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Othello by Orson Welles, 1952
starring Orson Welles and Michael MacLiammoir.
The first on-screen production of Othello is filmed in black and white on location in Cyrus and Morocco; this provides great scenery when Othello threatens to throw Iago off a cliff. Desinged for those who are fans of Shakespeare, the movie opens with Iago, hanging above a courtyard in a cage, obviously suffering the punishment for his vile deed, as a funeral prossession maoves past. Perhaps because of the limits of the medium, Welles employs fantastic use of sound introducing crashing waves on the Cypriot shore and accompanying the action with dark and primitive orchestral music.
Making the play accessible to those not well versed in Shakespearean English is a modern narrator who, for the first several scenes, provides background and insight on the characters, most importantly Iago. Additionally, Welles makes good use of the camera, giving the audience scenes that would be impossible on stage such as various shots from outside the castle and a conversation between Iago and Roderigo with Cassio standing above them on a rampart, too far overhear them but close enough for the pair to mimic him.
The movie's casting is quite accuracte with Iago espousning a Gollum-like sickliness and Desdemona, unlike other performances, appearing with stunning beauty. The set work and costumes are well dated and despite the lack of color, Othello really has a feel of Renaissance Italy.
Welles makes his movie particularily engaging his interpretations of the text. He ignores the possible "friendship" between Iago and Cassio and depicts a pathetic Roderigo, truly dependent on the villain. Additionally, the black and white medium allows for Othello to literally appear out of darkness on his way to kill Desdemona. When he does show, the racoial politics of the play are superbly highlighted by the immaculately white sheet that is forced over the maiden's head. This is immediately followed by a radical scene of erradic camera work in which Othello literally spins out of contorl.
Essentially, Welles has created a movie that is both accessible to non-Shakespeareans and enjoyablly accuracte to those who are fans. He mananges to do all this in only 93 minutes and, in short, provides charming cinematic experience.
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Othello by Stuart Burge and John Dexter, 1965 starring Lauerence Olivier amd Frank Finlay
Under Construction
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"Othello" by Oliver Parker, 1995
starring Laurence Fishburne and Kenneth Branagh.
The first black man to play Othello on film was, surprisingly, Fishburne less than a decade ago. Typical of Oliver Parker, who has also adpted Oscar Wilde to film, the 1995 version of Othello is very faitful to Shakespeare's script and theatrical improvisations are often sacraficed for the sake of textual accuracy. Aestetically beautiful, much alike to Branagh's later production of Hamlet, the movie takes advantage of the benefits of film, changing scenes quickly and giving the audience a visual adventure to accompany the literal.
Despite the engaging cast of Fishburne and Branagh (Irene Jacob is also wonderful as Desdemona), the movie is somewhat conservate, relying too heavily on the text at times and lacking the ingenuity of the Welles' production. However, its high points--predominantly the final scene-- are truly high: Desdemona's prophetic song is sung with an eerie pitch that haunts the audience; Cassio, faithful to the last, hands his general a knife so that he may escape Venetian justice and then, after Othello's suicide, throws back the curtains to allow (white) light into the (black) dark room; a stabbed Iago crawls to the bed already holding the three dead and collapses...only to stir ever so slightly, breath still within him, as the camera fades away.
In addition to this pleasing scene, Parker makes use of several tenets most successful in earlier productions. The costumes, especially the Duke's outrageous jester-like outfit, are similar to those of Welles' movie with the exception of Iago who appears, at times, to dress in a decidely English manner. Othello's snuffing of the candles on his way to murder his bride is a common device and is foreshadowed brilliantly as the couple prepare to consumante their marriage after arriving in Cyprus.
A conservative production of Shakespeare is not a bad thing. Indeed, by refraining from excessive film work and gimicky additions, Parker's movie hiughlights the language that is, after all, behind the play. Beautiful to look at and exciting to listen to (even now the hairs on my back are raised from Desdemona's song), this is classic Shakespeare tranlsated to film.
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"O" by Tim Blake Nelson, 2001
starring Mekhi Phifer and Josh Hartnett.
Modernizing Shakespreare is one thing, adapting him is another. Nelson's attempt at transforming an upper class high school's quest to the state championship into an acceptable stage for Othello is too ambitious and, in the end, does not do the play justice.
To begin with, the movie takes extreme liberties with the character of Hugo (Iago). Stepping from textual evidence and exploring academic psychoanalysis, Hugo's malice stems from a poor relationship with his father and the subsequent competition between himself and Odin (Othello) for the man's attention. Additionally, young Hugo's plan hinges on (Mike) Cassio's acceptance of the stolen handkerchief that Hugo gives him. This appears to be a far greater risk than Iago would ever take.
Hugo is not the only character who is altered. The once noble yet hotheaded Cassio is portrayed by Andrew Keegan as a sadistic bully and the audience naturally feels overwhelming sympathy for Roger (Roderigo) who feels the brunt of Cassio's torment and even satisfaction when he fights back, shooting Cassio. This in itself is another problem: Cassio is shot by the roadside and then never seen again.
Meanwhile, Julia Stiles, Desi (Desdemona) dies an absolutely haunting death, struggling desperately, her neck in the grip of the much stronger Odin. However, this is only a brief respite as Odin chases after Hugo, gun in hand, yet does not shoot him! The fact is that when Odin kills himself, Hugo, despite being led away in handcuffs will all most certainly be aquited of any involvement in the crimes; everyone who knew about his part is now dead and this severely undermines an important piece of the play, that is, the exposing of Iago's guilt.
It is doubtful as to whether Shakespeare can be adequately traslanted into contemporary English; "O" likely loses some of the magic of the play by opting for more modern prose. However, liberties taken and assumptions made about the stories and characters cost the movie far more. Blaming the erradic behaviour of Odin and part of Hugo's malevolence on drugs ignores the fundemental issues of human nature in Shakespeare's play. Additionally, the idea of a four-month relationship in affluent northern California ending in triple murder is difficult to believe even in the increasingly violent North America of the present day. Essentially, "O" suffers from the usual criticism one has with adaptations: a lack of faith with the original source. Perhaps this is a movie enjoyable for those who do not know the play but, given that it is an adaptation, the latter needs to be thought of primarily. Maybe some things should just not be adapted.
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