Reviews (43)

Look to your wife
This is a dark version of a dark play. Not just in feel and drama, but in setting. I believe only a scene or two is filmed in the daylight. The bulk of this film takes place in the dank cellars, the dark of night and the closed bedrooms where intrigue and guile rule the day.

This is an unusual Shakespeare adaptation, in that nothing funky is being done with it. There is no twist in the time setting, no song and dance, no Italian wonderment. It is about as straight of an adaptation as I have seen. Being this, it lacks any distinction or special genius, but it is quite an able piece of film.

Laurence Fishburn is a great Othello, delivering the lines and slipping under Iago's silver spell. He lacks a certain aura of strength generally associated with Othello, but is otherwise excellent. Kenneth Branagh is a superior Iago, and this may be one of the best performances he has given. He plays an excellent villain, and his performance is the one bright flare in the the film. The dialog is well done, staying with Branagh's conversational style. The rest of the cast are all capable players, easily recognizable from the Shakespeare on film stable.

All in all, I really enjoy this film. It is not a work of genius. It is not amazing. But it is an excellent, workman like filmed version of a difficult play and a worthy edition to any Shakespeare on film collection.

this laurence is no olivier
the only thing this version has on olivier's version is its natural setting. otherwise, all - and i do mean ALL - of the performances are decidedly inferior to the 1965 film. first of all, laurence fishburne is NO olivier. not even close. he was pathetic. most of the time he sounded like he was reading the script, not speaking heartfelt words of a real flesh and blood man. and branagh, i don't know what happened to him but he was not convincing as a villain. he just looks too much like a goody-goody. compare him to the fellow who played iago in olivier's film and you'll see the problem right way. just no comparison. after these two, what do you have? desdemona, maggie smith much more convincing as the virtuous lady. even emilia, iago's abused wife, is better played in olivier's film.

so 3 stars for a nice try. but the 1965 performance is still the standard to measure this play by. it will be along time before another actor comes along who can play othello as well as olivier. i'm not holding my breath.

ps the orson welles version of this play is the best movie version, and his portrayal of othello is almost as good olivier's. also worth a watch.

Required to watch......
For school I was required to watch this since we read the play Othello. I didn't think the movie was that good because some of the acting when it was supposed to be sad I was laughing my head off. Only unless you understand the Shakespeare language well this movie isn't worth it. The movie lacks good acting in my opinon and could of done better especially with Dedsdemona and some of the love scenes which were absolutely pathetic.

Great Acting
I've always been a fan of Kenneth Branagh and both his acting and directing abilities. However, in the film interpretation of "Othello," I was blown away by how well he fit the role of Iago. In the play, Iago has to be two-faced all the time. He shows one side of him to one person, and another side to another. In the film, Iago works very hard to keep up his appearance with all the different characters. No character sees more than one side of him, and his plots are kept to himself. Iago is an actor, and Branagh had to perform his part and I think he did it incredibly. While talking to Othello, his facial reactions would visibly change when Othello looked the other way; the audience saw glimpses of Iago's true motives, but they were always hidden from Othello. It was incredible how quickly the transition from a sinister expression to a loving and loyal expression was made. In one scene, Iago and Othello are hugging, and Iago's face reflects contempt as soon as his face is beside Othello's face.

Iago's changes aren't simply when Othello is around, but the changes are the same for when Iago deals with Roderigo. In the scenes with Roderigo, Iago has to perform doubly hard because he's being partially truthful with Iago. He's showing part of his true motives, but he still has to hide them to some extent to convince Roderigo to do his bidding. The scenes between Branagh and Michael Maloney probably impressed me the most. Roderigo may have been gullible or easily convinced, but Iago was still convincing and persuasive enough to move Roderigo from absolute hatred and distrust to absolute loyalty and thankfulness. In one scene, Roderigo is threatening to kill Iago and by the end of the scene, they're hugging and Iago can barely convince Roderigo to leave his side.

The biggest change that Iago undergoes is when he is caught. In the end of the play, when Emilia finally recognizes what has happened, Iago's facial expressions finally become flat and unwavering. He puts on a stoic face and remains that way into his death. He no longer has to convince anyone of anything because they all know the truth, so he doesn't give anyone any idea of what he's thinking and doesn't talk or change his appearance. This scene left a lasting impression on me, even when he was telling Emilia to be wise or when he was killing her, there is no change in his facial expression.

