list http://www.spout.com/ Recent community activity around Othello on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Othello/25741/default.aspx Title: Othello
Year: 1952
Director: Orson Welles
Plot: Anyone interested in making a low-budget movie ought to see Orson Welles' screen adaptation of William Shakespeare's Othello, a striking example of how much can be achieved with very little money. For years, stories about this singularly troubled movie circulated more widely than the film itself; Welles began shooting Othello without securing full financing, so he would gather his cast, assemble a crew, and shoot until his money ran out. He would then take an acting assignment to raise some cash, reassemble his cast, and start filming again until the latest batch of money was gone. For the sequence featuring the murder of Cassio, Welles (depending on who tells the story) either couldn't pay the bill for the costumes or they just didn't arrive in time, so he reset the scene in a Turkish bath with his players wrapped in towels borrowed from their hotel. This process went on for four years; by the time Welles was done, the film was on its third Desdemona, and the director, himself, had to dub several voices, since most of the dialogue was recorded after the fact. Remarkably, the finished film not only isn't a disaster, it's a triumph, that rare example of a movie based on a Shakespeare play that's as exciting to look at as it is to listen to. While Welles pared the Bard's story of jealousy, betrayal, and murder to the bone (this version clocks in at a mere 92 minutes), the film's striking compositions and energetic quick-cutting allow the camera to tell more of the story than almost any other Shakespeare adaptation. Repeat viewers will see that Welles picked many of his camera angles to obscure the fact that Othello's mighty army was merely a handful of extras, but the unexpected bonus is a lean, muscular look that's the perfect match for the film's brisk narrative style. The spare, but powerful, visuals feel like a product of Expressionism, not a low budget, and the images have atmosphere to spare. In addition, it's truly a pleasure to hear Welles' rich baritone wrap itself around Shakespeare's dialogue; his con brio performance as the noble Moor undone by jealousy and betrayal has the impact of a fine stage rendition without overplaying its hand. Michael MacLiammoir is his equal as the conniving (and lustful) Iago, and had this film been more widely seen, it could well have sparked the successful screen career he so obviously deserved. And Michael Laurence is fine in an often witty turn as Cassio (with a verbal assistance from Welles). Only Suzanne Cloutier as the virtuous but wronged Desdemona lacks the forceful presence of the rest of the cast (though given how much of the role was edited away, it may not be entirely her fault). Welles' daughter spearheaded a campaign to restore and re-release Othello in 1992; and while the digital sheen of the re-recorded score sometimes makes for an odd contrast to the occasionally scratchy recordings of the dialogue, the new edition of the film looks better than ever (both on the big screen and on video) and is highly recommended to anyone who loves good acting or good cinema. ~ Mark Deming, All Movie Guide
Number of Lists: 6
Number of blog posts: 3
SpoutRating: 3
]]>Tue, 13 May 2008 09:12:32 GMTOthello1952Orson WellesAnyone interested in making a low-budget movie ought to see <a href="/players/P___116368/default.aspx" style='text-decoration:underline'>Orson Welles</a>' screen adaptation of William Shakespeare's Othello, a striking example of how much can be achieved with very little money. For years, stories about this singularly troubled movie circulated more widely than the film itself; Welles began shooting Othello without securing full financing, so he would gather his cast, assemble a crew, and shoot until his money ran out. He would then take an acting assignment to raise some cash, reassemble his cast, and start filming again until the latest batch of money was gone. For the sequence featuring the murder of Cassio, Welles (depending on who tells the story) either couldn't pay the bill for the costumes or they just didn't arrive in time, so he reset the scene in a Turkish bath with his players wrapped in towels borrowed from their hotel. This process went on for four years; by the time Welles was done, the film was on its third Desdemona, and the director, himself, had to dub several voices, since most of the dialogue was recorded after the fact. Remarkably, the finished film not only isn't a disaster, it's a triumph, that rare example of a movie based on a Shakespeare play that's as exciting to look at as it is to listen to. While Welles pared the Bard's story of jealousy, betrayal, and murder