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Students often ask me why I choose this version of Othello. Shakespeare's text is strongly truncated and the film contains material which earned it an "R" rating.

I have several reasons for using this production: First, I had not seen a depiction of the Moor that actually made me sympathetic to Othello until I saw Fishburne play him. I saw James Earl Jones and Christopher Plummer play Othello and Iago on Broadway, and it was wonderful. Plummer's energy was especially noticeable. But in spite of Jone's incredible presence both physically and vocally, the character he played just seemed too passive to illicit from me a complete emotional purgation in the Aristotelian sense. Jones, in fact, affirmed what I felt when in an interview he noted that he had played Othello as passive--seeing Iago as basically doing him over. Unfortunately this sapped my grief for the character destruction. Thus, I felt sympathy for Jone's Moor but not the horror over his corruption by an evil man. In contrast, Fishburne's Othello is a strong and vigorous figure familiar with taking action. Thus, Iago's temptation to actively deal with what is presented to Othello as his wife's unfaithfulness is a perversion of the general's positive quality to be active not passive.1 The horror of the story is that this good quality in Othello becomes perverted. Fishburne's depiction is therefore classically tragic.

Second, Fishburne is the first black actor to play Othello in a film. Both Orsen Wells and Anthony Hopkins did fine film versions, but they were white men in black face.2 Why is this important? Why should a Black actor be the Black man on the stage?3 Certainly in Shakespeare's day they used black face just as they used boys to make girls. Perhaps then, the reason is the same. Female actors bring a special quality to female roles on the Shakespearian stage because they understand best what Shakespeare's genius was trying to present. A gifted black actor should play the moor because his experience in a white dominated culture is vital to understanding what Shakespeare's genius recognized: the pain of being marginalized because of race. An important theme in Othello is isolation caused by racism. Although it is a mistake to insert American racism into a Shakespearian play, there can be little doubt that racism is still working among the characters. Many, including Desdimona's father, think that a union between a Venetian white Christian woman and a North African black Christian man is UNNATURAL.

Third, Shakespeare was never G rated. He never has been. His stage productions were always typified by violence and strong language. But Shakespeare's genius uses these elements not as sensationialism but for artistic honesty.

As an earlier commentator noted, "Bartok the Magnificent" is a prequel to "Anastasia". I guess animated bats live for a REALLY long time. But if you are going to quibble about dates then just what will you say about the existence of talking bears, musical witches and a huge animated riddle asking skull—just go with it. For all the sequential fuzziness, I find this film a real joy.

The voice talents of Kelsey Grammar as the Russian Dancing (and classical theater loving) bear Zozi is wonderful as are also Tim Curry's, as the Huge Talking Skul and Jennifer Tilly's role as Piloff. I have no idea what Piloff is, She looks life a living fur boa some women might wear around their necks. Whatever she is, Tilly's voice makes her seems gentle and funny (and a little ditsy but in an attractive kind of way) while also being impervious to whatever Bartok does to get her off the bolder (and a strange looking bolder it is too—looks more like a construction girder) as demanded by Baba Yaga. Indestructible gentle femininity is a good thing. Of course Bartok (voiced by Hank Azaria) is himself a hoot. Also Kelsey Grammar's voice in song is as full of life and warm as is his speaking voice. I love to listen to him even when he's the bad guy as in "Toy Story 2" as Stinky Pete. This film is one of the straight to video ones which should have been given a shot as a theatrical run. Both the video and the DVD comes with the songs separate with sing along lyrics--nice touch.

Comparisons with "My Fair Lady" are unfair to this fine television version of "Pygmalion." O'Tool gives a wonderful eccentric performance as Henry Higgens and Margot Kidder is a fine Eliza, but the quality which I especially find valuable when I use this version to teach in my Introduction to Literature is the speeches both Mrs. Pierce and Mrs. Higgens give which are cut from the musical to make room for all that wonderful music. Thus the female voice of Mrs. Higgens, "No No, you two infinitely stupid male creatures!" (Act III line 198), is lost. Also the ending, which is even more vague than the musical about the future of the two main characters, is a wonderful leap off for class discussion about "middle class" expectations. I really enjoy all of this production.

Anderson Rearick Mount Vernon Nazarene University Mount Vernon, OH.