The Tragedy of Othello: The Moor of Venice (1952)

Director:

Orson Welles

Writer:

William Shakespeare (play)

Release Date:

June 1955 (USA)

Genre:

Drama

Tagline:

Powerful drama of uncontrolled human emotion!

Plot:

Durante il periodo delle Repubbliche Marinare, in Italia, Otello, detto "il moro di Venezia", viene...

Plot Keywords:

Mistrust Of Wife | Directed By Star | Moor | Shakespeare's Othello | Interracial Romance

Awards:

1 win & 1 nomination

Cast

Orson Welles	...	Othello
Micheál MacLiammóir	...	Iago
Robert Coote	...	Roderigo
Suzanne Cloutier	...	Desdemona
Hilton Edwards	...	Brabantio
Nicholas Bruce	...	Lodovico
Michael Laurence	...	Michael Cassio
Fay Compton	...	Emilia
Doris Dowling	...	Bianca

Also Known As:

Othello (Australia) (France) (USA)
Otello (Italy)

Runtime:

90 min | USA:93 min (TCM print)

Country:

USA | Italy | France | Morocco

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Dolby (re-release) | Mono (RCA Sound System)

Certification:

Italy:T | Australia:G | Finland:K-12 (1967) | Finland:S (1967) | UK:U

Filming Locations:

Castle, El Jadida, Morocco

Company:

Mercury Productions

Trivia:

Orson Welles provides the voice for much of Roderigo's dialogue.

Quotes:

[first lines]
Narrator: There was once in Venice a moor, Othello, who for his merits is the affairs of war was held in great esteem. It happened that he fell in love with a young and noble lady called Desdemona, who drawn by his virtue became equally enamoured of Othello...

Movie Connections:

Referenced in Return to Glennascaul (1951)

Dimensional Filmmaking

Commenting on Shakespeare films is rather like admiring Easter Eggs.

First the inside: this was never a great play, relative to Shakespeare's other works. His great plays are about ideas, with characters as vectors to prod and activate them. This play is merely about characters, which makes it attractive to actors. That's certainly why Welles selected it.

Welles is the Sinatra of dramatic reading, with phrasing mastered in his radio days. All else is acceptable (at least to my tastes) so far as the play goes.

Now the shell, and here is what makes this film one of the most important. When Welles moved into film, he did so as an architect. He understood that great film constructs a space that includes the audience. So he worked with the most direct tools, buildings themselves. These sets are remarkable. I cannot imagine how he found them, how he could have seen the possibilities.

Selection aside, how he uses the spaces! View this film at least once in silence. I rate Welles as one of the 20th century's great architects and predict that this film will be mined when we get around to really creating cyberbuilding.