
Filming Othello begins with Welles standing behind a moviola. He directly addresses the camera and announces: "This is to be a conversation, certainly not anything so formal as a lecture, and what we're going to talk about is Othello, Shakespeare's play and the film I made of it." Welles initially conducts a monologue where he recalls the events that lead up to the creation of Othello and some of the problems that plagued the production. As the film progresses, he switches to... (Full plot summary below)
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Filming Othello begins with Welles standing behind a moviola. He directly addresses the camera and announces: "This is to be a conversation, certainly not anything so formal as a lecture, and what we're going to talk about is Othello, Shakespeare's play and the film I made of it." Welles initially conducts a monologue where he recalls the events that lead up to the creation of Othello and some of the problems that plagued the production. As the film progresses, he switches to a conversation in a restaurant between himself and two of the film's co-stars, Micheal MacLiammoir (who played Iago) and Hilton Edwards (who played Brabantio). The three men talk at length about the making of Othello. Welles then resumes his monologue from his position behind the moviola. He then runs footage on the moviola of a question and answer session he conducted during a 1977 screening of Othello in Boston. Welles concludes the film in his position as a monologuist, proclaiming: "There are too many regrets, there are too many things I wish I could have done over again. If it wasn't a memory, if it was a project for the future, talking about Othello would have been nothing but delight. After all, promises are more fun than explanations. In all my heart, I wish that I wasn't looking back on Othello, but looking forward to it. That Othello would be one hell of a picture. Goodnight.
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| Combustible CelluloidJeffrey M. AndersonIt's hard not to be moved by Welles' extraordinary storytelling or the slight wistful tone that creeps in. |
| User ReviewArt SOrson Welles' final film to be released to the public (at least until the soon-to-be-completed The Other Side of the Wind) was a "conversation" about the making of his version of Shakespeare's Othello, which he shot nearly 30 years earlier. An essay film in the mould of his excellent F for Fake (1973), it mixes found footage with new material and a great deal of Welles speaking directly to the camera in front of his old moviola (presaging a heartfelt ode to the role of editing in the cinema). Welles is a charismatic raconteur and a bit of a charlatan and his stories and anecdotes about the past production, itself a miracle of shoe-string budget magic and amazing visual design, held this viewer's attention rapt. (Indeed, I actually saw this on the big screen about 15 years ago and despite its central focus on talking heads, it was worth it). The film breaks neatly into three parts: 1) Welles' introduction to Othello and his stories about it (shot originally as a preface for a German TV showing of the film); 2) a recording of a luncheon with Michael MacLiammoir and Hilton Edwards, two stars of the film and Welles' mentors at Dublin's Gate Theatre, where they talk about the production; and 3) Welles' vigorous readings of several of the key speeches from the play. Sounds straightforward but Welles could not help but engage in a little of the trickery that enabled him to make Othello such a success despite being filmed across several years in disparate locations with and without actors and their costumes: apparently, he filmed his contributions to the luncheon with his friends a number of months later and inserted himself into the footage. Best shot: when he breaks out the wine and they all drink a toast! |