The characterization of many of the characters, especially Othello, was fairly different in both films. The directors evidently added in their own personal perceptions of appearance with clever camera work and visual symbols. In the 1951 Welles film, Othello is a towering, very sturdy man with an extremely low-pitched, echoing voice and a long fur coat with a gold necklace with no evidence of other jewelry. When Othello speaks to Desdemona in the moments before he kills her, his face is surrounded by shadow with only him face visible. The intense mood is heightened by the foreboding music which gradually gets louder and louder until he speaks to Desdemona. When he speaks, it is slowly and in a very deep voice, which slightly echoes in a foreboding way. Shadow in used a lot with Othello's character, never having his entire face exposed to light, always half hidden with a shadowThe camera is used well to portray Othellos immense size, but is also used to belittle him in the shot after he has killed Desdemona. In the scene of Othello's death, he is behind bars symbolizing being trapped with nowhere to go and he uses his own dagger to stab himself then dizzy, hectic camera work is used in the moments after and gives a sense of frantic regret and panic.
             In the 1995 Parker film Othello is a sexy, exotic character with a superb physique. Othello is exotic, sporting chunky rings, necklaces and bangles, and a baldhead with tattoos and unusual markings. In the scene where Othello kills Desdemona, Othello is wearing a toga-like garment accentuating his exotic look even more. The Parker version focuses more on Othello's pity and emotions and he is not portrayed as intimidating or over powering but as a sexy, lustful character therefore shadow is not used to the extent it is used in the Welles film. When Othello kills himself, Cassio has handed him the dagger, and he stabs himself in front of Iago, Cassio and Lodovico and next to the bed where ...