to the bone (this version clocks in at a mere 92 minutes), the film's striking compositions and energetic quick-cutting allow the camera to tell more of the story than almost any other Shakespeare adaptation. Repeat viewers will see that Welles picked many of his camera angles to obscure the fact that Othello's mighty army was merely a handful of extras, but the unexpected bonus is a lean, muscular look that's the perfect match for the film's brisk narrative style. The spare, but powerful, visuals feel like a product of Expressionism, not a low budget, and the images have atmosphere to spare. In addition, it's truly a pleasure to hear Welles' rich baritone wrap itself around Shakespeare's dialogue; his <I>con brio</I> performance as the noble Moor undone by jealousy and betrayal has the impact of a fine stage rendition without overplaying its hand. Michael MacLiammoir is his equal as the conniving (and lustful) Iago, and had this film been more widely seen, it could well have sparked the successful screen career he so obviously deserved. And Michael Laurence is fine in an often witty turn as Cassio (with a verbal assistance from Welles). Only Suzanne Cloutier as the virtuous but wronged Desdemona lacks the forceful presence of the rest of the cast (though given how much of the role was edited away, it may not be entirely her fault). Welles' daughter spearheaded a campaign to restore and re-release Othello in 1992; and while the digital sheen of the re-recorded score sometimes makes for an odd contrast to the occasionally scratchy recordings of the dialogue, the new edition of the film looks better than ever (both on the big screen and on video) and is highly recommended to anyone who loves good acting or good cinema. ~ Mark Deming, All Movie Guide633http://www.spout.com/ProductImages/t03432cvbqe.jpghttp://www.spout.com/films/Othello/25741/default.aspxFilm http://www.spout.com/blogs/cinemarian/archive/2008/5/13/28904.aspx Post By: CinemaRian
Post To: CinemaRian Blog
Post Date: 5/13/2008 5:12:32 AM
Body: Othello is one of Orson Welles' masterpieces, and is the best Shakespeare film that I have seen, even better than Kenneth Branaugh's Henry V. In fact, in some ways, it's better than the play it's based on, which I read in high school. The only people who will probably hate the film are Shakespeare purests, as Welles the screenwriter made major cuts and added narration not found in the original. What results is a streamlined and more beleivable version of an obviously good but convoluted play. For reasons that are only hinted at, Iago (Michael MacLiammoir), a soldier in the Venician army, hates his Moorish commander, Othello (Welles). Othello has just secretly married Desdemona (Suzanne Clouteir), the daughter of a senator, whom he loves passionatley. Iago plots his commanders destruction by making him think that Desdemona is having an affair with Cassio (Michael Laurence), Othello's friend an fellow soldier. Tragedy results for everyone. Welles' version of the Shakespeare classic was one of those imfamous nightmare shoots, like Apocalyspe Now or Fitzcarrldo where it is a miracle the film is even completed, let alone good. Welles began shooting in 1949 and had to stop when funding fell through. The director could never get quiet enough to finish the film and had to shut down filmming several times to he could go out and raise more. By the time the movie was finished, many of the actors had left the film (one source states that he had gone through three Iagos and six Desdemonas). The sound track was always a problem, as Welles shot the movie silent with the intent to loop the dialouge in post. This ended up being the weakest aspect of the film. Despite the fact that my DVD featured a restored version with a re-recorded music and sound effects, much of the dialouge is still out of synch, as Welles put sound over images where none was intended, and occasionly decided to cut lines he wanted in. This means that characters sometimes say things without their mouths movings, or speak with no sound. But the rest of the movie is so amazing this problem only rises to the level of an annoyance. Among the director's many achievements is that he has simplifed the most convuluted and unbeleivable part of the play, a lot of business concering a hankercheif that leads Othello to think that Desdemona has betrayed him. Instead of a long string of unlikley events, it feels as if the characters are predestined to their fate, as in a fairy tale. The acting in this movie is also beyond superb, with everyone creating a 3-D character with a beleivable psychological background. MacLiammor makes it totally beleivable that Iago is scumbag to his crony Roderigo (Robert Coote) one minuet, but can convince Othello he's his best friend. Furthermore, Welles never plays Othello