Filming 'Othello'

This is just a wonderful doc on the making of Orson Welles's Othello. It's basically Orson Welles telling anecdotes about Othello for one hour, but the man is so captivating, funny, intelligent, charming and charismatic that is just a joy to watch for any film buff.

Filming 'Othello' (1978)

*** (out of 4)

This Orson Welles film isn't really a documentary but instead a video essay where the director talks about his film OTHELLO, the play that it was based on and various other things related to Shakespeare.

If you're familiar with the film in question then you'll know that it went through a variety of money issues and it actually took years to finish it. Welles, with that great voice, is on hand here, often just looking at the camera, as he talks about the various production issues and why the Turkish bath sequence was added to the film. He also talks about the play itself, the greatest of its words and finally he discusses how he wished the film had turned out.

If you're a fan of Welles or OTHELLO then you'll enjoy this film as there are some interesting stories told and there's no question that getting to listen to a master like Welles is a lot of fun. The highlight of the film is certainly him talking about the various money issues and the Turkish bath house was certainly quite fascinating.

It's odd now to think of this film and know that I really did enjoy it. I had the pleasure a few years back at the Seattle Art Museum. For the most part, the film is Welles and two old friends/actors from the original film sitting around a table and talking about filming Othello and past life experiences. And somehow it worked. Which proves Welles' genius, even in these conditions he could make a great film. It looks as though it was filmed in his living room, which is a sad reminder of the treatment he got in the last 20 (40?) years of his life. Although, like most Welles fanatics, I am eagerly awaiting the chance to see "The Other Side of the Wind", this is really a film worthy of his talents and, on many levels, an appropriate last film.

A wonderful, private oration with Orson Welles for once talking about his vast visual artistry and visual imagery. Welles always shied away from discussing such things, that his fans would have much loved to hear. During his conversations with Peter Bogdanovich which became "This is Orson Welles," he speaks as if his visual style never had any thematic significance. It is wonderful to hear him finally talk about style and vindicate one for taking such joy in his visual motifs.

In the second half of the movie, Welles discusses the elements of the film which were dictated by practicality and necessity. Welles had to procure the funds for his Othello entirely himself, either from being paid to appear in other mens' movies, or from the odd backer who would contribute not nearly enough money. This meant production had to keep stopping and relocating across the world. Orson Welles was the first person in the history of cinema to make a movie not attached to a certain studio or even country! When it came to the Cannes film festival, Welles was stuck with what country to say the movie was of! He chose Morrocco for convenience, ironically where the character Othello was originally from. This makes Orson Welles' Othello the very first independent film, and Welles went on to become the founder of the independent film movement.

Also included is a reunion luncheon party with Hilton Edwards (Desdemona's father) and Michael Macliammoir (Iago). Following, Welles further discusses the play of Othello, performs a couple of key speeches from the play. The final segment is from a question time after a screening of Othello to film students.

As always, hearing Orson talk is marvellous to listen to. A wonderful, gentle coda to a boistrous film career.

I think this film is among the most fascinating there is. See, I think Orson Welles is among the greatest artists ever, in any field or time. He's a genius of light and shadow, of creating images and rhythms that not only captivate but shape the way films are made and how they're seen.

If you have been bewitched by him, as I have been, in "F for Fake" (1974), then this film is a drug, really. It's amazing to see him talk, since he's such a charismatic narrator. Indeed, I think he could talk about anything and it'd be there to listen; considering that he discusses what I think is again among the greatest achievements in art, his 1952 film "The Tragedy of Othello: The Moor of Venice" (1952). His insight into his art, and his insight into art and storytelling, also as a storyteller in the ongoing conversation, are actually something I'd recommend to be studied, because they're not only first-rate, they're inspiring.

His anecdote of him finding out "Othello" had won at Cannes is priceless, as well as that of the Turkish bath. Also Welles' remark that "one real life Iago is enough for any life", and his definition of a film director as " the man who presides over accidents, but doesn't make them."

Of course this is best served with "Othello", but I would really see "F for Fake" too. They make for a great experience, and Welles' "Macbeth" (1948) and "Chimes of Midnight" (1965), as well.

At this writing the film is available on YouTube. I suppose, as is the case with most Welles films, the rights issue is a tangle, since I haven't seen it on any DVDs.