Overall, I was impressed with the movie. I enjoyed the acting from all the characters (not just Branagh), and I'm sure I'd enjoy watching it repeatedly.

Laurence Fishburne's talent is wasted
Poor Laurence Fishburne. I felt so sorry for him watching this movie because he gives a passionate and multi-dimensional performance as Othello and yet, no one else in the cast matches or even comes close to his level of talent.

As the cover photo suggests, this is a more sexualized version of Shakespeare's tragedy, which doesn't make it bad, but definitely steals the focus from the other emotions that fuel the story. All of Othello's feelings were intense, not just those he had for Desdemona, and this fact is overlooked by the emphasis on his sexuality. Kenneth Braunagh is such a bad Iago that I actually found myself laughing at him. As for Irene Jacob's performance, it is really not worth mentioning here. She is pretty and exotic but she gives no depth to the wounded character of Desdemona. I truly wish that this movie could be redone by a different director with a different supporting cast, because it is a fascinating idea that just falls flat. ... Read more

Reviews (43)

Look to your wife
This is a dark version of a dark play. Not just in feel and drama, but in setting. I believe only a scene or two is filmed in the daylight. The bulk of this film takes place in the dank cellars, the dark of night and the closed bedrooms where intrigue and guile rule the day.

This is an unusual Shakespeare adaptation, in that nothing funky is being done with it. There is no twist in the time setting, no song and dance, no Italian wonderment. It is about as straight of an adaptation as I have seen. Being this, it lacks any distinction or special genius, but it is quite an able piece of film.

Laurence Fishburn is a great Othello, delivering the lines and slipping under Iago's silver spell. He lacks a certain aura of strength generally associated with Othello, but is otherwise excellent. Kenneth Branagh is a superior Iago, and this may be one of the best performances he has given. He plays an excellent villain, and his performance is the one bright flare in the the film. The dialog is well done, staying with Branagh's conversational style. The rest of the cast are all capable players, easily recognizable from the Shakespeare on film stable.

All in all, I really enjoy this film. It is not a work of genius. It is not amazing. But it is an excellent, workman like filmed version of a difficult play and a worthy edition to any Shakespeare on film collection.

this laurence is no olivier
the only thing this version has on olivier's version is its natural setting. otherwise, all - and i do mean ALL - of the performances are decidedly inferior to the 1965 film. first of all, laurence fishburne is NO olivier. not even close. he was pathetic. most of the time he sounded like he was reading the script, not speaking heartfelt words of a real flesh and blood man. and branagh, i don't know what happened to him but he was not convincing as a villain. he just looks too much like a goody-goody. compare him to the fellow who played iago in olivier's film and you'll see the problem right way. just no comparison. after these two, what do you have? desdemona, maggie smith much more convincing as the virtuous lady. even emilia, iago's abused wife, is better played in olivier's film.

so 3 stars for a nice try. but the 1965 performance is still the standard to measure this play by. it will be along time before another actor comes along who can play othello as well as olivier. i'm not holding my breath.

ps the orson welles version of this play is the best movie version, and his portrayal of othello is almost as good olivier's. also worth a watch.

Required to watch......
For school I was required to watch this since we read the play Othello. I didn't think the movie was that good because some of the acting when it was supposed to be sad I was laughing my head off. Only unless you understand the Shakespeare language well this movie isn't worth it. The movie lacks good acting in my opinon and could of done better especially with Dedsdemona and some of the love scenes which were absolutely pathetic.

Great Acting
I've always been a fan of Kenneth Branagh and both his acting and directing abilities. However, in the film interpretation of "Othello," I was blown away by how well he fit the role of Iago. In the play, Iago has to be two-faced all the time. He shows one side of him to one person, and another side to another. In the film, Iago works very hard to keep up his appearance with all the different characters. No character sees more than one side of him, and his plots are kept to himself. Iago is an actor, and Branagh had to perform his part and I think he did it incredibly. While talking to Othello, his facial reactions would visibly change when Othello looked the other way; the audience saw glimpses of Iago's true motives, but they were always hidden from Othello. It was incredible how quickly the transition from a sinister expression to a loving and loyal expression was made. In one scene, Iago and Othello are hugging, and Iago's face reflects contempt as soon as his face is beside Othello's face.

