Two Faces of Cassio

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Sarah Grossman
Dr. Paul Gleason
EN 327: Shakespeare: Tragedies
December 8, 2008

Two Faces of Cassio
After viewing the film Othello, it is clear that there are major differences between Nathaniel Parker’s Cassio in the film and my version of Cassio in our production. In the film, Nathaniel Parker comes off as fairly innocent and somewhat simple, and only when Kenneth Branagh’s Iago convinces him to act a certain way, does he falsely betray the trust of Laurence Fishburn, who plays Othello. After Othello ranks Cassio as lieutenant, Iago decides to get revenge, as he feels he deserves status of lieutenant. Iago is angered by the fact that, despite his lack of experience, Othello has chosen Cassio to be in charge of the men going into battle. He wants to get revenge on Othello by feeding off his jealous demeanor. He convinces Othello that Cassio and his new wife, Desdemona, played by Irene Jacob, are involved in an affair. He wants to take Cassio down as well, causing him to lose his status as lieutenant.
While Othello and Desdemona are off on their own, Iago ensures that Cassio gets drunk at Othello’s wedding celebration so he will start a fight with Montano, played by Nicholas Farrell, but not remember it. Othello comes down and inquires about the goings on, but neither Cassio nor Montano remember who started the fight. Timing is important

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here because Othello has just recently promoted Cassio to lieutenant. Now here he is, in the middle of a brawl at a celebration in Othello’s honor. This makes Othello think twice
about his decision. Disappointed with Cassio, Othello denounces him as lieutenant, destroying his reputation. Iago steps in, persuading Cassio to start spending time with Desdemona because she is in good graces with Othello. If she tells Othello to put Cassio in charge again, he will do so. This makes it easier to prove to Othello that Cassio is having an affair with Desdemona, which in turn causes Othello’s demise.
Parker is dragged into a situation that is not really his fault. He never has an affair with Desdemona and he did not deserve to have his status as lieutenant taken away from him. Parker never really seems to catch on to Iago behavior. He lets him ruin his reputation and then trusts his advice to go to Desdemona. He’s not stupid, but maybe his lack of experience comes through in the movie because he allows Iago to manipulate him. Then again, so does every other character in the story. Iago is at fault for Cassio’s loss of status in the eyes of Othello, and yet he still goes to Iago for help. He says, “You advise me well,” (Othello). He is taking advice from someone concerning a problem that was caused by that very person.
In the film, it seems Parker’s character is weak. However, he regains his strength at the end, as he is the only one left standing to be the leader of Cyprus. This is a position he didn’t exactly go for. It’s interesting that Iago was furious that Cassio was promoted instead of him. Yet, because of his scheming and his behavior, not only does Iago not get further in Cyprus, but Cassio gets promoted to the position of leader.

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Nathaniel Parker’s portrayal of Cassio is unaware of his surroundings and somewhat innocent. His body language, facial expression, and tone of voice show fear and humiliation. These three facets of acting are especially prevalent during the two scenes that occur after Othello’s wedding party. After Parker gets drunk at the beckoning of Iago, he gets into a childish brawl with Montano. What pursues is Othello’s disappointment in Parker’s behavior, forcing him to denounce him as lieutenant. When Fishburn comes down to assess what has just happened, Parker’s body language sends a clear message as to how he feels concerning his recent actions. Nathaniel does not face Laurence. Rather, he turns around, his back being the only visible aspect of Parker’s body. He is ashamed of his behavior, and perhaps cannot bring himself to look in Fishburn’s direction. He is also drunk and is unaware of what just happened, or why he even started a fight in the first place.
His facial expression expresses the same disappointment in himself. While Fishburn and Branagh are discussing the situation, the camera shows a profile shot of Parker. He is staring straight ahead, rarely blinking, and appears to almost be holding his breath. Even though he was wounded in the fight, he seems to be more frightened by what may happen next. He also seems confused. He doesn’t really remember who started the fight or the reasoning behind it. It’s almost like he knows he should be ashamed of something, but isn’t quite sure what that something is. He was merely a pawn in Branagh’s game, and is now facing the consequences.
The next scene continues to confirm Parker’s humiliation with the recent events of the evening. He is alone with Branagh as he vulnerably explains to him that his
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reputation has been destroyed. His tone is desperate and again, ashamed. As he speaks, he drifts between whispers and whining. If he were angry at Branagh or just at the situation, he may have been yelling instead, pacing back and forth. However, he yells once, falling to the ground. He whines to Branagh, “I would rather sue to be despised than to deceive so good a commander with so slight, so drunken, and so indiscreet an officer,” (Othello). He looks scared and lacks hope that his reputation will be reinstated. Even though he messes up, his performance brings out sympathy from the audience. His actions technically are not his fault. He is hesitant to get drunk at the request of Branagh, but partakes in the activities anyway. The look on Parker’s face when Fishburn and Branagh are discussing the situation at his wedding party is one of fear and confusion. As a viewer, I felt bad for him. I got the sense that he was almost trying to rack his brain as to what really happened or how he even got into that situation. This is where his innocence comes in.
Parker comes off as innocent throughout the movie. After the discussion that takes place between Branagh and Parker concerning his reputation, Parker leaves him with these last words: “Good night, honest Iago,” (Othello). After everything that just happened, he calls him honest. There’s innocence to him that either makes the audience sad or even angry. Can’t Cassio see that Iago is manipulative and is the cause of his problems? How can he be so ignorant of someone who would understandably be upset over his loss of a position he felt he deserved and may be out to get a little revenge? Parker’s character never really catches on to Iago’s behavior. Not only does he go with it, but he puts his trust in Iago.
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Although Parker is innocent and perhaps weak throughout the film, he does strengthen up a bit towards the end. He survives Branagh’s manipulative behavior and even becomes leader of Cyprus. At the end of the film, Fishburn is on his knees and Nathaniel Parker helps him up, switching the power role. Now Fishburn has fallen victim to Branagh’s actions and Parker seems stronger. He does not let Branagh take him down as Fishburn does and stares at Fishburn with confidence.
For our production of Othello, we threw out the love story and focused on the power struggle. In many ways, my portrayal of Cassio is much different compared to Nathaniel Parker’s. Parker’s strength, that comes through primarily at the end of the film is a strength I seem to have throughout the whole play. My facial expressions, tone of voice, and body language mirror my attitude towards Mike’s Iago. I am not nearly as trusting a Parker is in the film and even though I am innocent, it’s a different kind of innocence. In the end, I am the last one left to run the academy, similar to Parker becoming the leader of Cyprus.
Our play starts off with my promotion to work directly under Carmen, who is our version of Desdemona, as Junior Detective. Mike (Iago), who assumes he will be chosen due to his experience, is sent to a desk job. Even though I lack the experience Mike feels I should have in order to take on this position, I recently received my criminology degree. Right away, as did Iago in the film, Mike starts his scheming. Unlike Parker’s character in Othello, I pick up right away that Mike isn’t such a great guy. He is not to be trusted and I am weary of his actions from the start. After I shake Carmen’s hand as she

