Othello

After the Russian director Dimitri Buchowetzki had made the film 'Danton' in 1921 with Emil Jannings and Werner Krauß in the leading roles, he cast the two greats of the Berlin stage again a year later, this time for his film version of the Shakespeare drama 'Othello'. Jannings plays the 'Moor of Venice', as was customary at the time as a white actor in blackface. In this classic role, he is able to set off all the fireworks of his' acting artistry, from affably jovial to imperiously dominant, but above all he has ample opportunity for his special showpiece: the portrayal of someone who has been overpowered by circumstances and whose control over himself has been torn away by an unbearable fate. Krauß plays Iago, probably the most despicable villain in Shakespeare's canon.

Buchowetzki, who is also responsible for the screenplay, sticks to the original until shortly before the end of the film. Othello, a successful admiral of the Venetian fleet, loves Desdemona (Ica von Lenkeffy), the daughter of a councillor, and she loves him. As Desdemona's father (Friedrich Kühne) refuses the African his daughter's hand in marriage, they marry in secret. Iago, whom Othello trusts completely, envies him his happiness, especially after Othello has promoted Cassio (Theodor Loos) instead of him. Iago now secretly plots to take revenge on Othello. In doing so, he shamelessly exploits the good faith of Othello, Desdemona, Cassio, his own wife Emilia (Lya de Putti) and the rich fool Rodrigo (Ferdinand von Alten). Iago has realised that Othello's greatest weakness is unbridled jealousy. He therefore skilfully sows more and more doubts about Desdemona's fidelity until he has driven Othello and everyone else involved to disaster.

At the end, Buchowetzki deviates from the original. The great French director René Clair praised him for this free interpretation, which follows the spirit rather than the letter of the play. Overall, 'Othello' was well received by contemporary critics. Even the American trade journal 'Variety', which was traditionally rather critical of European films, wrote: 'From an artistic point of view, the film is a triumph. Emil Jannings' Othello is a magnificent acting performance, and the production leaves nothing to be desired', only to immediately question the commercial value of such art films in America.

Today, Werner Krauß in the role of Iago seems more remarkable than Emil Jannings, who can be seen playing a similar role in many films. There is probably no other film in which the busy Krauß plays such a perfidious villain. He does this superbly here, knowing full well that the villain Iago in 'Othello' - as so often - is the real star of the play, because he is much more interesting than the naive hero and also always informs the audience in advance about his diabolical plans. The matter becomes particularly remarkable when one realises that Krauß' portrayal of Iago can certainly be seen as a foreshadowing of the inglorious, inhuman positions and roles that the later bearer of the Iffland Ring took on in the Third Reich. Just think of his 'embodiment of the Jewish people' in Veit Harlan's infamous propaganda film 'Jud Süß'.

The essence of Buchowetzki's film is above all the interplay between two masterful actors, who are provided with grandiose buildings and effective sets. Like 'Danton', 'Othello' often appears stage-like, which is of course appropriate for the subject matter. However this Shakespeare is not academically anaemic, but a juicy adaptation.

My acting teacher, the late great Hayes Gordon, used to say that no acting was too big, as long as it was filled. In other words, if the emotion was real, an actor could chew the scenery and still create empathy from the audience. I have never seen a better example of this than in this superb silent adaptation of Shakespeare's classic.

Emil Jannings and Werner Krauss, probably the two best German actors of their generation, give HUGE performances as Othello and Iago - but both are completely believable, and utterly compelling, because every emotion is felt, not indicated. As a result, this could be the best of all the film "Othellos".

Strikingly shot, on brilliantly realised sets, the director also makes sure that nothing distracts from the magnificent performances of the actors. Every performance in this film is brilliant - but Jannings and Krauss climb to the pinacle of silent film acting.

See this film, and see two of the greatest actors of all time convey the essence of Shakespeare without uttering a single word!

This atmospheric and very interesting adaptation of Shakespeare's "Othello" adds a good dose of German silent film style to the classic story of jealousy and deceit. Although at times the emphasis is placed somewhat differently than in the original, the adaptation shows good judgment in highlighting the themes and sequences that would work the best on the silent screen.

The basic story holds closely to the plot of the play. Emil Jannings makes a fine Othello, since his emotional style fits the volatile character well. Werner Krauss is particularly memorable as Iago. Of the main characters, Iago is the one who comes across most differently from the role in the play - here he is jaunty rather than sullen, an evil genius who shows obvious relish in each step of his malicious plans. The character and Krauss's performance work quite well for a movie adaptation. Another interesting difference is that here Emilia's role is enlarged and given more importance, in comparison with the play.

The emphasis is, as it should be in Shakespeare, on the characters; but the photography, settings, and the rest of the production are all of good quality as well. It's quite a good version of the story for a movie made in the early 1920s.

I like this adaptation of Shakespeare's play, mostly for the performances by two of Weimar Germany's greatest screen actors, Emil Jannings as Othello and Werner Krauss as Iago. There are many alterations to the original text in addition to the expected truncation. Director Dimitri Buchowetzki achieves a good pacing out of it. Lotte Eisner (author of "The Haunted Screen") says the language is naïve, but I don't consider that very important in a silent film. There are plenty of better ways to get that if one wants. For a silent film especially, visually adapting the play is essential.

Visually, the film has survived well over the years. The photography is crisp. The sets look nice, as well. They're studio built, which is a convenience in controlling lighting, but they're not exceptional, nor used very effectively. One of the better-filmed moments is when the sets are blacked out during the dramatic dénouement. Jannings and Krauss, who both came from the stage, compensate for many of the shortcomings, though. In moor makeup, Jannings again demonstrates his versatility, and he gives a strong performance. But, I think Krauss steals the show; he is thoroughly dastardly, with tights and occasional dance-like movements, and his character directs the plot throughout. This film was worthwhile for me because of those two performances.

Emil Jannings and Werner Krauss are both almost unrecognisable in this enjoyable breeze through Shakespeare's play. Jannings is fairly restrained and cuts an impressive figure in the title role; but a portly, moon-faced Krauss (looking like Zero Mostel wearing an earring and a silly little moustache) remains overshadowed by Micheal Macliammoir's poisonously definitive Iago in Orson Welles's version thirty years later.