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Otelo

Título original: The Tragedy of Othello: The Moor of Venice
  • 1951
  • Approved
  • 1 h 30 min
AVALIAÇÃO DA IMDb
7,5/10
9,9 mil
SUA AVALIAÇÃO
Orson Welles and Suzanne Cloutier in Otelo (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.
Reproduzir trailer1:35
2 vídeos
99+ fotos
Period DramaPolitical DramaTragedyTragic RomanceDramaRomance

Adicionar um enredo no seu idiomaThe 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 ... Ler tudoThe 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.

  • Direção
    • Orson Welles
  • Roteiristas
    • William Shakespeare
    • Orson Welles
    • Jean Sacha
  • Artistas
    • Orson Welles
    • Micheál MacLiammóir
    • Robert Coote
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    7,5/10
    9,9 mil
    SUA AVALIAÇÃO
    • Direção
      • Orson Welles
    • Roteiristas
      • William Shakespeare
      • Orson Welles
      • Jean Sacha
    • Artistas
      • Orson Welles
      • Micheál MacLiammóir
      • Robert Coote
    • 71Avaliações de usuários
    • 48Avaliações da crítica
  • Veja as informações de produção no IMDbPro
    • Prêmios
      • 1 vitória e 1 indicação no total

    Vídeos2

    Trailer
    Trailer 1:35
    Trailer
    Othello: Look To Your Wife
    Clip 1:52
    Othello: Look To Your Wife
    Othello: Look To Your Wife
    Clip 1:52
    Othello: Look To Your Wife

    Fotos103

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    Elenco principal15

    Editar
    Orson Welles
    Orson Welles
    • Othello
    Micheál MacLiammóir
    Micheál MacLiammóir
    • Iago
    Robert Coote
    Robert Coote
    • Roderigo
    Suzanne Cloutier
    Suzanne Cloutier
    • Desdemona
    Hilton Edwards
    Hilton Edwards
    • Brabantio
    Michael Laurence
    • Cassio
    Fay Compton
    Fay Compton
    • Emilia
    Nicholas Bruce
    Nicholas Bruce
    • Lodovico
    Doris Dowling
    Doris Dowling
    • Bianca
    Abdullah Ben Mohamet
    • Pageboy
    • (não creditado)
    Joseph Cotten
    Joseph Cotten
    • Senator
    • (não creditado)
    Jean Davis
    • Montano
    • (não creditado)
    Joan Fontaine
    Joan Fontaine
    • Page
    • (não creditado)
    Robert Rietty
    Robert Rietty
    • Lodovico
    • (narração)
    • (não creditado)
    Gudrun Ure
    Gudrun Ure
    • Desdemona
    • (narração)
    • (não creditado)
    • Direção
      • Orson Welles
    • Roteiristas
      • William Shakespeare
      • Orson Welles
      • Jean Sacha
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários71

    7,59.9K
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    Avaliações em destaque

    10EddieK

    Welles' images match the beauty of Shakespeare's language

    Considerable controversy has surrounded the 1992 restoration and re-release of Orson Welles' "Othello." First, the film was wrongly labelled a "lost classic" - not technically true, as Welles aficionados will realize. More seriously, the restoration crew (under the aegis of Welles' daughter, Beatrice Welles) re-synced the dialogue and re-recorded the musical score - an abomination to Welles purists. While it would have been preferable to adhere to Welles' vision for the film, such an endeavor becomes extremely difficult when no written record of Welles' intent exists (as it did with his famous 26-page memo to Universal regarding "Touch of Evil"). So it's true that the restored version lacks a degree of authenticity, but what are the alternatives? Grainy, scratched, poorly synced public domain prints (c.f. "Mr Arkadin" and "The Trial")? Or, worse, no available copy at all (c.f. "Chimes at Midnight")?

    Anyway, on to the film. "Othello's" existence helps disprove the charges of profligacy and "fear of completion" that plagued Welles' career after "Citizen Kane." Shot over four years in Morocco and Italy, and financed largely by Welles himself, "Othello" manages to avoid a low-budget look, thanks largely to virtuoso editing that masks the incongruities of time and space. Welles' powers of invention are on full display here, most obviously in the famous Turkish bath scene (an improvised set necessitated by a lack of costumes). Set designer Alexandre Trauner's astute choice of Moroccan and Venetian locations instantly establishes a geographic authenticity; Welles initially exploits them for all their stark beauty before retreating into noirish interiors, underscoring Othello's descent into darkness.