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welcomes me to the force, Mike immediately goes to Jai (Othello) and demands to know why he was passed up for the position. He asks her if she took into account his street experience. At this point, I turn around and express my shock at his boldness to question the captain’s decision.
My facial expression says, “What do you think you’re doing?” Clearly, I am not only put off by his arrogance, but offended that he thinks I can ‘t handle the streets. I am strong right from the beginning, whereas Parker’s portrayal of Cassio is weaker, and maybe even feels he doesn’t deserve to lead the men into battle. When I head towards offstage with Mike, he makes a crack about sucking up like I did so he can get further. My response here also evokes a sense of confidence and weariness of his agenda. I say, “That’s not what she’s saying. You’re taking this all wrong, but by your reaction, maybe the captain is right.” I can tell right away that he’s up to no good. On top of this statement I make, I proceed to storm off stage, making it clear that I am now a detective and he needs to know that I’m on to him and I’m not going to fall in his trap.
I feel for the remainder of the play, I am pretty quiet and innocent. I’m in the background a lot, working on supposed cases. I try to let the captain in on what’s going on, but she shrugs me off. I come off as the little innocent newcomer who doesn’t want to see my boss get hurt. Even Jai says at one point, “I never saw this coming.” In the film, Laurence Fishburn isn’t aware of Branagh’s behavior either. I, however, know something is up, unlike Parker’s character. Overall, I am more on top of things than Parker’s Cassio. I think part of it is the fact that I have a degree in criminology. There is this aloof, intelligent aspect to my character that shows an educated side to me.
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I look innocent as well. My hair is tied back in a straight ponytail. I wear basic black pants and a black shirt. This was a stylistic decision on my part because I felt I never really scheme against anyone and don’t cause trouble, so I should look simple to match my character. The only time the spotlight is on me is at the end. Just as Parker is left to be the leader of Cyprus, I am left to run the academy. I arrest Alexa (A.D.A. Calia) and walk her off stage. The same irony exists in our play that occurs in the film. Again, this wasn’t a position I went for either. All I want was to be promoted, but having the responsibility of heading up the police department was not what I signed on to. Both Parker’s Cassio and mine are forced to be leaders, despite our lack of experience.
Along with changing the story line of Othello comes a change in the relationships the characters have with one another. Perhaps one of the major changes is the relationship between Carmen and me. Even though we are thrown together, Jai is not jealous. In the film, when Parker is encouraged to spend time with Jacob, Fishburn becomes skeptical of his newly promoted lieutenant. In fact, it is her decision to pair me up with Carmen. Alexa wanted to throw out the love story, so she did that by making me a co-worker of Carmen’s Desdemona instead of rumored companion.
The love story is the main aspect of Othello. It’s what brings Othello to his demise. Carmen, or Desdemona, is angry with Mike. In the film and book, this is never the case. Desdemona is very innocent, but Carmen is not. She clearly dislikes Mike and puts her two cents in with Jai, and it’s negative towards Mike. In our play, there was more focus on the power struggle between Iago and Cassio, even though in the film, Parker is completely unaware of this competition. In our play, I recognize a bad side to
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Mike, but I don’t think I really pick up on a specific competition. Without the love story, there doesn’t seem to be any place for me to inadvertently lead Othello to think there is an affair between his wife and me. This missing aspect of our production takes away the audience’s sense that I am causing trouble. I truly am just very innocent. Another major difference is that my reputation is never in danger. Mike never schemes against me. He joins forces with Alexa, brings Carmen down, whom in turn, brings Jai down. I’m not involved. There’s no scene where I get drunk or do something else humiliating that would give Jai any cause to strip me of my recent promotion.
Overall, I think the power struggle comes through very well. It’s obvious that Mike is upset with Jai’s decision and his manipulation has a ripple affect on every character except mine. I think the audience enjoyed our modern version of this dark tragedy. We turned it into comedy, at times, unintentionally. I was skeptical about Alexa’s decision to throw out the love story at first; however, I think the performances were strong without it and having this opportunity to do what we wanted with Othello. There’s a lot of action in this tragedy and we brought that to life on stage, as was Shakespeare’s intention.






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Works Cited
Othello. Dir. Oliver Parker. Perf. Laurence Fisburn, Irene Jacob, Kenneth Branagh. Castle Rock Entertainment, 1995