The BBC’s Shakespeare Collection production of Othello is available:
– For streaming from Ambrose Digital ($25 / £16)
– If you live in the UK, you can buy Othello (and 10 other Shakespeare Tragedies) for £19.99 for streaming / download. from the new BBC Store (more about this new BBC store later).
– For streaming from Amazon.com ($1.99 / ~£1.25)
– As a DVD from Amazon.co.uk for £18.93 (£9.90 used) /
Note that prices quoted are indicative and subject to change. Check the prices on the Vendors’ pages at the links above.
Our Bottom Line:
Despite its age (made in 1981), and the limitations of the production environment used, this is the best version of Othello I have seen to date. The close-ups in 4 x 3 format, are used to explore the manipulation of Othello by Iago brilliantly, and the relationship between Othello and Desdemona. Bob Hoskins (Iago), Anthony Hopkins (Othello), and Penelope Wilton (Desdemona), supported by an excellent cast, make this an unforgettable production.
Our Review (*****)
When I first saw this production of Othello, back in the 1980s, I was astonished by the performance of Bob Hoskins. He plays Iago with a malevolent sense of humour which convinced me that, not only does the Devil have the best tunes, he also has a wicked sense of humour.
Of course, even though Iago is a key character, the play is about Othello, and Anthony Hopkins is superb as the cultivated, civilized general, overcome by jealousy. Together Hopkins and Hoskins show an intimate relationship – as intimate as any marriage – in which one party sets out to destroy the other.
Desdemona is key to the play, and Penelope Wilton plays her to perfection – the loving innocent wife who is perhaps a little too insistent that Othello forgives Cassio. In an army camp, Caesar’s wife needs to be particularly above suspicion.
These three at the centre of the play are supported by a strong supporting cast.
To prepare for this review, I re-watched this production, and found myself as moved as I remember being, back in the 1980s. So how does this production, produced for television in the 1980s, and so limited to a small 4 x 3 image, mostly used for close-ups, and limited by budget and objective to simple sets, create such a powerful effect on the viewer?
In the very first scene, Iago demonstrates a bawdy humour which shows the soldier aggravating the patrician Brabantio, but also shows his own over-interest in sex, and perhaps, as early as A1S1, starts to show aspects of his own relationship with Emilia.
And his relationship with Rodrigo is already beginning to suggest Iago’s dominance.
Soon we are with the Duke of Venice (a role I remember playing with delight) in his council chamber, with Brabantio accusing Othello of stealing his daughter, Desdemona. Hopkins uses his defence against this claim, to show the cultivated nature of Othello, not the rough soldier, but at ease in the atmosphere of the council, and capable of using sophisticated rhetoric to bring the audience to his point of view.
We also learn a lot about Desdemona in this scene, which we’ve explored in our Playreading Report of Othello in November 2015
Venice needs Othello for the war against the Turks, so he wins the argument with Brabantio, though not before Desdemona’s father sows the seed of doubt that will feed Othello’s jealousy.
And now, we’re off to Cyprus. Iago arrives first, in time to greet Cassio and Desdemona . Cassio
greets Emilia, Iago’s wife with a kiss, giving Hoskins the opportunity to demonstrate his mistrust and mysogny: “You [women] rise to play, and go to bed to work.” Then Cassio shows courtesies to Desdemona, courtesies which perhaps sow the idea in Iago’s head of making Othello jealous of Cassio’s supposed relationship with Desdemona.
In Cyprus too, Iago’s relationship with Rodrigo grows. Rodrigo complains of the expense that his
supposed courtship of Desdemona is costing him, and Hoskin’s Iago uses the refrain ‘Put money in thy purse’ again and again most effectively.
In Cyprus too, Iago works on establishing and growing Othello’s jealousy. Firstly tentatively, and subtly, and then increasingly open until Othello is in a passion of jealousy and has a epileptic fit. Hoskins and Hopkins work together brilliantly to make this passion of jealousy completely believable in the cultured, sophisticated, general of the army.
And now Iago gets hold of Othello’s handkerchief, and the plot is rapidly heading towards its denouement. Othello loses the plot, and sends
Desdemona to bed. She sings, most movingly, her song of willow, and talks with Emilia of the relationships between men and women and faithfulness.
But Othello is determined that Desdemona must die, and die she does before the story of Iago’s betrayal comes out, Emilia dies, Othello kills himself, and Iago is condemned to ‘cunning cruelty that can torment him much and hold him long.’
Even in writing this review, I find myself moved by the story. Of course it’s a rather good play, but this production takes the strengths of the play and builds upon them with the powerful performances from the principals.
I can’t tell you to ‘Enjoy’, but if you haven’t seen it, ‘Watch it and be moved.’