Othello

Rating:
Summary: Utterly flawless - and completely unsettling.
Review: I just viewed Branaghs "Othello" and can offer no further discussion. I am rendered speechless.

Rating:
Summary: Othello
Review: I love Shakespear, but I am not an expert in either his plays nor the film versions of those plays. I do know that Othello is a very hard play to watch and to understand the motivations of not just the Moor, but also the other characters. I have seen other versions of this play and I have to admit that I thought Laurence Fishburne's the best. He might not yet be as experienced or well versed in the Bard's words as Olivier was, but in reachability and letting us, a younger generation, understand the character with all his flaws and good points he did an excellent job. He is a bit young for the part since the Moor was already in his forties or fifties with graying hair, but I for one am willing to forgive this diviation from the original script. To see Fishburne bring the Moor and Branagh the evil Iago to life was a joy to watch.

Rating:
Summary: See it, even if you don't like Shakespeare!
Review: I must admit that Othello is my favourite Shakespeare play. It's shocking and cunning and you can't stop watching it, even when it gets more and more tragic.
I have to study it for my A Levels and it makes the book so much easier because it puts everything in context.
Admittedly Laurence Fishburne is a fantastic Othello but in some parts he seems to be reading a line rather than saying it naturally and Irene Jacobs' Desdemona is brilliant, her facial expressions completely natural.
However, my favourite character was of course Iago. Kenneth Branagh had Iago's character down perfectly and he was of course perfect in his lines and pronunciation.
Overall, a great film. Even if you don't like Shakespeare, watch it. I didn't liek Shakespeare before I saw this and now I really like his work.

Rating:
Summary: Excellent Shakespeare Adaption
Review: I'd have to say that this is the best Shakespeare movie I've ever seen.Laurence Fishburne plays the part of Othello perfectly,and Kenneth Branagh is the best portrayel of Iago I've ever seen.I would reccomend this movie to any fan of Shakespeare.But the only thing w/ this movie, as with any Shakespeare movie, if you don't read the play first in class you don't know whats going on in the movie.I guarantee if you buy this movie, you will not be dissapointed.

Rating:
Summary: Great Acting
Review: I've always been a fan of Kenneth Branagh and both his acting and directing abilities. However, in the film interpretation of "Othello," I was blown away by how well he fit the role of Iago. In the play, Iago has to be two-faced all the time. He shows one side of him to one person, and another side to another. In the film, Iago works very hard to keep up his appearance with all the different characters. No character sees more than one side of him, and his plots are kept to himself. Iago is an actor, and Branagh had to perform his part and I think he did it incredibly. While talking to Othello, his facial reactions would visibly change when Othello looked the other way; the audience saw glimpses of Iago's true motives, but they were always hidden from Othello. It was incredible how quickly the transition from a sinister expression to a loving and loyal expression was made. In one scene, Iago and Othello are hugging, and Iago's face reflects contempt as soon as his face is beside Othello's face.

Iago's changes aren't simply when Othello is around, but the changes are the same for when Iago deals with Roderigo. In the scenes with Roderigo, Iago has to perform doubly hard because he's being partially truthful with Iago. He's showing part of his true motives, but he still has to hide them to some extent to convince Roderigo to do his bidding. The scenes between Branagh and Michael Maloney probably impressed me the most. Roderigo may have been gullible or easily convinced, but Iago was still convincing and persuasive enough to move Roderigo from absolute hatred and distrust to absolute loyalty and thankfulness. In one scene, Roderigo is threatening to kill Iago and by the end of the scene, they're hugging and Iago can barely convince Roderigo to leave his side.

The biggest change that Iago undergoes is when he is caught. In the end of the play, when Emilia finally recognizes what has happened, Iago's facial expressions finally become flat and unwavering. He puts on a stoic face and remains that way into his death. He no longer has to convince anyone of anything because they all know the truth, so he doesn't give anyone any idea of what he's thinking and doesn't talk or change his appearance. This scene left a lasting impression on me, even when he was telling Emilia to be wise or when he was killing her, there is no change in his facial expression.

