Film Review
Of the thirty-seven magnificent works in the
BBC Television Shakespeare
series of the late 1970s to mid-1980s few shine more brightly, nor have
a more visceral impact, than Jonathan Miller's brutally intense
production of
Othello.
The casting of Anthony Hopkins as the tragically fated Moor of Venice
was hugely controversial at the time (the American actor James Earl
Jones was originally slated for the role but blocked by a protest from
Equity, the actor's union), and indeed this was the last occasion that
a white actor played the role on British television. Hopkins had
long hankered after playing Othello and does not disappointment, giving
a performance which is arguably one of his most nuanced and compelling,
if not to say downright terrifying. In an astonishing career,
Anthony Hopkins has played no end of monstrous, dangerously repressed
characters and has a particular talent for drawing his spectator in
through his intimidating façade and compelling us to sympathise
with the insecure and deeply flawed person that lies beneath. There is
probably no other Shakespearean character that the actor was better
suited to play and his swarthy, thin-skinned Othello is a desperately tragic individual.
The casting of Bob Hoskins as a cockney 'bovver boy' Iago also has much
to commend it, and as the most unremittingly evil character ever
created for the stage Hoskins is certainly in his element, relishing
the insidious power of his obsessively manipulative character. An
attention grabbing performance it may be but it has little of the
subtlety of Hopkins' Othello, and the psychotic giggling that Hoskins
uses to embellish every one of his confidential monologues introduces
an unfortunate aura of pantomime into the proceedings. More
satisfying are the more restrained contributions from Penelope Wilton
and Rosemary Leach, both excellent choices for the parts of Desdemona
and Emilia respectively. A lesser actress than Wilton would most
likely have wilted in the presence of a giant such as Hopkins and her
expression of Desdemona's incredulity at her husband's irrational
hatred for her in the later scenes is searingly poignant in its realism.
The minimalist design, stark but effective, takes its inspiration from
the paintings of 16th century artists including Diego Velázquez
and El Greco. This adds to the brooding doom-laden intensity of
the play, bringing a sense of stifling confinement which intensifies as the
drama builds to its volcanic climax. In common with all of the
plays in the series, this BBC production of
Othello is rigorously true to the
standard text, with only a few minor trims here and there.
Running to just over 200 minutes, this may be one of the longer
offerings in the BBC Television Shakespeare but it is assuredly one of the
most dynamic and enthralling - an absorbing yet frighteningly astute
study in the worst failings of which a man is capable, calculating
venality on the one hand, intemperate injustice on the other.
© James Travers 2014
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Film Synopsis
Othello, a Moorish general in the Venetian army, has won the admiration
and gratitude of all but one man. That man is Iago, a lowly
ensign who bitterly resents Othello's decision to promote a less worthy
soldier, Michael Cassio, in his place. When Othello marries
Desdemona, the daughter of Senator Brabantio, Iago sees his opportunity
to inflict a cruel revenge against his enemy. With cunning, he
begins to spin the lie that Desdemona has deceived her husband and
allowed Cassio into her bed chamber. In his evil plan, Iago is
aided by the most powerful of allies, Othello's uncontrollable
jealousy...
© James Travers
The above content is owned by filmsdefrance.com and must not be copied.