Othello

I'm not much of a Masterpiece Theatre watcher, but I luckily stumbled on this fantastic version of Othello. Davies brilliant distillation of Shakespeare's plot, combined with great actors, and very effective direction give one faith in adaptations without the original text.

It's easily superior to the recent 'O' as well as the Fishburne/Branagh 1995 version of the play.

My road to appreciating William Shakespeare was indeed a long and strange one--I spent my high-school years loathing this author, who seemed to specialize in stilted, pretentious language for the sole purpose of pissing off contemporary students. Years pass, and my final 2 semesters in college require me to become re-acquainted with an author I never wanted to have to read again. I could almost hear the centuries-dead Bard rattling his jaw with laughter from beyond the grave, chuckling to himself: "I'll teach you to acknowledge my genius yet, just wait!" And a funny thing happened: I actually started to appreciate Bill S. at the end of the first course, and flat-out praised him at the end of the second (which wrapped up with "Othello," now my hands-down favorite Shakespeare play); I graduated with a new-found appreciation for an author I had ignorantly written off years before.

As I have only seen one filmed adaptation of "Othello" (Tim Blake Nelson's well-done teen drama "O"), I picked this version up with great curiosity, wondering what direction it would take. Set in present-day London amid growing racial tensions, John Othello (Eamonn Walker) is a straight-arrow cop whose honesty and courage earns him a promotion to Police Commissioner; his best friend and confidant, Ben Jago (a wonderfully over-the-top Christopher Eccleston), is poisoned with jealousy at this, thinking it is a racially/politically motivated move at a position that is rightfully his. Caught in the middle is pure-hearted Dessi (Keeley Hawes), Jago's intermediary to Othello's destruction.

This "Othello" is a gritty, hard-hitting, and compelling production; the contemporary elements are integrated with ease (cell phones, DNA testing, Internet sites, handguns, etc.), the dialog has been substantially modified for modern ears, yet retains the tragic poetry of Shakespeare's text, and the triangle of key performers is of skilled equality. Eamonn Walker is a toweringly confident Othello, with a winning smile and perceptive eyes that portend everything from rapt euphoria to poisonous jealousy to homicidal rage; Eccleston has a field day with Jago, the bitter, bigoted cop once bound by devotion to his friend, now bound by the devotion to tear him to shreds; Hawes has a smaller but no less substantial role, and comes across as a confident, strong, intelligent woman who knows herself, and is not merely a pawn.

While the entire production is gripping, there are several scenes in particular that stand out: Othello's fearless address to a gang of citizens rioting outside the police station over the beating death of a black man goes from palpable tension to calm seamlessly; Jago's raging 'aside' upon learning of Othello's promotion--his bigoted, blustery rant as he stalks down the corridors of New Scotland Yard swings between sarcasm and seriousness, aided by Eccleston's ability to keep the character grounded in reality; and the scene where Othello, stricken with a full-blown paranoia over his wife's (seeming) misdeeds, tears through their apartment looking for incriminating evidence, filmed in a dizzying style that recalls Roman Polanski's "The Tenant." As a meditation on the frailty of love and the perils of trust, Shakespeare's "Othello" taps into emotions and manipulations that still exist in society; this film faithfully recreates those sentiments through impassioned performances and inspired direction (by Geoffrey Sax). Don't let the words "Masterpiece Theatre" deter you from seeing "Othello"--it really IS that good.

(Note: "Othello" is not rated, but would merit an "R" for violence, sexuality/nudity, and some harsh profanity.)

Living proof that Shakespeare's plays are truly timeless. People don't change. Great production! The authentic Shakespearean tragedy came through loud and clear. This was the first time we saw Eamonn Walker but it definitely won't be the last.

Modernizing Shakespeare is a tough business. People who hate the Bard's archaic language and subject matter are unlikely to be lured into watching one of his plays, even if the dialog has been brought up-to-date. And Shakespeare purists usually resent seeing his beautiful poetry translated into contemporary blather. I belong to the latter camp, so sadly, I was annoyed that this version of "Othello" not only modernizes the setting, but also the language, of Shakespeare's classic play. My (perhaps elitist) attitude is, if it ain't broke, don't fix it...

That said, there is much to recommend here. Staging the drama during Rodney King-like race riots was an inspired idea. It's also good to see Othello and Iago (here called Jago) interact as friends before Othello is promoted; we get proof of their friendship and mutual trust before things turn sour. Sadly, two nice touches do not a great adaptation make; the other changes are not so effective.

"Othello" may be particularly tough to modernize because the hero is so fatally flawed, and in ways which make modern viewers uncomfortable. He's suspicious, jealous, easily duped, and very possessive of his wife. The last of these qualities seems particularly reactionary today. Of course, there are still controlling and abusive men around - lots of them - but such behavior is becoming more and more unacceptable. Othello is, by today's standards, a sexist. And he's a sexist who's constantly tricked by a much cleverer man! So I have some problems admiring Othello; he's less of a tragic hero than an utter mess. Somehow, his flaws seem less overwhelming in Venice of the past than in London of today. I wish screen writer Andrew Davies had done something to make him less passive and ingenuous.

Despite these problems, Walker gives a forceful performance as Othello. His charisma carries the day when the script fails to give him anything interesting or proactive to do. Eccleston runs wild as Iago/Jago, really relishing his rants and asides; I enjoyed watching him. Hawes is slightly dull as Desdemona (you may find yourself wondering "what's all the fuss about?"), and I couldn't believe that Cassio is played by Jeff from "Coupling!" Normally, I like to see sitcom actors in serious roles, but I just couldn't stop associating him with his silly "Coupling" character, so ultimately his presence was distracting.

Geoffrey Sax's always-stylish direction held my interest, but was not quite up to his usual standard. Like the other aspects of the production, he came up just a little short this time. Despite the wealth of talent on display here, the end result is a so-so adaptation of a problematic masterpiece.

If there is one thing that this movie proves, than it must be the fact that Shakespeare is of all times and doesn't necessarily need to be situated in 16th century England. All you need is a good writer who is able to convert the story into modern times and that's exactly what Andrew Davies has done.

In this version of "Othello" we see how Ben Jago, destined to become the new commissioner of the London Police Department, is passed by his friend John Othello. Othello got the job because he proved to be a good link between the poor and rebellious parts of the community, who are sick of all the police brutality and the racism, and the police department. But Jago isn't all too happy with the fact that his best friend has 'stolen' his job from him and he decides to make Othello's life a living hell from now on, driving him to despair and horrible acts of jealousy...

I know that there are many people who love Shakespeare the way it was once written and find it a mortal sin to adapt it. Personally I don't have any problem with it. I liked the more or less classical adaptation in the movie "Shakespeare in Love" a lot, but I find this version of Othello at least as good as that other movie. I guess it is just a matter of taste... What makes this movie so good for me, next to the interesting story, is the acting. Eamonn Walker is really very good as the charismatic John Othello, but it is Christopher Eccleston as the excellently evil and backstabbing Ben Jago that I admire most. Perhaps it has more to do with his role in the movie than I might think at first, but I find his performance wonderful and hope to see more of him soon.

Anyway, despite the fact that so many people seem to hate it for many different reasons, I really liked this movie. Even though some may find it sacrilegious, I hope they will make many more adaptations of Shakespeare's work like this. I give it an 8.5/10