as an idiot, as sometimes happens in adaptions of the play. His character is just emotionally unstable and goes off when the wrong buttons are pushed. Laurence and Clouteir are excellent as well in parts that could become dull in other actors hands, though Desdemona's voice belonged to another actress in the final print. Finally, the photography is just amazing. Few other 50's film look like this. Shot on location in Italy and Morroco, Welles uses historical locations and high contrast black-and-white to create a movie world that is totally believable. This is an absolute must see, for basically everyone. It's one of the best films from one of the best filmmakers of all time. If you want to see a cinematic record of genius, here it is. Othello (1952)
]]>Tue, 13 May 2008 09:12:32 GMTCinemaRianCinemaRian Blog5/13/2008 5:12:32 AMOthello is one of Orson Welles' masterpieces, and is the best Shakespeare film that I have seen, even better than Kenneth Branaugh's Henry V. In fact, in some ways, it's better than the play it's based on, which I read in high school. The only people who will probably hate the film are Shakespeare purests, as Welles the screenwriter made major cuts and added narration not found in the original. What results is a streamlined and more beleivable version of an obviously good but convoluted play. For reasons that are only hinted at, Iago (Michael MacLiammoir), a soldier in the Venician army, hates his Moorish commander, Othello (Welles). Othello has just secretly married Desdemona (Suzanne Clouteir), the daughter of a senator, whom he loves passionatley. Iago plots his commanders destruction by making him think that Desdemona is having an affair with Cassio (Michael Laurence), Othello's friend an fellow soldier. Tragedy results for everyone. Welles' version of the Shakespeare classic was one of those imfamous nightmare shoots, like Apocalyspe Now or Fitzcarrldo where it is a miracle the film is even completed, let alone good. Welles began shooting in 1949 and had to stop when funding fell through. The director could never get quiet enough to finish the film and had to shut down filmming several times to he could go out and raise more. By the time the movie was finished, many of the actors had left the film (one source states that he had gone through three Iagos and six Desdemonas). The sound track was always a problem, as Welles shot the movie silent with the intent to loop the dialouge in post. This ended up being the weakest aspect of the film. Despite the fact that my DVD featured a restored version with a re-recorded music and sound effects, much of the dialouge is still out of synch, as Welles put sound over images where none was intended, and occasionly decided to cut lines he wanted in. This means that characters sometimes say things without their mouths movings, or speak with no sound. But the rest of the movie is so amazing this problem only rises to the level of an annoyance. Among the director's many achievements is that he has simplifed the most convuluted and unbeleivable part of the play, a lot of business concering a hankercheif that leads Othello to think that Desdemona has betrayed him. Instead of a long string of unlikley events, it feels as if the characters are predestined to their fate, as in a fairy tale. The acting in this movie is also beyond superb, with everyone creating a 3-D character with a beleivable psychological background. MacLiammor makes it totally beleivable that Iago is scumbag to his crony Roderigo (Robert Coote) one minuet, but can convince Othello he's his best friend. Furthermore, Welles never plays Othello as an idiot, as sometimes happens in adaptions of the play. His character is just emotionally unstable and goes off when the wrong buttons are pushed. Laurence and Clouteir are excellent as well in parts that could become dull in other actors hands, though Desdemona's voice belonged to another actress in the final print. Finally, the photography is just amazing. Few other 50's film look like this. Shot on location in Italy and Morroco, Welles uses historical locations and high contrast black-and-white to create a movie world that is totally believable. This is an absolute must see, for basically everyone. It's one of the best films from one of the best filmmakers of all time. If you want to see a cinematic record of genius, here it is. Othello (1952) http://www.spout.com/blogs/sarcastig/archive/2007/7/13/13873.aspx Post By: sarcastig
Post To: As cool as a Fruitstand
Post Date: 7/13/2007 4:00:33 PM
