Othello

I am not a huge fan of Shakespeare, but I have seen a couple dozen different silent versions of his films and I must say that this film is definitely the best. Unlike some of the earliest versions that only lasted a few minutes (way too short to do any justice to the plays), this one was a lengthy film--allowing for a reasonable treatment. Now you STILL can't compare this to a sound version of the film because since it's a silent, the lyrical quality of the play is missing. Some purists might hate this (after all, they don't recite the play verbatim like many sound versions), but I liked how the play was changed to a pantomime piece with an emphasis on action and characterization.

For someone who doesn't get excited about hearing all the original words of Shakespeare yet loves silent films, this is a wonderful film. The sets for 1922 were exceptional and the acting was fortunately not over the top--which is sometimes a problem with OTHELLO. You do NOT see a crazed caricature of a man, as Emil Jannings plays the lead role very well--with humanity and not relying too much on gesticulations or campiness. He was an amazing silent actor--hence his winning the first Oscar for Best Actor just a few years later. Unfortunately, he was also a devoted Nazi and wasted his talent from the mid-1930s onward!

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.

"German expressionism" is not so much in the film as it is as on the faces of Emil Jannings (Othello) and Werner Krauss (Iago), in this silent version of "Othello". The production is nicely staged, with everyone finding their marks. Its costumes and sets are very well designed. The adaptation is faithful enough to Shakespeare's envious storyline. But, watching two overly grand old actors is the film's main calling card, presently. Mugging uproariously in a fat-clinging black outfit, Mr. Krauss renders darkly-skinned Mr. Jannings positively subtle, in comparison. The most sensual scene has Krauss delivering Jannings' handkerchief while arranging the pillows for his head.

***** Othello (2/22) Dimitri Buchowetzki ~ Emil Jannings, Werner Krauss, Ica von Lenkeffy

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.