Othello

'Othello', regardless of any criticisms of considered implausibility (such as for some how easily Iago is believed by Othello and how long it takes for Emilia to come forward) and political incorrectness, is nonetheless one of my most fondly regarded Shakespeare plays. Not just the masterful language, with some of Shakespeare's most famous lines that have true intensity and poetic meaning, but also the dramatic conflict, both darkly intense and poignant, and one of his most interesting characters in the evil incarnate Iago (Othello too is one of his more interesting titular characters).

Anybody who has not seen or heard Verdi's opera 'Otello', one of his last but also one of his greatest, should definitely consider doing so. Actually like it even more than the play itself, with the dramatic conflict almost searing, especially in the relationship between Othello and Iago, and Iago is even more evil particularly in a big scene where he denounces God and everything. Enough of that, as that is not under review but more an interesting side-note (or at least an attempt at one). This production is a worthwhile one and anybody wanting to see as many Shakespeare productions available as possible should give it a go. As should those wanting to see every production of 'Othello' and the whole BBC Television Shakespeare series, featuring productions of all of his plays, some productions are better than others but they are all worth at least a one-time watch and the series overall is fascinating.

Personally do think that this 'Othello' is in the lower half of the series. Not because it is bad, far from it, don't consider any of the productions unwatchable. But it is more of a mix than other productions of the BBC Television Shakespeare series of things that were done very well and others that could have been done better, and was expecting more to it.

It's most of the cast that make this 'Othello' worth watching. Notably Bob Hoskins, whose Iago is a wonderfully uneasy mix of wickedly humorous and chillingly malevolent, even if the giggling did annoy a bit. Actually do think as well that his deceit is easy to buy with him appearing in public as someone who is good company, has a sense of humour and is seemingly truthful and then when alone and his intentions and plans are made clear (which the production makes crystal clear without being overt) one sees how much of a snake he really is. Rosemary Leach also stands out as a loyal but also at times shrewd Emilia. Penelope Wilton's Desdemona is poignant and noble, actually found myself not caring too awfully about her being too old. David Yelland and Anthony Pedley are strong as Cassio and Rodrigo.

Jonathan Miller directs tastefully and carefully, with a nice job done bringing out the character traits and the character relationships. Othello and Iago's is crucial to work and mostly it's dynamite, though Hoskins deserves much of the credit for this. He does do well at times in building upon the play's strengths, there are intense moments and the latter stages of the last act are movingly handled. Desdemona and Emilia's is also very well done, as is Iago's dominance over Rodrigo. Shakespeare's prose flows beautifully and equally as much in the delivery. The interiors are quite nice if simple, and the same goes for the camera work.

However, did find Anthony Hopkins' Othello inconsistent. At times he is very good, particularly good was his final speech which was very powerful. He also works very well in his scenes with Hoskins, until he becomes convinced of the unfaithfulness and that's when the hamminess becomes more apparent. The more passionate, raging scenes didn't convince as much, found him too histrionic and verging on insanity. That's why his later moments with Desdemona don't work, where everything else going on and how it was done feeling subdued in comparison. Miller does do well in enough aspects of the staging, but there were times where it felt like he was too careful and safe, the penultimate act for example when the tension should increasingly build could have done with more of that tension and more of it building. Some scenes lack oomph and, while it is laudable that the play was treated with respect, Miller could have afforded to take more risks and do things new.

The BBC Television Shakespeare series' budgets were not high and one does see in more productions than others obvious limitations. 'Othello' to me is one of the more particularly under-budgeted productions. There is a drab look, the lighting is sometimes too dark, other productions in the series did better at showing authenticity and the costumes and make-up are at best uninspired. Othello's looked both bizarre and ugly.

On the whole, to be seen mainly for 'Othello' and Shakespeare completests, and there are a good deal of impressive things, but uneven. 6/10

A most excellent production of one of the Bard's more difficult plays mainly because of the controversy in these politically correct times of a white actor blacking up to play the lead. But since Othello is a Moor and thus a Mediterranean type he does not have to be portrayed as an African. Remember the Moors ruled Spain for a long time until expelled by Ferdinand and Isabella so Othello does not have to be any darker, than a Spaniard. Anthony Hopkins gives a masterful performance as the Moor, one of the best I have seen comparable only with Placido Domingo in the opera Otello. His gradual change of character from gentle loving husband to insane jealousy is extremely well done and his way with the verse gives full meaning to Shakespeare's words. He is well supported by the cast of less well known stage actors. For me the only jarring note was Bob Hoskins portrayal of Iago, so obviously a nasty piece of work that one wonders how Othello would be taken in by such an overt villain. His giggling also becomes irritating, definitely not the best Iago I have seen. One thing is sure, this production emphasises what a great Shakespearean actor the stage lost when Hopkins left for Hollywood. Had he remained in the theatre he would easily have outstripped Richard Burton's reputation and maybe even Olivier's. Anyone who values real Shakespearean acting should not miss this production.