Body: Wow. I mean, wow.Othello opens with a funereal procession, heavy dramatic music playing. The shots are truly black and white, in that there are barely any greys: the figures are just black silhouettes set against a forbidding fortress. A man in a cage hangs overhead. This is a tragedy, there's no mistaking it, and when the title card comes up, accompanied by some -by now stereotypical- lute music, it's a jarring contrast.This is how Shakespeare adaptations should be done. This is how theater adaptations should be done, period. Welles both enhances the theatricality here, and at the same time uses every tool and possibility offered by the medium of cinema. One breathtaking shot follows another: in some, the characters are dwarfed against the backdrop of the Essaouira fortress, insignificant and powerless, and in the next they can be seen looming ominously large, filmed from below, often set against a monochrome sky.It's one of the most efficient and unencumbered Shakespeare production I've seen, too. Nothing feels rushed, and time is taken both for long silent passages and grand speeches, but the film lasts only 90 minutes and nothing seems superfluous. Many directors confuse respect for the source material for a prohibition against leaving anything out (I'm looking at you, Kenneth), but Welles gets to the essence here, to the core of this jealousy-driven story.Then there's the voice. Has there ever been a deeper, more majestic, more thrilling voice than Orson Welles'? At some points, it literally sent a chill down my spine. Some might object to the blackface used in the movie, but I cannot imagine Othello now with anyone's voice but his.I could talk on and on about this movie: the intriguing scene in which Rodrigo is murdered; the shots of Iago with the empty cage hanging overhead; the strangling of Desdemona; how this makes me want to go back to Essaouira. In the end, of course, the film's a mess: some of the text is very hard to understand, Rodrigo's motivation is never made clear, and I didn't find Iago at all convincing. However, it's a mess that's imminently fascinating every step of the way, and with more memorable shots than I could keep track of, shots that make you gasp in surprise and wonder, shots that remind you of why Welles is revered for more than just his hypnotic voice. Originally posted on:As cool as a Fruitstand
]]>Fri, 13 Jul 2007 20:00:33 GMTsarcastigAs cool as a Fruitstand7/13/2007 4:00:33 PMWow. I mean, wow.Othello opens with a funereal procession, heavy dramatic music playing. The shots are truly black and white, in that there are barely any greys: the figures are just black silhouettes set against a forbidding fortress. A man in a cage hangs overhead. This is a tragedy, there's no mistaking it, and when the title card comes up, accompanied by some -by now stereotypical- lute music, it's a jarring contrast.This is how Shakespeare adaptations should be done. This is how theater adaptations should be done, period. Welles both enhances the theatricality here, and at the same time uses every tool and possibility offered by the medium of cinema. One breathtaking shot follows another: in some, the characters are dwarfed against the backdrop of the Essaouira fortress, insignificant and powerless, and in the next they can be seen looming ominously large, filmed from below, often set against a monochrome sky.It's one of the most efficient and unencumbered Shakespeare production I've seen, too. Nothing feels rushed, and time is taken both for long silent passages and grand speeches, but the film lasts only 90 minutes and nothing seems superfluous. Many directors confuse respect for the source material for a prohibition against leaving anything out (I'm looking at you, Kenneth), but Welles gets to the essence here, to the core of this jealousy-driven story.Then there's the voice. Has there ever been a deeper, more majestic, more thrilling voice than Orson Welles'? At some points, it literally sent a chill down my spine. Some might object to the blackface used in the movie, but I cannot imagine Othello now with anyone's voice but his.I could talk on and on about this movie: the intriguing scene in which Rodrigo is murdered; the shots of Iago with the empty cage hanging overhead; the strangling of Desdemona; how this makes me want to go back to Essaouira. In the end, of course, the film's a mess: some of the text is very hard to understand, Rodrigo's motivation is never made clear, and I didn't find Iago at all convincing. However, it's a mess that's imminently fascinating every step of the way, and with more memorable shots than I could keep track of, shots that make you gasp in surprise and wonder, shots that remind you of why Welles is revered for more than just his hypnotic voice. Originally posted on:As cool as a Fruitstand http://www.spout.com/blogs/sarcastig/archive/2007/7/9/13550.aspx Post By: sarcastig
Post To: As cool as a Fruitstand
Post Date: 7/9/2007 7:00:24 PM
