The National Theatre production of 'Othello' was legendary - one of Laurence Olivier's iconic roles from the era when white actors still blacked up to play the lead part.
But is it really any good on the screen? It is essentially filmed theatre with an overpowering performance from Olivier, which is perhaps too large for viewing away from the stage - but it does benefit from three key parts of excellence in support (Frank Finlay as Iago, in Shakespeare's longest role as far as numbers of lines is concerned; Maggie Smith as a delicate Desdemona; and a very young Derek Jacobi as Cassio, resplendent in fine clothes and groomed hair).
Trimmed slightly from the full play, it nevertheless keeps the main characters and the sense of the story, and plays at nearly two and a half hours. Tight direction, good diction, and - as far as filmed theatre can be - adequate sets give this Othello an edge which means it is still relevant today.
But is it really any good on the screen? It is essentially filmed theatre with an overpowering performance from Olivier, which is perhaps too large for viewing away from the stage - but it does benefit from three key parts of excellence in support (Frank Finlay as Iago, in Shakespeare's longest role as far as numbers of lines is concerned; Maggie Smith as a delicate Desdemona; and a very young Derek Jacobi as Cassio, resplendent in fine clothes and groomed hair).
Trimmed slightly from the full play, it nevertheless keeps the main characters and the sense of the story, and plays at nearly two and a half hours. Tight direction, good diction, and - as far as filmed theatre can be - adequate sets give this Othello an edge which means it is still relevant today.