Iago's changes aren't simply when Othello is around, but the changes are the same for when Iago deals with Roderigo. In the scenes with Roderigo, Iago has to perform doubly hard because he's being partially truthful with Iago. He's showing part of his true motives, but he still has to hide them to some extent to convince Roderigo to do his bidding. The scenes between Branagh and Michael Maloney probably impressed me the most. Roderigo may have been gullible or easily convinced, but Iago was still convincing and persuasive enough to move Roderigo from absolute hatred and distrust to absolute loyalty and thankfulness. In one scene, Roderigo is threatening to kill Iago and by the end of the scene, they're hugging and Iago can barely convince Roderigo to leave his side.

The biggest change that Iago undergoes is when he is caught. In the end of the play, when Emilia finally recognizes what has happened, Iago's facial expressions finally become flat and unwavering. He puts on a stoic face and remains that way into his death. He no longer has to convince anyone of anything because they all know the truth, so he doesn't give anyone any idea of what he's thinking and doesn't talk or change his appearance. This scene left a lasting impression on me, even when he was telling Emilia to be wise or when he was killing her, there is no change in his facial expression.

Overall, I was impressed with the movie. I enjoyed the acting from all the characters (not just Branagh), and I'm sure I'd enjoy watching it repeatedly.

Laurence Fishburne's talent is wasted
Poor Laurence Fishburne. I felt so sorry for him watching this movie because he gives a passionate and multi-dimensional performance as Othello and yet, no one else in the cast matches or even comes close to his level of talent.

As the cover photo suggests, this is a more sexualized version of Shakespeare's tragedy, which doesn't make it bad, but definitely steals the focus from the other emotions that fuel the story. All of Othello's feelings were intense, not just those he had for Desdemona, and this fact is overlooked by the emphasis on his sexuality. Kenneth Braunagh is such a bad Iago that I actually found myself laughing at him. As for Irene Jacob's performance, it is really not worth mentioning here. She is pretty and exotic but she gives no depth to the wounded character of Desdemona. I truly wish that this movie could be redone by a different director with a different supporting cast, because it is a fascinating idea that just falls flat. ... Read more

Description

With JEAN-PAUL BELMONDO, CHRISTINE KAUFMANN. In the 1960s, Jean-Paul Belmondo became one of Frances most charismatic and popular movie stars. He was at his best in roles as hip and tough anti-heroes, with his screen persona favorably compared to that of Humphrey Bogart. Belmondo shines in this cold-blooded crime drama. He plays Roberto La Rocca, a man who is most comfortable with a gun in his hand and a scowl across his face. At the outset, Roberto receives word that a close friend who had been involved with racketeers and a gambling house has been arrested for murder. Even though the police have uncovered a good deal of evidence linking this friend to the crime, Roberto is convinced his pal was framed. He sets out to uncover the truth and immediately is led to Villanova, his friends cold-blooded and insanely jealous "associate." Roberto does not endear himself to Villanova when he immediately charms and beds the latters beautiful girlfriend. "Youre in for a very bad time now," Villanova promises Roberto. What the audience is in for is one sizzling crime drama with surprises galore and atmosphere to spare, which gets plenty of mileage out of Belmondos undeniably rugged and super-cool screen persona. Dubbed in English. 106 minutes. ... Read more

Reviews (43)

Look to your wife
This is a dark version of a dark play. Not just in feel and drama, but in setting. I believe only a scene or two is filmed in the daylight. The bulk of this film takes place in the dank cellars, the dark of night and the closed bedrooms where intrigue and guile rule the day.

This is an unusual Shakespeare adaptation, in that nothing funky is being done with it. There is no twist in the time setting, no song and dance, no Italian wonderment. It is about as straight of an adaptation as I have seen. Being this, it lacks any distinction or special genius, but it is quite an able piece of film.

Laurence Fishburn is a great Othello, delivering the lines and slipping under Iago's silver spell. He lacks a certain aura of strength generally associated with Othello, but is otherwise excellent. Kenneth Branagh is a superior Iago, and this may be one of the best performances he has given. He plays an excellent villain, and his performance is the one bright flare in the the film. The dialog is well done, staying with Branagh's conversational style. The rest of the cast are all capable players, easily recognizable from the Shakespeare on film stable.

