Product Description

The original cast and soul-shattering impact of the play's 1964 staging by the National Theatre of Great Britain are captured on film. As the valiant war hero swept into a maelstrom of jealousy and revenge Olivier won his seventh Academy Award nomination. The movie's Desdemona (Maggie Smith) Emilia (Joyce Redman) and 'honest Iago' (Frank Finlay) also captured Oscar nominations. And the result Bosley Crowther wrote in The New York Times is that 'this Othello is one of the boldest you'll ever see.'System Requirements:Running Time: 166 minsFormat: DVD MOVIE Genre: DRAMA UPC: 085391112105 Manufacturer No: 111210

Product Details

• Amazon Sales Rank: #9688 in DVD
• Brand: Warner Brothers
• Released on: 2007-08-14
• Rating: Unrated
• Aspect ratio: 2.35:1
• Formats: Closed-captioned, Color, DVD, Original recording remastered, Subtitled, Widescreen, NTSC
• Original language: English
• Subtitled in: English, French
• Number of discs: 1
• Dimensions: .25 pounds
• Running time: 166 minutes

Features

• The original cast and soul-shattering impact of the play's 1964 staging by the National Theatre of Great Britain are captured on film. As the valiant war hero swept into a maelstrom of jealousy and revenge, Olivier won his seventh Academy Award nomination. The movie's Desdemona (Maggie Smith), Emilia (Joyce Redman) and 'honest Iago' (Frank Finlay) also captured Oscar nominations. A

Amazon.com
Laurence Olivier's extravagant performance as the jealous Moor of Venice had its origins on stage at London's National Theatre; this 1965 film is a straight rendering of that production, shot on a soundstage with spare backdrops. However much the resulting artifact can actually be described as a film, one must feel gratitude just for the preservation of Olivier's pinwheeling turn. Yes, it's theatrical: the blackface make-up, the exotic gestures, the rumbly voice. Olivier doesn't connect organically with the character, but builds layer upon layer of effect until reaching critical mass; then his Othello explodes across the stage, keening in rage or flopping in agony. Before being encouraged to doubt his spotless wife Desdemona (Maggie Smith), Olivier's Moor flashes a broad grin that stands as a beacon of his shallow self-confidence; after the coin drops, his body hunches in misery. If Olivier dominates, this film nevertheless presents a marvelous Iago, by Frank Finlay, the evil engineer of the plot. It may just be Finlay's physical and vocal resemblance to comic Peter Cook, but he seems to embody the sarcasm and "sick" humor of the 1960s in his Iago--and his dry style is far more attuned to the movie camera than Olivier's. Olivier, Finlay, and Smith were all nominated for Oscars, as was Joyce Redman, as Iago's hapless lady. For a real shock, and a great lesson in Olivier's chameleon talent, watch Othello and then view the brief promotional film shot during filming, included on the DVD--you'll be astonished that the gray-haired gentleman, near sixty and with clunky eyeglasses, is the same volcanic performer that just erupted for 166 minutes on film. --Robert Horton

Customer Reviews

Olivier's politically incorrect masterpiece
True, you have to get past the blackface make-up, the bright red lips, the false eyelashes; but once that surface is accepted, a great performance is there to be appreciated. Olivier is the blackest Othello I've ever seen, the most 'African', in his movements, the wilds of his emotion, the warrior-like curses and threats as he beats his chest and curses his fate. Many thought it was a ham acting, excruciatingly over the top; for me it was a courageous, dangerous performance, walking the line between terror and pity throughout. His voice is astonishing and his delivery unique and musical and frightening and tender. I thought it was his bravest, and greatest, performance. I'm glad it was recorded as a filmed play and not 'opened up' as a movie, which would have diluted the intensity of the performance. Highly recommended, with the above caveats about the makeup.

The Moor Of Venice
I wrote my AP English essay junior year in high school about the Moor of Venice. I have seen every version of this play that has ever been committed to film, which is no small feat for a woman who adores the Bard as I do. I am an African American woman and I have heard about the fact that some think that his portrayal of the moor to be stereotypical, well, I don't think so. I think that there is nothing so sweeping as the way that he brings this play to life, Othello is not my favorite Shakespeare play, possibly the third favorite but there is something in the truth of Othello that I think is deeply stirring, it is the truth of self-esteem. He thinks himself a lowly creature, despite the fact that he is a great general and is acclaimed by many even the trials that he has been through in his life. Olivier makes you feel that, he wrung tears from me the frist time that I saw him in this performance, like a floodgate, I wanted to hold this wounded man to my heart, he was flawless and seamless, I lost Olivier in this movie, he was purely the character. I think that if I were trying to get someone to understand the subtle nature of Othello this would be the performance that I would suggest, I am so glad that I saw it one night on cable when I could sleep. He outshines all others who have attempted this part, ALL OTHERS. I mean I have seen the Laurence Fishburne portrayal and its good and it has its moments but this one is amazing. I didn't notice his lips being red really, but when you are that dark, the inner part of your lips are redder by contrast. When I saw it I was floored, his voice,the sheer emotion, glorious.
I am going to buy this version because I think it belongs on the shelf with my four and a half hour version of Hamlet.

Fantastic film adaptation!!! Great DVD transfer and extras
I had seen Kozintsev's King Lear years ago and was very impressed but only saw this film recently after ordering the DVD. The DVD transfer is excellent, much better than the King Lear DVD available from the same company. The film has very high production values and an amazing score by the still controversial Shostokovich. itself is an ear opener. This interpretation is very much about Hamlet as an action hero, and Kosintesev conveys the force and limits of Hamlet's agency with amazing economy. Claudius's speech begins the film after shots of the ocean (quoting form Olivier's film of Hamlet) Hamlet racing back for the funeral, and a soldier reads the speech as a proclamation to the crowd outside. We cut to the court where ambassadors and courtiers are translating it into German and French, and then arrive in the courtroom where Claudius finishes it. We see Hamlet listening at the beginning of this shot, but after Laertes and Claudius speak and Claudius addresses Hamlet, we track back to his chair and see that it is empty. Ophelia, through the soundtrack music, becomes an increasingly mechanical dancer as she goes mad. This is very much a political interpretation of the play, with no close ups (like Kurosawa's Throne of Blood) and it is refreshing to see this perspective on the screen. Anyone seriously interested in Hamlet and / or in Hamlet on film should see this wonderful film. Note: the DVD comes with various language tracks and subtitles. It's a great edition.