Othello

This is a filmed play. Second, his interpretation is a valid one and I didnt know there was a rule that actors could not play characters of different races. That kind of reverse racism is exactly what is to be avoided. Judge the acting for acting's sake. Olivier uses a full octave voice lower for the performance, unatural to his usual tenor voice. If one simply judges the acting, it should be seen as a powerful piece of work. Another performance of this is by Anthony Hopkins, also quite excellent, with different shadings.

This is easily the best version of Othello I've seen (although I haven't seen the Orson Wells version yet).

Laurence Olivier was nominated for Best Actor for his role as Othello, and deservedly so. I was mesmerized by his performance, he was truly one of the greatest actors of all time.

All of the cast performed very well: Frank Finlay as Iago, Joyce Redman as Emilia, Maggie Smith as Desdemona, and in his very first movie role, Derek Jacobi as Cassio.

The direction was flawless - attentive care was put into the timing of conversations and events. The costumes were very good too - I far more enjoy watching Shakespeare set in it's original and appropriate time in history.

This is the best film of a Shakespeare play that I have ever seen. (Throne of Blood is a great movie, but it's an adaptation, not really Shakespeare's Macbeth.) What makes the difference for me are the outstanding performances by the entire cast, not just Olivier. Maggie Smith's Desdemona is truly touching as a woman overwhelmed by fate. A young Derek Jacobi hits all the right notes as Michael Cassio: smart, loyal, eager to please, but a little immature. I haven't seen any other roles played by either Frank Finlay or Joyce Redman, but in any case, they're excellent here. I much prefer Olivier's Othello to his film role as Hamlet. That's because too many of Hamlet's lines were cut from that version. More text gives more characterization to Othello, and gives Olivier the chance to really fill the role, which he does beautifully. My only real complaint is that on the videotape, the widescreen picture is cropped too much. Everybody who is a fan of Shakespeare or any of the above mentioned actors should see this movie!

As this is a filmed stage production, some concessions must be made for the extravagant, loud, performances of some of the cast, although this over-acting does tend to get in the way. Laurence Olivier, as Othello, the moor of Venice, is extraordinary, and some moments in his performance are superb, but his constant habit of shouting at the top of his voice and throwing himself around the stage grates. His voice, made deeper by vocal training, will surprise those who are used to seeing Olivier in other films, where he does not play an Arab. Some of his better moments are his first appearance, his entrance into the brawl in which Cassio (an excellent Derek Jacobi) is banished, and, especaily, the moving final scene. Maggie Smith is an exemplary Desdemona, beleivably confused and upset. Joyce Redman is good, but also suffers Olivier's fate of overacting. Frank Finlay is an absolutely brilliant Iago, willingly talking to us, the audience, in his soliluquies, as though we were one of the characters, and taking malicious delight in his evil machinations. Overall, this is an impressive, though over-rated film. CAST RATING (out of 10) Laurence Oliver (6) Maggie Smith (9) Joyce Redman (6) Frank Finlay (10) Derek Jacobi (8)

The National Theatre production of 'Othello' was legendary - one of Laurence Olivier's iconic roles from the era when white actors still blacked up to play the lead part.

But is it really any good on the screen? It is essentially filmed theatre with an overpowering performance from Olivier, which is perhaps too large for viewing away from the stage - but it does benefit from three key parts of excellence in support (Frank Finlay as Iago, in Shakespeare's longest role as far as numbers of lines is concerned; Maggie Smith as a delicate Desdemona; and a very young Derek Jacobi as Cassio, resplendent in fine clothes and groomed hair).

Trimmed slightly from the full play, it nevertheless keeps the main characters and the sense of the story, and plays at nearly two and a half hours. Tight direction, good diction, and - as far as filmed theatre can be - adequate sets give this Othello an edge which means it is still relevant today.