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Oct 19, 2017 Web Exclusive By Jason Wilson

Orson Welles clearly had a deep love and respect for the work of William Shakespeare. From stage to screen, Welles adapted the Bard’s work on numerous occasions in a variety of innovative and formally creative fashions. His Othello is no different, though it’s not without its major discomforts in regards to his own casting as the titular Moor of Venice.

For those who struggle with Shakespearean dialog, the best method of viewing an adaptation that maintains the vernacular is to actively stop trying to discern what every word or phrase specifically means. It’s not as complicated as it may initially appear. In Chimes at Midnight, it’s the spoken language that may prove its biggest roadblock, while the visual language of the film does all the translating and heavy lifting required. Welles travels down a similar path in Othello. At the core of his version, all you need to know is Othello (played by Welles) is an army leader for the Venetians, though he is not from the same place and remains an outsider despite his conquests. This is especially true when he marries Desdemona. While Othello can be respected for his militaristic exploits, Desdemona’s father doesn’t want a Moor to wed his daughter. Iago, a petty and impish man plots to tear Othello asunder through rumor and manipulation. He convinces Othello that Desdemona is unfaithful, and due to his reputation as an honest man, Othello believes him and thus everyone’s tragic spiral is set in motion.

In a feature-length video essay included in this edition, Welles explains his interpretation of Iago’s motivations as being borne from impotence. From Iago’s impotence comes spite and he becomes an agent of chaos for the story. In the opening moments of the film, Othello’s and Desdemona’s funeral processions are underway and Iago is being hoisted above in a cage. It spells out that no one is safe in what will follow.

It’s impossible – and irresponsible – to avoid commentary on Welles’ decision to cast himself as Othello. In the context of 2017, this will not be seen kindly and will, understandably, make viewers uncomfortable. Interestingly, it may have been seen as relatively gauche even when he made the film over several years in the late 40s and early 50s. There is a wonderful accompanying interview with Aryanna Thompson – author of “Passing Strange: Shakespeare, Race, and Contemporary America – who discusses the history of the role of Othello, and how it was largely agreed that white people could no longer take over this role with impunity even when Welles did so anyway. She talks about Paul Robeson and his portrayals as one of the ground-breakers for black actors in the role. Thompson also discusses Welles’ removal of most pointed moments that specifically tackle the complexities of race and racial identity at the heart of Othello, the play, instead focusing more on the themes of marital jealousy and paranoia.

In that way, Welles seems conscious of the tightrope act he is attempting, though he doesn’t really address it in his video essay. Despite his choice to strip the story of most of the racial commentary inherent to the story, Welles still paints himself a darkened hue and curls his hair. He doesn’t go full caricature, and Thompson addresses his choices that avoid minstrelsy, but it remains controversial. She also examines Welles’ direction of an a stage version of Macbeth he set in Haiti with an all-black cast, and generally says Welles’ racial politics were relatively complicated.

The Criterion Collection edition presents the information and two versions of the film, and offers enough context surrounding the film that the viewer is provided with an extensive dive into a complex and fascinating film. The restoration is gorgeous, and the filmmaking prowess on display is second-to-none. Upon discovery of the trials and tribulations facing the production (as told by Welles himself) it’s a miracle that anything remotely coherent could have been created at all. So, even if Welles’ Othello comes across as misguided, or even outright offensive, in its conception it is important to consider the context of when it was made and Welles’ own attitudes. It shouldn’t necessarily be excused, but the art on display can be appreciated while still recognizing the shortcomings therein. The special features included go a long way to help put everything into a proper context, making this one of the most complete releases they’ve tackled in recent memory.

www.criterion.com/films/28621-othello