Overall, I was impressed with the movie. I enjoyed the acting from all the characters (not just Branagh), and I'm sure I'd enjoy watching it repeatedly.

Rating:
Summary: Great Acting
Review: I've always been a fan of Kenneth Branagh and both his acting and directing abilities. However, in the film interpretation of "Othello," I was blown away by how well he fit the role of Iago. In the play, Iago has to be two-faced all the time. He shows one side of him to one person, and another side to another. In the film, Iago works very hard to keep up his appearance with all the different characters. No character sees more than one side of him, and his plots are kept to himself. Iago is an actor, and Branagh had to perform his part and I think he did it incredibly. While talking to Othello, his facial reactions would visibly change when Othello looked the other way; the audience saw glimpses of Iago's true motives, but they were always hidden from Othello. It was incredible how quickly the transition from a sinister expression to a loving and loyal expression was made. In one scene, Iago and Othello are hugging, and Iago's face reflects contempt as soon as his face is beside Othello's face.

Iago's changes aren't simply when Othello is around, but the changes are the same for when Iago deals with Roderigo. In the scenes with Roderigo, Iago has to perform doubly hard because he's being partially truthful with Iago. He's showing part of his true motives, but he still has to hide them to some extent to convince Roderigo to do his bidding. The scenes between Branagh and Michael Maloney probably impressed me the most. Roderigo may have been gullible or easily convinced, but Iago was still convincing and persuasive enough to move Roderigo from absolute hatred and distrust to absolute loyalty and thankfulness. In one scene, Roderigo is threatening to kill Iago and by the end of the scene, they're hugging and Iago can barely convince Roderigo to leave his side.

The biggest change that Iago undergoes is when he is caught. In the end of the play, when Emilia finally recognizes what has happened, Iago's facial expressions finally become flat and unwavering. He puts on a stoic face and remains that way into his death. He no longer has to convince anyone of anything because they all know the truth, so he doesn't give anyone any idea of what he's thinking and doesn't talk or change his appearance. This scene left a lasting impression on me, even when he was telling Emilia to be wise or when he was killing her, there is no change in his facial expression.

Overall, I was impressed with the movie. I enjoyed the acting from all the characters (not just Branagh), and I'm sure I'd enjoy watching it repeatedly.

Rating:
Summary: Excellent Movie
Review: I've seen every version of Othello that's been made (including 3 stage productions) and have not seen a better one. Kenneth B. (Iago) gives his best performance yet.

Rating:
Summary: For the younger folks like me who just saw "O"...
Review: If you are curious to see how closely "O" stayed true to the original script of the Shakespeare play "Othello", by all means check out this film...I think you'll be impressed. As a 24 year-old with a mild appreciation for Shakespeare, all I can say is that watching "O" helped me to appreciate this 1995 adaptation (and story overall) so much more. I enjoyed Kenneth Branaugh as the impish and kniving Iago, and Laurence Fishburne as the majestic, powerful, and tragic title character. I highly urge younger Gen-X'ers (like myself), the current Gen-Y'ers, and anyone else who enjoyed "O" to check out this version...you'll develop a whole new appreciation for timeless nature of Shakespeare's plays.

Thanks for reading!

C.H.R.

