The Tragedy of Othello: The Moor of Venice

1951
Approved
1 घं 30 मि

IMDb रेटिंग

7.5/10

9.9 हज़ार

आपकी रेटिंग

Orson Welles and Suzanne Cloutier in The Tragedy of Othello: The Moor of Venice (1951)

The Moorish General Othello is manipulated into thinking that his new wife Desdemona has been carrying on an affair with his Lieutenant Michael Cassio when in reality, it is all part of the scheme of a bitter Ensign named Iago.

trailer प्ले करें1:35

2 वीडियो

99+ फ़ोटो

Period Drama Political Drama Tragedy Tragic Romance Drama Romance

अपनी भाषा में प्लॉट जोड़ेंThe Moorish General Othello is manipulated into thinking that his new wife Desdemona has been carrying on an affair with his Lieutenant Michael Cassio when in reality, it is all part of the ... सभी पढ़ेंThe Moorish General Othello is manipulated into thinking that his new wife Desdemona has been carrying on an affair with his Lieutenant Michael Cassio when in reality, it is all part of the scheme of a bitter Ensign named Iago.The Moorish General Othello is manipulated into thinking that his new wife Desdemona has been carrying on an affair with his Lieutenant Michael Cassio when in reality, it is all part of the scheme of a bitter Ensign named Iago.

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IMDb रेटिंग

7.5/10

9.9 हज़ार

आपकी रेटिंग

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पुरस्कार
- 1 जीत और कुल 1 नामांकन

Pageboy
(बिना क्रेडिट के)

Joseph Cotten

Senator
(बिना क्रेडिट के)

Jean Davis

Montano
(बिना क्रेडिट के)

Joan Fontaine

Page
(बिना क्रेडिट के)

Robert Rietty

Lodovico
(वॉइस)
(बिना क्रेडिट के)

Gudrun Ure

Desdemona
(वॉइस)
(बिना क्रेडिट के)

निर्देशक
- Orson Welles
लेखक
सभी कास्ट और क्रू
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उपयोगकर्ता समीक्षाएं71

7.59.9K

फ़ीचर्ड समीक्षाएं

tedg

Dimensional Filmmaking

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.

didi-5

powerful, compact version

Orson Welles' short, low-budget, and in places fairly odd look at Shakespeare's play. It suffers from some stage-bound performances which don't quite work (Micheal MacLiammoir as Iago, Robert Coote as Rodrigo) plus an undefined Desdemona from Suzanne Cloutier.

However, this aside, Welles is marvellous as the Moor driven to jealousy and murder, his voice rolling through the meat of Othello's speeches, his bronze make-up creating a skin for the great general. For this performance alone the film is valuable. And it looks absolutely fantastic, springing off from its financial limitations and adding a new dimension to the often-told story.

lime-3

One of the great Shakespeare films.

I must be one of the few who saw this film (more than once!) before it vanished in the 60's. I saw it on TV in the last 50's, and later brought it to the small college where I was teaching 63-65. Though heavily cut and more than a little rearranged, it is one of the very finest of Shakespeare films. Performances are generally excellent and unified in style and diction. Welles, or course, is magnificent. Anyone who thinks he was never anything but a self-parodying ham has not seen this film. One could wish than MacLiammoir had had more overt FUN as Iago, who does what he does, in part at least, in an attempt to stimulate himself out of his blunted affect. The film also has some of the finest black-and-white cinematography of all time, and uses architecture in a unique and effective way.

9setrappa

Welles brings it !

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.

colwood

Great film, but not "lost"

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.

इस तरह के और

7.4

Macbeth

7.6

Campanadas a medianoche

7.0

Othello

7.1

Mr. Arkadin

7.6

Le procès

7.6

The Magnificent Ambersons

7.7

F for Fake

7.5

The Lady from Shanghai

6.8

Othello

7.0

Une histoire immortelle

7.3

The Stranger

7.4

Filming 'Othello'

कहानी

बदलाव करें

क्या आपको पता है

बदलाव करें

ट्रिविया
When he made The Black Rose (1950), Orson Welles insisted that the coat his character wore be lined with mink, even though the lining would never be visible in the finished film. The producers acquiesced to this demand. When the shoot was over, the coat disappeared. In "Othello", Orson Welles can be seen wearing the same coat, complete with mink lining.

भाव
Iago: Oh beware, my lord, of jealousy. It is the green-eyed monster which doth mock the meat it feeds on.

इसके अलावा अन्य वर्जन
This film by Orson Welles, was 'restored' by a group in Chicago in 1991/2. The film was transferred to, and enhanced in video, (D1 format) retaining it as black and white. The audio was completely rebuilt, including the score, in Stereo Surround. All dialogue, however was original. This was a problem as some of the dialogue was distorted and unintelligible. John Fogelson, editor, was a major supervisor of the project. Ed Golya, Lorita DeLacerna, and Steve Wilke, were digital editors. And Ed Golya remixed the soundtrack. The process took 9 months. It was purchased for distribution by Castle Hill, and taken to New York where it went through another transformation before release. The restoration engineer in New York, Paul Michael, restored the audio that was supplied on 35mm optical negatives. He was able to remove the distortion, optical pops and surface noise that is inherent with Optical negatives. The restored audio was then sent to Sound One for the final mix. Unintelligible dialogue was replaced with 'sound-alikes'. This decision was made for the entertainment value of the film. The original mono music was then reintroduced into the final product. Basically, the film was retransferred, and the rebuilt sound effects tracks were added. This was done at Sound One, in NYC.. The credits were adjusted to place Lee Dickter (sp?) as Re-recording Mixer, and Ed Golya as Sound Effects Editor.