The Tragedy of Othello: The Moor of Venice

Right from the start, Othello has a striking visual style. Oblique camera angles (from low and high, close and far), nice use of shadows, a cool-looking castle. Really nice black-and-white imagery to look at.

On the other hand, I wasn't as convinced by the story and acting (but they grew on me as the film continued). There are many parts where actors seem to rush or mumble their lines. Shakespeare is hard enough to follow and a good performance should draw you in and make the dialogue *easier* to understand. Characters are often facing away so we hear their lines but can't see their mouths or their facial expressions. What's the point of acting then? I can act if acting means reciting lines from a Shakespearean play.

I have since learned that Welles was struggling with funds for the movie and that explains some of its short-comings. Especially with sound. He had to dub some of the lines himself and there remain parts which are clearly out of sync. It's hilarious to learn that he borrowed/took costumes from another movie to use on Othello. And that costumes weren't ready for one scene so he changed the location to a bathhouse with the actors in towels.

I find the story flawed. Iago is single-handedly able to manipulate Othello to his will. Iago is unlikable because of his misanthropy but Othello may be even more unlikable in his stupidity. He never thinks to properly analyse or question what Iago presents to him as the truth. He barely seems to communicate with his wife at all and becomes consumed by his obsessions and assumptions. But I do somewhat admire Iago's patience and intelligence, he makes a good villain. And there is real tragedy to what happens. It's conceivable that some unfortunate coincidences could help a seed of suspicion grow into the full-hearted conviction that you're being lied to. And to desire revenge is all too human. It's just funny that nobody suspects Iago. Othello would prefer to believe that everyone else is against him.

I found the ending climactic and meaningful. Some of it took me by surprise, other parts felt inevitable. I'm aware that Welles shortened the play a lot and may have taken liberties with it. At least I now have a rough idea of what Othello is about; I feel more educated. I liked all of the actors but Micheál MacLiammóir (a Dublin actor in his only feature film role) stands out as the antagonist. There's something about his eyes and calm indifference. Less is more.

Summarising, Othello is rewarding for its villain, its believable tragic turn of events and the enjoyable, creative cinematography. Now if only Othello could learn the scientific method...

The power of Welles performance should make anyone not already an admirer stand up and take notice. The dark, brooding nature of Welles character sets the tone throughout this film. Each of the prominent characters seems to feed off this intensity, making each the better for it. The spartan sets and excellent use of lighting add to this powerful delivery making the words feel true and soul wrenching. I think this production could have been played out on a bare stage and still be regarded as a fine work, the dialogue and delivery is of such fine caliber. "The Moor of Venice" is a fine example of Orson Welles vast talents as a performer and director and should not be missed.

I will not go into the film as many already have said how it is a great work of art despite its "troubled" filming history.

This film is now advertised and available as a "restored" dvd of a "lost" Welles film. But DO NOT be deceived. Whereas the 1998 cut of Touch of Evil was "restored" using a Welles memo as guidelines, Othello was restored by presuming many things. First, dialogue was put in sync and unintelligible diaglogue was "voiced over." And second, the original score was redone, but not exactly as the original. You could almost say a new score was used in the "restored" film. The original cut was Welles' 1952 European version which has only ever been availible as a (OOP) 1995 Criterion LaserDisc. As Welles' daughter owns the rights to Othello, that's the 1992 "restored" version which she also helped on, it is the only one currently availible for purchase in the US (as she receives no money for the 1995 CR laserdisc, she forced Criterion to stop making it.)

While many casual fans will not notice or care about the little changes, don't be deceived into thinking this is "Orson's intended version." Also DO NOT be deceived into thinking this is a lost film. It was only lost in the sense that it had no distribution until the early 90's.

Commenting on Shakespeare films is rather like admiring Easter Eggs.

First the inside: this was never a great play, relative to Shakespeare's other works. His great plays are about ideas, with characters as vectors to prod and activate them. This play is merely about characters, which makes it attractive to actors. That's certainly why Welles selected it.

Welles is the Sinatra of dramatic reading, with phrasing mastered in his radio days. All else is acceptable (at least to my tastes) so far as the play goes.

Now the shell, and here is what makes this film one of the most important. When Welles moved into film, he did so as an architect. He understood that great film constructs a space that includes the audience. So he worked with the most direct tools, buildings themselves. These sets are remarkable. I cannot imagine how he found them, how he could have seen the possibilities.

Selection aside, how he uses the spaces! View this film at least once in silence. I rate Welles as one of the 20th century's great architects and predict that this film will be mined when we get around to really creating cyberbuilding.

Othello, Moor of Venice, loves Desdemonda. Unbeknownst to him, one of his lieutenants, Iago, seething with jealousy, plans to bring him down. Iago slowly builds a web of deceit and lies around Othello that leads him to question the faithfulness of his wife and men, ultimately pushing him to far...

Many a time has a white actor portrayed black Othello. Thankfully, Welles excels in the title role, his hurt palpable. In adapting Shakespeare's play, Welles has done away with subplots he deemed unnecessary. His "Othello" boils down to the title character, his wife, Iago and bit players (and impressive numbers of extras). Fans of the text may regret the absence of a character or the significant reduction of his/her importance. It diminishes the play but enhances the film, giving it a tighter focus and a more fluid structure and running time. But as always, we expect more from an Orson Welles film.

Orson Welles is mostly celebrated for reinventing the look of film. His pictures each possess a unique aesthetic and daring camera work. Othello holds its own even when measured against the impressive Welles oeuvre, a true miracle if you are familiar with the films' history. Shooting it over years and in different locations (Morocco, Spain, etc.) with variations, often within the same scene, Welles managed to create the watertight illusion of a coherent world, leading the viewer to imagine that lavish sets and locations were available. For anyone interested in editing or any other aspect of film-making, this is an indisputable milestone in directorial resourcefulness.

Othello was Welles's second Shakespeare interpretation as star and director, soaring high above his very interesting Macbeth. He would return to the Bard one last time with his apotheosis, Chimes at Midnight. This trilogy is a gift. What a joy it is to see America's greatest director work with the world's greatest playwright...