Even if this film does not meet expectations of what 'Othello' should be, keep in mind that it is a BBC production, and that even though some of the production values are not up to scratch, it follows Shakespeare's original script. Anyone looking to study Othello for any purposes should not give this one a miss. Despite mixed reviews on the acting by Hopkins and Hoskins, we must respect the fact that when an actor plays a role in a Shakespeare play, they will play that character however they see fit. Lawrence Oliver, for example, in a 1938 stage production, played Iago in a very homosexual manner, while Kenneth Branagh, in Parker's 1995 adaptation, shows Iago as a malicious psychopath. So when you think that Hopkins doesn't live up to his reputation in portraying Othello, or Hoskins plays the part like a gnome on speed, just remember that they are professionals who play the part how they see fit.

There is controversy here about the performances of Hopkins and Hoskins as the two major protagonists, and controversy about the nature of the production.

That there is controversy is understandable - it's a very schizophrenic production, careful and understated and clipped and British for the most part, excellently acted by a tasteful cast, Penelope Wilton and Rosemary Leach outstanding. Yet the two principals are given free rein.

Hoskins' Iago is the more successful of the two, scintillating in monologue, focusing on the evil of the character, trying to convey his plausibility via his rough charm. Hard to imagine the stiff-upper- lip types of Jonathan Miller's Venice being taken in by such a fellow, entertain them though he might.

But there is more than one letter's difference between Hoskins and Hopkins. Hopkins' performance is, as some of the reviewers have pointed out, as ripe a piece of eye-rolling ham as one is likely to see. Despite other reviewers' valiant attempts, it is really not a defensible performance, rising so rapidly from suave control to chewing the scenery, persuaded far too easily by an Iago who is obviously on the make.

The exaggerations help provide a context for his tense scenes with Desdemona - we certainly know how much he is holding back. The power of the moment when he slaps her is impressive. But when he lets rip, the acting style gets closer to Chongo out of the Banana Splits than any more accomplished thespian.

The effect is not at all helped by Hopkins sporting the most extraordinary pair of trousers I have ever seen, designed by Richard Hughes. The bizarre codpiece looks like Hopkins has had a painful accident with a stapler, and his stature is seriously compromised by odd curving stripes down the legs. This produces a number of odd and unintentionally humorous effects, most awfully during Emilia's affecting death scene, where Hopkins, standing behind the bed as a witness, appears to have little tiny legs, like Toulouse-Lautrec.

Either Miller could not control Hopkins, or gave him his head. It doesn't matter which - the result is an unsatisfactory mishmash, neither one thing nor the other.

This is an impressive and unrelievedly grim production that omits most of the light-hearted bits of Shakespeare's play -- light-hearted bits that are few and brief in any event.

Because the acting by Penelope Wilton is so excellent, we forget that she is not quite young enough and not quite attractive enough to be fully suitable for the role of Desdemona. Wilton vividly conveys the bewilderment and desolation that Desdemona experiences as her beloved husband turns against her.

Bob Hoskins is superb as Iago. He could have reined in his giggling at times, especially in the first Act, but his delivery of his lines is impeccably well-judged. Precisely because Iago as played by Hoskins is highly likable on a superficial level, his merciless and devious psychopathy is truly chilling. Hoskins displays his skill as an actor when he adopts an upper-crust accent in his summoning of Brabantio and in his gloating over the supine Othello. He thereby signals one of the motivations behind Iago's crimes (without obscuring the fact that the crimes are driven partly by a love of evil for its own sake).

Particularly admirable is the ability of Hoskins to articulate his soliloquies in a manner whereby he appears to be addressing himself. Hoskins as Iago appears to be engaged in introspection rather than in recitation to an audience. In that respect, his performance clearly surpasses the performance of Derek Jacobi in the eponymous role in "Hamlet." Jacobi is always patently addressing an audience as he deliver Hamlet's intensely inward-looking soliloquies. Hoskins commendably avoids such a shortcoming.

Anthony Hopkins is not quite as successful in the role of Othello, but his performance is generally very good. He overacts rather irksomely at a few junctures, and he looks like a slightly pudgy actor rather than a rugged soldier. Nonetheless, he delivers most of his lines well. His slapping of Desdemona is jolting, and his final speech is both poignant and devastating.

Most of the supporting actors are fine. David Yelland is good in the difficult role of Cassio, and Anthony Pedley gives a splendid performance as the foppish Roderigo. Best of all is Rosemary Leach with a riveting performance as Emilia. (Because her performance is so good, however, it highlights one of the problematic features of Shakespeare's play: namely, the implausibility of the fact that Emilia waits until the end to disclose why Desdemona's handkerchief has gone missing.)