Othello

Even if this film does not meet expectations of what 'Othello' should be, keep in mind that it is a BBC production, and that even though some of the production values are not up to scratch, it follows Shakespeare's original script. Anyone looking to study Othello for any purposes should not give this one a miss. Despite mixed reviews on the acting by Hopkins and Hoskins, we must respect the fact that when an actor plays a role in a Shakespeare play, they will play that character however they see fit. Lawrence Oliver, for example, in a 1938 stage production, played Iago in a very homosexual manner, while Kenneth Branagh, in Parker's 1995 adaptation, shows Iago as a malicious psychopath. So when you think that Hopkins doesn't live up to his reputation in portraying Othello, or Hoskins plays the part like a gnome on speed, just remember that they are professionals who play the part how they see fit.

A most excellent production of one of the Bard's more difficult plays mainly because of the controversy in these politically correct times of a white actor blacking up to play the lead. But since Othello is a Moor and thus a Mediterranean type he does not have to be portrayed as an African. Remember the Moors ruled Spain for a long time until expelled by Ferdinand and Isabella so Othello does not have to be any darker, than a Spaniard. Anthony Hopkins gives a masterful performance as the Moor, one of the best I have seen comparable only with Placido Domingo in the opera Otello. His gradual change of character from gentle loving husband to insane jealousy is extremely well done and his way with the verse gives full meaning to Shakespeare's words. He is well supported by the cast of less well known stage actors. For me the only jarring note was Bob Hoskins portrayal of Iago, so obviously a nasty piece of work that one wonders how Othello would be taken in by such an overt villain. His giggling also becomes irritating, definitely not the best Iago I have seen. One thing is sure, this production emphasises what a great Shakespearean actor the stage lost when Hopkins left for Hollywood. Had he remained in the theatre he would easily have outstripped Richard Burton's reputation and maybe even Olivier's. Anyone who values real Shakespearean acting should not miss this production.

There is controversy here about the performances of Hopkins and Hoskins as the two major protagonists, and controversy about the nature of the production.

That there is controversy is understandable - it's a very schizophrenic production, careful and understated and clipped and British for the most part, excellently acted by a tasteful cast, Penelope Wilton and Rosemary Leach outstanding. Yet the two principals are given free rein.

Hoskins' Iago is the more successful of the two, scintillating in monologue, focusing on the evil of the character, trying to convey his plausibility via his rough charm. Hard to imagine the stiff-upper- lip types of Jonathan Miller's Venice being taken in by such a fellow, entertain them though he might.

But there is more than one letter's difference between Hoskins and Hopkins. Hopkins' performance is, as some of the reviewers have pointed out, as ripe a piece of eye-rolling ham as one is likely to see. Despite other reviewers' valiant attempts, it is really not a defensible performance, rising so rapidly from suave control to chewing the scenery, persuaded far too easily by an Iago who is obviously on the make.

The exaggerations help provide a context for his tense scenes with Desdemona - we certainly know how much he is holding back. The power of the moment when he slaps her is impressive. But when he lets rip, the acting style gets closer to Chongo out of the Banana Splits than any more accomplished thespian.

The effect is not at all helped by Hopkins sporting the most extraordinary pair of trousers I have ever seen, designed by Richard Hughes. The bizarre codpiece looks like Hopkins has had a painful accident with a stapler, and his stature is seriously compromised by odd curving stripes down the legs. This produces a number of odd and unintentionally humorous effects, most awfully during Emilia's affecting death scene, where Hopkins, standing behind the bed as a witness, appears to have little tiny legs, like Toulouse-Lautrec.

Either Miller could not control Hopkins, or gave him his head. It doesn't matter which - the result is an unsatisfactory mishmash, neither one thing nor the other.

Over the years, while admiring the craftsmanship inherent in "Othello," I had always been bothered by one question. I'd studied the play in school, of course (seems to have been mandatory in my day), and I'd seen the usual versions (Orson Welles, Laurence Olivier, etc.), yet always this one nagging question kept gnawing at me, kept me from fully appreciating this play . ..

How in hell could Othello ever let himself be taken in by so obvious a viper as Iago?

Enter the BBC with its production of "William Shakespeare's Othello," with a particularly brilliant bit of casting: Bob Hoskins as Iago. Roly-poly, giggling, everybody's friend and more than a bit of a buffoon, to boot -- until, that is, he's by himself and you suddenly understand the true nature of evil.

And suddenly, I gained a true appreciation of the play. Simply because some casting director stretched himself (or herself) beyond the tried-and-true glowering serpentine approaches (a la Frank Finlayson in the Olivier production, etc.) which had been the norm.

It also helps, of course, that Hoskins is one truly fine actor.

While I agree with a lot of the other reviewers that Anthony Hopkins is a fairly disappointing Othello, Bob Hoskins as Iago is nothing short of spectacular. In every scene he's funny, charismatic, and terrifyingly evil, all at the same time. Iago is a man you can't help but admire, always in control and supremely confident in his abilities even when those around him just see a lovable underling. In the final scenes when the mask is off he becomes even more effective, his glaring hatred seeming to shoot out of his eyes like a deadly laser beam. This is Shakespeare's most evil villain, and the most unconquerable and undefeated. ("I bleed, sir. But not killed!")

Meanwhile poor Hopkins is struggling to seem menacing, but his chubby body and pale complexion make him look more ridiculous than anything else. He has a cultured voice and reads the lines beautifully, but whenever he has to show passion or emotion he just starts shouting and waving his arms wildly, looking more like the Wolf Man than the Moor of Venice. It doesn't help matters that the lady playing Desdemona is more of a stately spinster than nubile ingenue. Personally, I always pictured Audrey Hepburn as the ultimate Desdemona!

One final note: I've never heard of Anthony Pedley, but I really loved how he played poor Rodrigo, a guy who just never has a chance. This is the one character closest to real life, and he's never just a clown even in his most helpless moments. I love how he dies, denouncing Iago and seeing the truth at last.

Poor Othello, but still a great cast and a great play!