Othello

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.

This is the best film of a Shakespeare play that I have ever seen. (Throne of Blood is a great movie, but it's an adaptation, not really Shakespeare's Macbeth.) What makes the difference for me are the outstanding performances by the entire cast, not just Olivier. Maggie Smith's Desdemona is truly touching as a woman overwhelmed by fate. A young Derek Jacobi hits all the right notes as Michael Cassio: smart, loyal, eager to please, but a little immature. I haven't seen any other roles played by either Frank Finlay or Joyce Redman, but in any case, they're excellent here. I much prefer Olivier's Othello to his film role as Hamlet. That's because too many of Hamlet's lines were cut from that version. More text gives more characterization to Othello, and gives Olivier the chance to really fill the role, which he does beautifully. My only real complaint is that on the videotape, the widescreen picture is cropped too much. Everybody who is a fan of Shakespeare or any of the above mentioned actors should see this movie!

Olivier got a lot of flack at the time for the Al Jolson performance, from people who failed to take into account the exaggeration of gesture and make-up that goes with a stage production. That's all it is, a film of a stage production, but visually the stage design is good and the photography presents it excellently.

Olivier is truly awesome: I invite you to read his biography by Donald Spoto to see what went in to this characterization. Surely this is his best Shakespeare role, but must admit I wish he could have filmed Macbeth. Another especial comment on the direction--it couldn't have been easy to bring this from the stage to a video version, but I feel it came off beautifully. This was film Shakespeare at its best--until Branagh's Hamlet.

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.