo that Cassio must die since Iago benefits if ever man dies.

Lodovico tries to calm Othello down. Othello orders Desdemona to bed to await him later, an order Desdemona dutifully obeys out of love for Othello. Emilia notices that Othello is much calmer now and tells Desdemona her bed has been made with her wedding sheets as requested. Desdemona asks to be buried in those same sheets should she die before Emilia, a hint of trouble ahead (foreshadowing).

Emilia is barred from joining Desdemona in her bedchamber, angering her. Desdemona, depressed, recalls a song (The Willow Song) of a maid who was similarly abused by her husband and sings it.

Desdemona and Emilia talk about infidelity. Desdemona would not be unfaithful to her husband (Othello) for all the world; the more cynical and worldly Emilia would for the right price.

Act V.

Iago and Roderigo wait in a street to ambush Cassio. Iago tells Roderigo how to kill him. Iago does not care which ends up dead. Iago is worried that about Roderigo's increasing questioning of what happened to jewels that were given to him to pass on to Desdemona.

Roderigo attacks Cassio but Cassio wounds Roderigo instead. Iago from behind stabs Cassio, wounding him in the leg. Othello hearing Cassio's cries is pleased, announcing that he too will soon kill (Desdemona). Lodovico and Gratiano and Iago reappear, Iago claiming total innocence to Cassio's injuries even though he inflicted them.

Seizing Roderigo, Iago stabs and wounds him "in revenge" for wounding his "friend" Cassio.

Gratiano and Lodovico tend to Cassio's wound. Bianca, Cassio's mistress arrives, Iago cleverly laying suspicion for Cassio's injuries on his innocent mistress, making Iago less suspicious.

Othello enters Desdemona's bedchamber (bedroom) trying to convince himself that he is killing her for her own good. He kisses his still asleep wife one last time. Desdemona awakens, but Othello will still kill her, telling her to pray so her soul will not die when she does.

Desdemona again asks what wrong she has committed, Othello telling her that she gave Cassio his handkerchief, by which he means he thinks she had an affair with him. Desdemona pleads her innocence, telling Othello to bring Cassio over to prove she did not give away her handkerchief. Othello says he confessed and is dead, Desdemona's fear and surprise prompting Othello to believe she does care for him.

Othello kills Desdemona. Emilia banging on the door outside cannot stop this. Later Emilia is let in, revealing Iago has killed Roderigo and Desdemona who was thought dead, murmurs her last breaths but loyally does not say Othello killed her.

Othello tells Emilia he killed her and Emilia despite Iago's attempts to remove her reveals the truth about the handkerchief; she found it, and then gave it to Iago. Iago now in trouble, stabs his wife Emilia and escapes.

Emilia dies, singing the "Willow Song" before criticizing Othello for killing his loving wife.

Lodovico, Montano, Cassio and the now captured prisoner Iago soon appear, Othello stabbing Iago but not killing him before having his sword removed.

Lodovico is disappointed that Othello, a man so honorable has reverted to acting like a slave. Othello tries to argue that killing his wife was a noble action but it falls on deaf ears.

Lodovico learns that Othello and Iago plotted Cassio's death. Lodovico reveals letters in the dead Roderigo's pocket proving Cassio was to be killed by Roderigo.

Iago proudly confirms that Cassio did find the handkerchief in his bedchamber because Iago placed it there to be found. Othello, realizing what he has done, kills himself with a concealed weapon and lies himself on top of his wife. Cassio is placed in charge of Iago and Lodovico leaves to discuss this sad matter with others abroad.

From

Sankari


Reference
http://absoluteshakespeare.com/guides/othello/summary/othello_summary.htm