All in all, I really enjoy this film. It is not a work of genius. It is not amazing. But it is an excellent, workman like filmed version of a difficult play and a worthy edition to any Shakespeare on film collection.

this laurence is no olivier
the only thing this version has on olivier's version is its natural setting. otherwise, all - and i do mean ALL - of the performances are decidedly inferior to the 1965 film. first of all, laurence fishburne is NO olivier. not even close. he was pathetic. most of the time he sounded like he was reading the script, not speaking heartfelt words of a real flesh and blood man. and branagh, i don't know what happened to him but he was not convincing as a villain. he just looks too much like a goody-goody. compare him to the fellow who played iago in olivier's film and you'll see the problem right way. just no comparison. after these two, what do you have? desdemona, maggie smith much more convincing as the virtuous lady. even emilia, iago's abused wife, is better played in olivier's film.

so 3 stars for a nice try. but the 1965 performance is still the standard to measure this play by. it will be along time before another actor comes along who can play othello as well as olivier. i'm not holding my breath.

ps the orson welles version of this play is the best movie version, and his portrayal of othello is almost as good olivier's. also worth a watch.

Required to watch......
For school I was required to watch this since we read the play Othello. I didn't think the movie was that good because some of the acting when it was supposed to be sad I was laughing my head off. Only unless you understand the Shakespeare language well this movie isn't worth it. The movie lacks good acting in my opinon and could of done better especially with Dedsdemona and some of the love scenes which were absolutely pathetic.

Great Acting
I've always been a fan of Kenneth Branagh and both his acting and directing abilities. However, in the film interpretation of "Othello," I was blown away by how well he fit the role of Iago. In the play, Iago has to be two-faced all the time. He shows one side of him to one person, and another side to another. In the film, Iago works very hard to keep up his appearance with all the different characters. No character sees more than one side of him, and his plots are kept to himself. Iago is an actor, and Branagh had to perform his part and I think he did it incredibly. While talking to Othello, his facial reactions would visibly change when Othello looked the other way; the audience saw glimpses of Iago's true motives, but they were always hidden from Othello. It was incredible how quickly the transition from a sinister expression to a loving and loyal expression was made. In one scene, Iago and Othello are hugging, and Iago's face reflects contempt as soon as his face is beside Othello's face.

Iago's changes aren't simply when Othello is around, but the changes are the same for when Iago deals with Roderigo. In the scenes with Roderigo, Iago has to perform doubly hard because he's being partially truthful with Iago. He's showing part of his true motives, but he still has to hide them to some extent to convince Roderigo to do his bidding. The scenes between Branagh and Michael Maloney probably impressed me the most. Roderigo may have been gullible or easily convinced, but Iago was still convincing and persuasive enough to move Roderigo from absolute hatred and distrust to absolute loyalty and thankfulness. In one scene, Roderigo is threatening to kill Iago and by the end of the scene, they're hugging and Iago can barely convince Roderigo to leave his side.

The biggest change that Iago undergoes is when he is caught. In the end of the play, when Emilia finally recognizes what has happened, Iago's facial expressions finally become flat and unwavering. He puts on a stoic face and remains that way into his death. He no longer has to convince anyone of anything because they all know the truth, so he doesn't give anyone any idea of what he's thinking and doesn't talk or change his appearance. This scene left a lasting impression on me, even when he was telling Emilia to be wise or when he was killing her, there is no change in his facial expression.

Overall, I was impressed with the movie. I enjoyed the acting from all the characters (not just Branagh), and I'm sure I'd enjoy watching it repeatedly.

Laurence Fishburne's talent is wasted
Poor Laurence Fishburne. I felt so sorry for him watching this movie because he gives a passionate and multi-dimensional performance as Othello and yet, no one else in the cast matches or even comes close to his level of talent.

As the cover photo suggests, this is a more sexualized version of Shakespeare's tragedy, which doesn't make it bad, but definitely steals the focus from the other emotions that fuel the story. All of Othello's feelings were intense, not just those he had for Desdemona, and this fact is overlooked by the emphasis on his sexuality. Kenneth Braunagh is such a bad Iago that I actually found myself laughing at him. As for Irene Jacob's performance, it is really not worth mentioning here. She is pretty and exotic but she gives no depth to the wounded character of Desdemona. I truly wish that this movie could be redone by a different director with a different supporting cast, because it is a fascinating idea that just falls flat. ... Read more