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• W102457874 abstract "[H]is Lears and Othellos all seemed a little bogus ... (Thomson 355) Welles's 1952 of Othello is as much Welles as it is Othello. (1) It is stamped with the persona of its prime mover, who raised the money, wrote the script, directed the film, and acted the lead role. As director, Welles dominates the with his personality and his style. As principal actor, Welles is by far the strongest presence in the film: his prominent body dominates the screen, his voice is the most memorable and often the only understandable part of the flawed soundtrack, and he far out-acts the doll-like Suzanne Cloutier (Desdemona) and the wasted Micheal MacLiammoir (Iago). The persona of Orson Welles has predictably determined much of the history of interpretation of the film. Now seen largely as a part of the Welles oeuvre, it is seen participate in, variously, the mystery/ biography genre (Citizen Kane); the interrogation of modernist progress (The Magnificent Ambersons); or the introduction of Shakespearean culture into modern popular genres (Everybody's Shakespeare and the Voodoo Macbeth). (2) Welles has so clearly stamped his personality on this that the filmmaker and his main character seem intertwined. Welles not only played Othello with enormous relish in this (about which he cared deeply) but he also seemed bring Shakespeare's hero into his own very public life, which sometimes reads like Othello's traveler's history--a restless wandering among grand projects, illuminated by flashes of genius, and destined for self-destruction and exile. (3) Like the Ronald Colman character in George Cukor's A Double Life, Welles might seem have identified with Shakespeare's tragic hero. The problem with that identification, of course, is that Othello is black and Welles is white. The intensity of Welles's involvement with his film's hero poses questions: To what extent is he aware of racial difference? Does he assume a universal and timeless relevance the Shakespearean hero, which is just a secondary attribute? Or is he, as I believe, highly conscious of issues of in his own time, artistically strategizing a range of identification, difference, and exoticism speak the racial tensions of the American 1950s? Race is often assumed be ignored by, or irrelevant to, Welles's Othello. Peter Donaldson, for example, says that the consistently underplays any sense of racial (97). Jack Jorgens emphasizes the formal qualities of its modernist style over the more politicized treatment of in the Olivier Othello (175). Lois Potter describes the racial tensions in the cast during production (specifically, the attitudes of MacLiammoir towards Moroccans) but gives little explication of how might be involved in the film's meanings (142-43). Deborah Cartmell claims that race is hardly perceptible in Welles's film (145). James W. Stone echoes Jorgens's assertion of the primacy of form, commenting that Welles does much strip Shakespeare's play of its racial thematics, or at least reduce racial difference the fundamentally cinematic grid of black and white photography (189). To some degree, these assertions are fair. Given the strong aesthetic and formalist interest in Welles criticism, it is natural that the film's evasiveness and indirection could be seen signify an unwillingness grapple with a social issue as divisive as in the tense years of the early 1950s. The apparent evasiveness of Welles's increases when it is contrasted with the obviously racialized dynamic of Lawrence Olivier's approach in the Smart Burge of 1965. If Welles seemed re-make Othello in his own image, Olivier famously wanted become the black Othello. As Arthur L. Little, Jr. describes it, Olivier seemed be challenged by the play to embody himself as completely as possible in the body of blackness (97). In Olivier's words: Black . …" @default.
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• W102457874 date "2005-03-22" @default.
• W102457874 modified "2023-09-24" @default.
• W102457874 title "A Bogus Hero: Welles's Othello and the Construction of Race" @default.
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