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I am confused with many of the editorial reviews on the dwelling. This incarnation of Othello is, in my mind, nearly perfect. Obvious, it can’t encapsulate everything Shakespeare intended, but it stays correct to his themes of jealousy, obsession and power, and featured astonishing acting and production values.
What can I say about Othello that hasn’t already been said in dozens of dissertations already? As one of the “immense four” (Hamlet, Macbeth, King Lear and Othello) it has remained a benchmark for tragedies for centuries. Some people might scoff at the film’s intent to fabricate Shakespeare accessible to the lay viewer, but it truly doesn’t pain the account or interfere with Shakespeare’s always appetizing prose. In short, the movie outperforms any preconceived notions one might have.
The cast is incredible. A pre-Matrix Lawrence Fishburne stars as the Moor, Irene Jakob as Desdemona, and the infallible Kenneth Branaugh as Iago, Shakespeare’s most complex and calculating villain. Often in Shakespeare plays, the villain is more though-provoking than the hero, and that is certainly proper here. Branaugh steals every scene he is in with his coldly malevolent performance, and his asides to the audience are drenched in apprehension and rage. One can nearly pity the man, he comes off as so tortured. It is perhaps the best performance I’ve ever seen out of an actor, period. Fishburne was exquisite distinguished a nobody when the film was made, but that doesn’t end him from holding his fill with Brannaugh and churning out the iambic pentameter. He hits his marks very well and is very convincing when it comes to acting with passion. Irene Jakob is not necessarily the choice I would have made for Desdemona. I would have chosen someone with a more coquettish personality. However, the fact that her loyalty is beyond inquire actually enhances the yarn by showing how obviously and irrationally jealous Othello becomes.
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The production is great. The sets, sounds, costumes, etc. are unbelievable. One really gets a you-are-there feeling (as corny as that sounds) by watching the movie. After overstylized (and poor) postmodern Shakespeare interpretations, it is refreshing to leer the world as Shakespeare himself envisioned it.
Unfortunately, the arrive to involve the lay person does have a single weakness, and that is the excessive sexuality. Can we objective capture it at someone’s word that people are deeply in cherish and leave something to the imagination? Sexing up Shakespeare (no pun intended) in this procedure honest seems purely sensational, the only really problematic aspect in the film.
There are those who would call Shakespeare the greatest writer and thinker in history and there are those who would call him a hack. Thankfully, those of us in the first category can like this olive branch to the second. Truly engrossing and necessary, and with a respect for its source and its audience, this Othello is hard to beat.
While the Orson Welles version is animated both for its visual elements and fact that it was made over several years due to financial constraints, it does not match the passion and accessibility of the Fishburne-Branagh production.
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Branagh’s Iago is the soul of charming sinful, while Fishburne’s Othello is deeply attractive as a man struggling against a jealousy that ultimately overwhelms him.
A third performance that rates special mention is that of Desdemona’s maid (a shapely actress whose name I do not retract) . Although this character has virtually no lines for more than the first half of the film, she adds a unlit, cynical counterpoint to Desdemona’s romantic idealism.
Also, the production values–the setting, cinematography, and costumes–are generous and aid the film well.
Double Eagle Gold Coin
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