Rating:
Summary: Othello - Branagh, also vs. Otello
Review: Jealousy can ruin lives and can come from years of pain or from a place indiscernible. William Shakespeare was fascinated by jealousy and what it can do to relationships. Shakespeare used his fascination with jealousy to create a gripping tragedy. Othello is the story of two lovers ruined by an outsider consumed by jealousy. Iago, motivated by material and personal gain as well as the sheer love of evil, breeds mistrust between Othello and Desdemona. After much work, Iago brings Othello to the breaking point. He kills Desdemona because he thinks she has betrayed him. He discovers the truth only when it is too late, and atones for his sins by taking his own life. Oliver Parker's 1995 film version of Othello opens in an obvious Venetian setting in the evening. The film is set during the Renaissance and resembles what the story would have looked like if it had really happened in Shakespeare's day. The settings and costumes are entirely realistic and elaborate. The film is done for all audiences and Parker tries to balance action and dialogue. In trying to balance the content of the film, Parker took liberties with the text, changing almost as much as he could while still keeping the title of Shakespeare's play. In discussing the film, Jack Garner claims Parker "eliminated some 50 percent of the original play." Though this may be true, how the story works is the most important, and Brian Webster of the Apollo Movie Guide says, "in this film it does." Though all of Shakespeare's lines may not be in Parker's film version, the poetic form of Shakespeare's iambic pentameter was kept in nearly every line. Still, the delivery of the lines is crucial to the flow of a Shakespearian play. Kenneth Branagh did a masterful job delivering the lines of Iago. Branagh presented his lines in a way that conveyed his emotions and intentions and in a way that is easily understood. His body language is also highly convincing. Though not the vision of evil that Iago epitomizes, Branagh's body movements were so convincing, I found myself loathing him almost immediately. He looks straight into the eyes of Othello as he lies to him about his pure wife. He crumbles hot ash over his fist to symbolize Othello's blackness. He touches Othello's arm with real concern. His true evil can be seen in the way he conducts himself while executing his diabolical plan. Branagh's subtle tactics reveal to the audience how easy it would be for someone like Othello to fall into Iago's trap. A review in the Shakespeare Bulletin praises Branagh saying he "allows us, with searing gestures, to shudder at the repressed heat that burns in Iago's festering imagination" (Crowl). Laurence Fishburne also does a worthy job delivering his lines. Fishburne, playing the tragic hero Othello, is the jealous polar opposite of Iago. Where Iago's jealousy is unfounded, Othello's jealousy is justified in that he thinks his wife is being unfaithful. It was easy to see how tortured Othello was by his jealousy. His expressions showed his pain and his anger. Most notably, as he imagines Cassio and Desdemona together and while smothering innocent Desdemona, Fishburne's face was riddled with pain. Imagery played a crucial role in Parker's adaptation. Things that were not included in Shakespeare's text were used to bring the audience into the story. Scenery and character actions were key to the visual treatment of the film. Still, parts of the film were based on imagery alone. The most memorable part in the film for me is two-fold. While scheming, Iago knocks two chess pieces into deep water and the camera follows the pieces as they sink. The black king and white queen fall into the water, plunging to bottom. Symbolically, the pieces represented Othello and Desdemona like game pieces Iago used and then sent to their demise. At the end of the movie, this image is replicated when the bodies of Othello and Desdemona are slid into the Mediterranean. Though Parker took liberties in adapting Othello to film, the version was enjoyable. The essence of Shakespeare's lines was preserved in the overall sense of the production. I felt awful for Othello and Desdemona and I feared and hated Iago. To me, this shows that Parker succeeded in making Othello come to life again. Shakespeare's stories have lasted into our time because he wrote about universal themes and believable people. His plays can be adapted to many forms and genres and still speak the same truths about people as they did 400 years ago. Shakespeare's works are often seen as plays and films, so I did not expect to find an operatic version of Othello. Franco Zeffirelli's screen adaptation of Giuseppe Verdi's stage production of Otello is a masterpiece. Many people say that music can speak to the soul more deeply than any words ever could. I realized the total truth of this belief after watching Zeffirelli's Otello. The film opens with a large, strong ship being tossed