Othello

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.

I've always felt Othello to be more Iago's play than Othello's. Iago is the guy whose subtle machinations keep the whole thing going. In fact William Shakespeare probably should have entitled the play Iago instead.

Othello gets the title because the emphasis is on his reactions to Iago's hints of infidelity in regard to Othello's new wife Desdemona. The proud Moor is destroyed by the 'green eyed monster' who when he gets a hold doesn't let go.

Why's all this happening? Because Othello, a Moorish soldier of fortune in the pay of the Duke of Venice passes Iago over for a promotion and gives it to another favorite named Cassio. All that sucking up gone for naught, Iago plans subtle revenge.

But in order to make this work, it's more than Othello he has to maneuver. He drops lies and suspicions to Othello, Desdemona, Cassio, and even his own wife Emilia, to another suitor for Desdemona named Rodrigo, in short to just about the rest of the cast. It's why I think Iago's character is central.

Nevertheless Othello earned for Laurence Olivier another nomination for Best Actor and for Maggie Smith as Desdemona, Best Actress. Frank Finlay as the subtle and clever Iago and Joyce Redman as his wife Emilia got nominations in the Supporting Actor categories. None of them came up a winner though.

In one of his earliest screen performances you'll find Derek Jacobi as the loyal, brave, but slightly dense Cassio. And as Rodrigo who Iago plays like a piccolo is Robert Lang, both of whom are cast perfectly.

Unlike Olivier's other Shakespearean work, this is essentially a photographed stage play. But the sets are just fine and since it's a story about palace intrigue, the palace sets are more than appropriate.

I'd be hard pressed to say whether this or the Orson Welles version is better, judge for yourself.

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.

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.