    Aside from Michael Macliammoir's chilling Method performance as Iago, the acting in Welles' "Othello" has been criticized as too restrained and modulated for Shakespearean tragedy. Such criticism is largely unwarranted, for this "Othello" is as much for the eyes as the ears: Welles' bold framing and expressionistic camera angles free the play from its theatrical moorings (pun intended), undermining the need for stage elocution. Indeed, the camera is the true star of this film, as Welles generates images that match the grandeur and eloquence of Shakespeare's language.
    Abhijoy-Gandhi-WG05

    Welles' indomitable spirit in the face of penury shines in yet another Wellesian Masterpiece

    THE TRAGEDY OF OTHELLO: THE MOOR OF VENICE/ US/France/Italy/Morocco 1952 (3.5 STARS)

    The recent restoration of Othello brings to cinematic space the magic of another masterpiece from Orson Welles. To think that a whole master negative of this film (which won the Best film at Cannes in 1952) was lying abandoned in a New Jersey warehouse, was discovered by accident and is the reason for this print that we now have access to, is enough to send shivers down the spine of any Welles-phile. . Mise-en-scene: Like with many of his other works involving especially Shakespeare, be prepared for Welles' licenses and personal interpretation of subject matter pertaining to Othello. Yet at the end, we are left with a feeling of deep tragedy and loss for Othello, played by Welles himself, and though we feel that Othello was quite an idiot, we at least feel that he was a very unfortunate idiot at that! . The problem may have been that the critical scene where Iago poisons Othello's mind and fuels his suspicion is scrappy and left unexplored. This may well have had little to do with Welles' artistic choices, and more with his monetary situation at the time. Welles' penury through his European sojourn is widely known and the passion with which he would invest into his films, every penny earned through moonlighting his booming voice and above-average acting skills is legendary, and should put this in context.

    . The figure behavior of Micheál MacLiammóir is utterly convincing as the detestable Iago who is consumed by jealousy and rage at being overlooked as the second-in-command. But the person to steal our hearts is Suzanne Cloutier who portrays the fair-dame Desdemona. She is every bit as dainty as we would have imagined her to be. . The stripped down set design works wonderfully for the film and even though budgets may have been the driving force, Othello's barren palace is preceded only by the barrenness of his blinding jealousy and irrational actions. . Cinematography: As we have come to expect, Orson Welles has a unique cinematic language, through which he creates a Wellesian world of skin-burning close ups, dutched crazy world-frames and low angle shots to create a tense atmosphere of foreboding. But there is no better example of exploring and using frame depth than in Othello. Time and again Welles plays with foreground element to reveal psychologically subjective and meta-diagetic moods while cleverly using the depth in the frame to forward the narrative and plot the next progression. The title shots of the film are harrowing in their effect, with the interplay of high-contrast earth and sky contours that at once establish the mood for an intense cinematic experience. . Sound & Editing: The restored version has a brand-new soundtrack mentored by Welles' daughter, and while it enhances the experience to telling effect, it is irony to note that just the new soundtrack cost much more than what Welles assembled the whole film for. The fact that parts of the film were shot MOS and other parts used ADR is distracting due to the obvious lack of lip-sync, but in the final analysis, we watch Welles with reverence almost as if on a visit to Sunday Mass, paying homage, never once forgetting that were are witness to a filmmaker stripped of resources, devoid of many essential tools, but one with indomitable spirit who refused to be cowed-down. Othello is magical in its story telling and another worthy showcase of the genius of Orson Welles.
    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.
    10homeros8000-1

    Great movie from Welles

    I've always been an admirer of Welles movies, starting with citizen Kane and the other masterpieces. Considering Othello, I highly admired this movie since the first shot, when the face of the dead Othello appears suddenly in the dark, and then the other details begin to appear, revealing the awesome funeral of both Othello and his murdered wife. In fact the best thing about this movie is the synchronization of the camera movement and angles with the state of mind and moods of characters especially that of Othello. Sometimes we are actually looking at the world through Othello's mind, the images are bizarre and grotesque, this is accompanies by wonderful acting of the cast. For any Welles fan this is a must see, considering the beauty of picture and creativity of interpretation. It's a pity that Welles didn't have a sufficient financial support to surpass some technical problems although the final effect and meaning of this masterpiece is not affected at all!
    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.

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    Enredo

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    Você sabia?

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    • Curiosidades
      When he made A Rosa Negra (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.
    • Citações

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

    • Versões alternativas
      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.
    • Conexões
      Edited into Histoire(s) du cinéma: La monnaie de l'absolu (1999)

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    Perguntas frequentes18

    • How long is Othello?Fornecido pela Alexa

    Detalhes

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    • Data de lançamento
      • 12 de setembro de 1955 (Estados Unidos da América)
    • Países de origem
      • Itália
      • Estados Unidos da América
    • Centrais de atendimento oficiais
      • arabuloku.com
      • Official site from Carlotta Films US
    • Idiomas
      • Inglês
      • Latim
    • Também conhecido como
      • Othello
    • Locações de filme
      • Castle, El Jadida, Marrocos(cistern interior)
    • Empresas de produção
      • Scalera Film
      • Mercury Productions
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    • Faturamento bruto nos EUA e Canadá
      • US$ 28.980
    • Fim de semana de estreia nos EUA e Canadá
      • US$ 6.010
      • 27 de abr. de 2014
    • Faturamento bruto mundial
      • US$ 28.980
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    Especificações técnicas

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    • Tempo de duração
      1 hora 30 minutos
    • Cor
      • Black and White
    • Proporção
      • 1.37 : 1

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