This filmed performance of Othello captures a famous theatrical event. It also poses a problem. Othello is referred to by Shakespeare as a "Moor"---not (to use the term in vogue when Laurence Olivier first performed the role on stage) a "Negro." Obviously, there is a difference. Notwithstanding that fact, Olivier chose to appear as Othello in what appears to be traditional "black face" makeup. Hence the difficulty.
Many believe that to Shakespeare, a Black man and a Moor were indistinguishable. Both would have then been considered as an exotic individual, and hence someone who stood separate and apart from the rest of society. But instead of appearing as a dashing romantic Moor in the mold of someone like Rudolph Valentino in The Sheik, Olivier gave us an Othello more physically similar to that of Al Jolson's black face minstrel-like character in The Jazz Singer. Olivier's makeup was heavily applied complete with a wig not unlike that used by Jolson. The net effect of Olivier's stage presentation of Othello is to make the idea of him as a dashing romantic figure capable of wooing and marrying the very desirable Desdemona seem absurd. Such would not have been true if he were made up to more closely resemble the matinee idol Valentino in his Moor Sheik movie personna.
According to Isaac Asimov's Guide to Shakespeare, Volume One (1970), Shakespeare's play is derived from a tale written by an Italian, Giovanni Batista Geraldi ((under the name Cynthius), and published in 1565. As Asimov explains, the Cynthius-inspired character was described as "very valiant and of a handsome person." Cynthius does not tell us why a Moor would be living in Venice, nor does he state anything about Othello's religion. Asimov concludes that Cynthius sought to create a person who was "at once romantic and of a passionate southern nature."
Olivier's Othello is dramatic, emotional and exciting--but as an obviously desirable romantic figure, there appears to be something of a disconnect with how he is presented here. In at least two other instances, Shakespeare gave us negatively perceived characters who were notably dark skinned--Aaron the Moor in Titus Andronicus and the Prince of Morocco in The Merchant of Venice.
The makeup Olivier chose to use in this film has not been replicated by any other major actors since---and for good reason. It Is both inaccurate and inappropriate. This wonderful timeless play didnot need such a completely unnecessary distraction.
Many believe that to Shakespeare, a Black man and a Moor were indistinguishable. Both would have then been considered as an exotic individual, and hence someone who stood separate and apart from the rest of society. But instead of appearing as a dashing romantic Moor in the mold of someone like Rudolph Valentino in The Sheik, Olivier gave us an Othello more physically similar to that of Al Jolson's black face minstrel-like character in The Jazz Singer. Olivier's makeup was heavily applied complete with a wig not unlike that used by Jolson. The net effect of Olivier's stage presentation of Othello is to make the idea of him as a dashing romantic figure capable of wooing and marrying the very desirable Desdemona seem absurd. Such would not have been true if he were made up to more closely resemble the matinee idol Valentino in his Moor Sheik movie personna.
According to Isaac Asimov's Guide to Shakespeare, Volume One (1970), Shakespeare's play is derived from a tale written by an Italian, Giovanni Batista Geraldi ((under the name Cynthius), and published in 1565. As Asimov explains, the Cynthius-inspired character was described as "very valiant and of a handsome person." Cynthius does not tell us why a Moor would be living in Venice, nor does he state anything about Othello's religion. Asimov concludes that Cynthius sought to create a person who was "at once romantic and of a passionate southern nature."
Olivier's Othello is dramatic, emotional and exciting--but as an obviously desirable romantic figure, there appears to be something of a disconnect with how he is presented here. In at least two other instances, Shakespeare gave us negatively perceived characters who were notably dark skinned--Aaron the Moor in Titus Andronicus and the Prince of Morocco in The Merchant of Venice.
The makeup Olivier chose to use in this film has not been replicated by any other major actors since---and for good reason. It Is both inaccurate and inappropriate. This wonderful timeless play didnot need such a completely unnecessary distraction.