about on a sea of large waves. The stormy opening sets the stage for what is to happen in the rest of the story. In retrospect, the ship seems like a metaphor for Otello's downfall. Otello is a powerful man who is brought down by forces beyond his control. Other scenes in the film speak to Otello's downfall. After the wedding celebration and the fight, Otello goes to Desdemona in his bedroom. Walking down the stairs to the bedroom symbolizes Otello's fall from grace as a result of his mistrust of Desdemona. Desdemona, the innocent character who has no tragic flaw, is found in the bedroom surrounded by white linens. The linens show her innocence and purity. Desdemona's innocence is further shown in her appearance. She is young and angelic. Her age is portrayed as vastly different from Othello in this version. Parker's adaptation did not reveal any such age difference. Otello's age in the opera "strengthens our impression of his wisdom, restraint, and leadership" (Bevington, 1118), while in truth Otello lets impulse dominate his wisdom and restraint. In Zeffirelli's version, Otello seems to be jealous with regard to Cassio before Iago begins to influence Otello. This jealousy seems to be misplaced. Though it may show the audience that Otello is susceptible to believing that Desdemona has been unfaithful, it takes away from the idea that the two are totally in love. For the story to be believable, Otello must have pure love for Desdemona and have that love ruined by Iago. If the audience sees that Otello does not implicitly trust Desdemona in the beginning, then the audience cannot believe that he ever truly loved her. I am glad that I saw Parker's version before Zeffirelli's. I think that my view of the play would have been tainted just because of the way Zeffirelli treated this situation. Other than the early show of mistrust, Zeffirelli's adaptation shows a great love between Otello and Desdemona. Otello saw her as the missing part of himself. It was as if they each only had one wing and they could only fly embracing one another. Fishburne played a powerful and authoritative Othello, and seemed to be more jealous of losing his wife as property than as the other half of his soul. Another difference between Parker's and Zeffirelli's versions is in the way that Iago's attitude is portrayed. In Zeffirelli's adaptation of Verdi's opera, Iago is filled with complete haterd that is obvious at every turn. Iago watched Otello and Desdemona with pure hatred at their wedding and follows not only them, but Cassio as well. Zeffirelli's version focuses on Iago's hatred of Cassio, which in some small way shows reason why Iago used Cassio in his plot to bring down Otello. Branagh played Othello in a way that made him evil, but Placido Domingo was evil and angry. Zeffirelli's Iago is completely remorseless and cruel. Zeffirelli's version presented many aspects of Shakespeare's play that I feel were left out of Parker's adaptation. Though it was a challenge to watch, it was masterful and captivating. Otello is marvelous and Domingo's voice is enchanting, but no performance could out do Branagh as Iago. His body language, chemistry with the other performers and command of his lines did justice to the words of Shakespeare. The story of Othello can be told many ways, but the essence is always the same. Jealousy can ruin a relationship: jealousy can ruin a person. Insecurity can be as damaging as jealousy. Maybe Shakespeare was warning to keep a close eye on your love. I think he was telling the world that true love trusts and those who are truly in love should never question faithfulness.

Rating:
Summary: Branagh Shines
Review: Kenneth Branagh was amazing in Henry V, playing a beloved and heroic character. He delighted as the witty, comical Benedick in Much Ado About Nothing. How could this same man play one of the most diabolical characters every written in the English language? Just look at the guy, he's a pleasant, fair-haired man.

Branagh astonished me with the ease with which he plays a duplicitous, conniving villain. Playing off his nice guy image, the audience hates him all the more when he as Iago plays the nice guy, while secretly hatching evil schemes. In the asides, where he reveals his true dark nature to the audience alone, he is positively chilling.

Mr. Fishbourne is solid, but overpowered by Branagh. Fishbourne is far more convincing than previous actors playing Othello. His commanding presence and body of violent films help us see him as a war-weary General. In fairness, Iago almost always outshines Othello as a character - - unless the character playing Othello also directs (see Orson Welles, Olivier).

The look of the film is rich. The music and moods are well controlled. The supporting actors all do superb jobs in their roles.

The film is very true to Shakespeare's work, although there are a few cuts. In sum, this is an excellent rendition of an old classic. Branagh makes this movie an excellent purchase.