Othello

Viewing this superb filmed stage production (as well and faithfully filmed as any stage production could be) many may question why a Shakespearian actor of Olivier's standing resisted playing The Moor of Venice as hard as he did. The reason is absolutely plain in his performance - Paul Robeson's world shattering Broadway performance on Broadway for the Theatre Guild in 1943 (tragically, never filmed, but recorded complete by Columbia Records).

It was Robeson (the first major black actor to play the part in a major commercial production - 280 performances at the Shubert Theatre, where A CHORUS LINE would eventually set musical records) who changed how we look at Othello - previously usually played as the MOOR Shakespeare wrote (frequently played in blackface, but the key element was the Islamic roots in North Africa - see Orson Welles' 1952 film, documenting for virtually the only time on sound film the earlier tradition - Welles would not have made a credible black man), and critics in 1943 drew the distinction between a Moor and a "Black-a-Moor". After Robeson, it became nearly impossible to think of anyone but a black actor in the role. Either way, the tale of the perpetual outsider, cautioning against jealousy and spousal abuse AGES before they became popular "causes" rings remarkably true.

Finally persuaded to add the Moor of Venice to his Shakespearian repertoire, and ultimately (he toured it all over Europe first) to his long list of distinguished Shakespearian films - after his brilliant HENRY V, it is probably his best - Olivier did everything in his power to honor, even copy, the Robeson performance.

YES, Frank Findlay runs away with the piece as Iago, and Maggie Smith's accent occasionally jars, but younger audiences will be astonished at the young "Professor McGonagall". This and THE HONEY POT may be her best films. It is remarkable Smith didn't have whiplash after playing over a hundred performances of the extremely physical bedroom scene. All told this all star cast still surpasses the excellent, frequently AS well acted but shorter, more "movie-movie" versions from Laurence Fishburne et al..

Olivier is so good in this role which has been one of Fishburne's best, I'd love to see what Fishburne could do with HENRY V; I bet it would be great.

Olivier is truly awesome: I invite you to read his biography by Donald Spoto to see what went in to this characterization. Surely this is his best Shakespeare role, but must admit I wish he could have filmed Macbeth. Another especial comment on the direction--it couldn't have been easy to bring this from the stage to a video version, but I feel it came off beautifully. This was film Shakespeare at its best--until Branagh's Hamlet.

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.

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.