Orson Welles’ historical obsession with William Shakespeare and his works is no secret. It is even palpable in films that do not adapt these works, where fallen myths are also explored, fractured men behind a supposed crown and a fine sense of humor that is not so praised by fans or recognized by detractors also sneaks in. However, his versions of those essential pieces are one of the best versions made for a screen.
The Shakespearean sometimes seeks to place strength in the already powerful words of the original text, convincing by themselves. The most skilled know use the visual to reflect that same sophisticated forcefulness. Welles was a clear example of what some might even consider the least round of his adaptations, such as ‘Othello’.
a moroccan odyssey
Available to stream for free on Plex and a FilmBox+ subscription, this film exists in a interesting paradox that makes her stateless. Associated with Morocco for the location of the function, for the (partial) filming in said location and for mere convenience, since Welles lost French financing at the beginning of production and his Italian production company went bankrupt. It was the director who had to finance it with his participation in various feature films, and it was shot in pieces between 1948 and 1951.
That makes her one of those strange participants in the history of the Cannes Film Festival who competes (and ends up being awarded) without having a nationality, beyond the one assigned, as we have said, for convenience. A peculiar way to start with a new creative period away from the United States and the restrictions of Hollywoodsomething that is embodied in a certain defiant freedom of the film.
Welles stars in the role himself, giving life to the lovesick Moorish officer who must fight first against other people’s prejudices and then against their own jealousy. An interesting decision considering the conditions in which ‘The Lady from Shanghai’ was filmed with his wife Rita Hayworth, who forced her to cut her hair and dye it blonde to avoid monopolizing the attention her long red hair was already receiving.
‘Othello’: trying to capture the magic
Parallels aside, ‘Othello’ is clearly marked by its chaotic filming, with an erratic narration of the events of the work or a bizarre dubbing as it had to be done by Welles himself due to the limitations. Conditions that make it less round and dazzling that his ‘Macbeth’ or ‘chimes at midnight‘, although it does not stop having visual qualities that make it a delight to contemplate.
details of great ambition they plague ‘Othello’, showing the path that Welles would broaden at this stage and culminate in his last years of more elusive but magnetic narration. Even though it is a rough film (something worth investigating through his own documentary ‘Filmin Othello’), he understands the decisions that must be made to maintain the Shakespearean aspect and the moviegoer can be satisfied even without interest. On it.
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