Body: Wow. I mean, wow.Othello opens with a funereal procession, heavy dramatic music playing. The shots are truly black and white, in that there are barely any greys: the figures are just black silhouettes set against a forbidding fortress. A man in a cage hangs overhead. This is a tragedy, there's no mistaking it, and when the title card comes up, accompanied by some -by now stereotypical- lute music, it's a jarring contrast.This is how Shakespeare adaptations should be done. This is how theater adaptations should be done, period. Welles both enhances the theatricality here, and at the same time uses every tool and possibility offered by the medium of cinema. One breathtaking shot follows another: in some, the characters are dwarfed against the backdrop of the Essaouira fortress, insignificant and powerless, and in the next they can be seen looming ominously large, filmed from below, often set against a monochrome sky.It's one of the most efficient and unencumbered Shakespeare production I've seen, too. Nothing feels rushed, and time is taken both for long silent passages and grand speeches, but the film lasts only 90 minutes and nothing seems superfluous. Many directors confuse respect for the source material for a prohibition against leaving anything out (I'm looking at you, Kenneth), but Welles gets to the essence here, to the core of this jealousy-driven story.Then there's the voice. Has there ever been a deeper, more majestic, more thrilling voice than Orson Welles'? At some points, it literally sent a chill down my spine. Some might object to the blackface used in the movie, but I cannot imagine Othello now with anyone's voice but his.I could talk on and on about this movie: the intriguing scene in which Rodrigo is murdered; the shots of Iago with the empty cage hanging overhead; the strangling of Desdemona; how this makes me want to go back to Essaouira. In the end, of course, the film's a mess: some of the text is very hard to understand, Rodrigo's motivation is never made clear, and I didn't find Iago at all convincing. However, it's a mess that's imminently fascinating every step of the way, and with more memorable shots than I could keep track of, shots that make you gasp in surprise and wonder, shots that remind you of why Welles is revered for more than just his hypnotic voice. Originally posted on:As cool as a Fruitstand
]]>Mon, 09 Jul 2007 23:00:24 GMTsarcastigAs cool as a Fruitstand7/9/2007 7:00:24 PMWow. I mean, wow.Othello opens with a funereal procession, heavy dramatic music playing. The shots are truly black and white, in that there are barely any greys: the figures are just black silhouettes set against a forbidding fortress. A man in a cage hangs overhead. This is a tragedy, there's no mistaking it, and when the title card comes up, accompanied by some -by now stereotypical- lute music, it's a jarring contrast.This is how Shakespeare adaptations should be done. This is how theater adaptations should be done, period. Welles both enhances the theatricality here, and at the same time uses every tool and possibility offered by the medium of cinema. One breathtaking shot follows another: in some, the characters are dwarfed against the backdrop of the Essaouira fortress, insignificant and powerless, and in the next they can be seen looming ominously large, filmed from below, often set against a monochrome sky.It's one of the most efficient and unencumbered Shakespeare production I've seen, too. Nothing feels rushed, and time is taken both for long silent passages and grand speeches, but the film lasts only 90 minutes and nothing seems superfluous. Many directors confuse respect for the source material for a prohibition against leaving anything out (I'm looking at you, Kenneth), but Welles gets to the essence here, to the core of this jealousy-driven story.Then there's the voice. Has there ever been a deeper, more majestic, more thrilling voice than Orson Welles'? At some points, it literally sent a chill down my spine. Some might object to the blackface used in the movie, but I cannot imagine Othello now with anyone's voice but his.I could talk on and on about this movie: the intriguing scene in which Rodrigo is murdered; the shots of Iago with the empty cage hanging overhead; the strangling of Desdemona; how this makes me want to go back to Essaouira. In the end, of course, the film's a mess: some of the text is very hard to understand, Rodrigo's motivation is never made clear, and I didn't find Iago at all convincing. However, it's a mess that's imminently fascinating every step of the way, and with more memorable shots than I could keep track of, shots that make you gasp in surprise and wonder, shots that remind you of why Welles is revered for more than just his hypnotic voice. Originally posted on:As cool as a Fruitstand http://www.spout.com/members/0/tags/betrayal/MemberTagFilms.aspxbetrayal
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