Othello [TV] (1981)
Directed by Jonathan Miller

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.

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...