Ace G.

Pilkington

Othellos Stature: Three Filmed Versions of the Moor

(Originally published in Encyclia, Vol. 68, 1991) The Burge-Olivier (National Theatre), Jonathan Miller (BBC), and Bard filmings of Othello contain three very different interpretations of their title character, a figure who is usually better liked on the stage than in the study. An additional point of interest to this comparison is that the Burge and Miller films explicitly set out to use the same two critical essaysF. R. Leavis' "Diabolic Intellect and the Noble Hero" and W. H. Auden's "The Joker in the Pack"as starting points for their characterizations. They are thus useful examples of the process of filming (or televising) Shakespeare, not only as indications of structure but also for the revelation of character, the integration of detail, and the validation (or contradiction) of critical theories. They are additionally well suited for comparsion because the National and Bard productions are filmed "stage" performances (sans audiences), while the BBC televsion production also limits itself to the resources of a filmed play. All three face the difficulty of Othello's first entrance (in the play's second scene) having lost some of its impact with modern audiences who know Othello but not the Jacobean background. In the convention that Shakespeare was manipulating, the protagonist's blackness, obsessively emphasized by Iago and Roderigo, identified him as what Muriel Bradbrook calls a "Bogeyman," descended from the medieval stage devil and linked with a Machiavel such as Iago.1 (Bradbrook 93). Othello's joining with the Machiavel is an expected danger with a predictable outcome (a subconscious fear exorcised): "Such threatening alliances between Italian and Jew, Turk or Blackamoor, generally end in a masked fight; evil at last eats up itself" (Bradbrook 98). Such is the case with Marlowe's Barabas and his Moorish slave, Ithamore, and the initial audience might logically (yet wrongly) have expected a similar ending here. Indeed, one of the deepest ironies that Shakespeare achieves is Othello's ambiguous death, where he stands for the turbulence (psychological and dramatic) that has destroyed him. He is Christian defender of Venice and her barbarian enemy, ruler and outsider, true lover and love's murderer, faithless believer, unconventional convention, and metaphor unmetaphored. Of course, no single production can play all of this. As Rosalie Colie observes, "For coherence's sake, performances must choose a point of view, must take a reductionist stance ..." (29). For Jonathan Miller, however, Othello seems reduced almost to nonexistence. Anthony Hopkins' first entrance is not a shock or a recognition, but a whisper. Far from being black or even tawny,2 this Othello, who enters "busily fussing with his ensign's gorget ... at times ... appeared almost literally 'more fair'... than the Venetian grandees around him" (Wine 78). Words about Othello's blackness skitter off into the air, signifiers in search of signifieds. There is a disconnected quality about this interpretation, as though its parts were not meant to fit. Hopkins delivers the lyrical passages, as Peter Conrad observes, "in a brisk, embarrassed gabble" (1203). The speech recounting his wooing of Desdemona is read wearily, an oftenrepeated trick Othello no longer relishes. But this same non-performer gratuitously does parlor magic (2.3) at the dinner table in Cyprus. The "riot" begins at 2.3.138, in a small room, and it is hard to believe that any sound, let alone an overflow of violence, could have disturbed the citizens outside. Othello enters earlier than in the printed text, watching for thirteen dazed seconds before he speaks.3 Peter Conrad suggests in his TLS review that the reason for the drabness of this Othello is television itself, but he is also reviewing Jonathan Miller's English National Opera Otello, where he finds the same emphasis on Iago and the same dislike for largeness, since Miller's "diagnostic intelligence mistrusts the excess and extravagance, even the very noise of opera" (1203).4
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James C. Bulman labels the BBC Othello one of its worst productions (578-79), pointing to Miller's "anti-heroic song, as loud here as in Antonyto his determination to whittle away at greatness, to make all the characters lie down on an analyst's couch from which they never rise the same" (580). The image is suggested by "The Joker in the Pack," wherein Auden says, "Iago treats Othello as an analyst treats a patient except that, of course, his intention is to kill not to cure" (265-66). For Auden, Othello is an outsider whose "marriage is important to him less as a sexual relationship than as a symbol of being loved and accepted as a person, a brother in the Venetian community" (266). But, despite Miller's acknowledged use of the essay, he de-emphasizes Othello's blackness and therefore his separateness.5 For Miller, Othello is an ordinary man faced with inexplicable jealousy (Fenwick 18-19). Perhaps this oversimplification explains the film's disconnectedness and the reaction of those reviewers who "felt that Hopkins' Othello had no 'centre' to it" (Wine 78). Jonathan Miller's interpretation of Othello seems to fail the test of performance. As Marvin Rosenberg says, "The theaterand most criticismflatly rejects such an Othello. There have been stage Moors less than heroic; but these were universally regarded as failures" (187). Or as Peter D. Smith says, reviewing a 1966 stage production, "If Othello is not magnificent one is made to wonder what all the fuss is about ..." (414). Certainly the very different Othellos of Laurence Olivier and William Marshall are open to criticism,6 but they share a quality of largeness that keeps them within the play's wide boundaries of success. Both the differences and the size of the performances become clear as Othello first enters. Olivier's impersonation of a black man, his very dark make-up, his lowered voice, and his rolling walk7 have been much discussed. Pauline Kael, with her usual enthusiasm, declared that Olivier could play a Negro better than a Negro could "at this stage in the world's history" (173-74). John Simon, who began by attacking Leavis' essay as "one of the master's shriller pieces, which, considering his talent for shrillness, is no mean piece of stridency"8 (154), went on to condemn Olivier's performance as "this misconceived Othello ... that is always a perverse joy to behold" (155). Olivier's Moor enters dressed in white, sensuously toying with a rose. Part of the shock of this performance (and of the Leavis essay that informs it) is that some of what Iago and Brabantio have said seems to be true. This great and greatly proud general might well be described as "a lascivious Moor." He is smugly superior to those around him, superbly acting a comfortable role. As Jack Jorgens puts it, "the character's performance (not merely Olivier's) reeks of the magnificence of the stage" (194). Martin Wine notes, "There is no mistaking the irony of voice and gesture when he addresses the Senators ..." (50). He makes clear "his sardonic awareness that this is just the kind of story that Europeans would expect Africans to tell" (Tynan 6). Olivier has found a center for his character and built a bridge between Othello's early calm and later rage that is made of blind pride, a senseless security that Iago pricks into sensitivity, a self-sufficiency that the powerful challenge of Desdemona's imagined adultery destroys. This Othello is shattered by his own weakness, and the echoes that resound from him (large as they are) are the sounds of hollowness. There are, however, external pressures as well, made emblematically clear in the Senate when Brabantio, betrayed and angry, stands between Othello and Desdemona to join their hands in a parody of paternal blessing that is a curse for his daughter and the man he "lov'd." William Marshall, a black American actor more often seen in film and television than on the stage, has a voice of flexible power, deeper than the one Olivier trained himself into. He was 57 when his Othello was filmed; Olivier was 58. Jack Jorgens' description of Olivier, "his muscular frame shows his age only in a slight paunch and graying hair" (194), fits Marshall as well, but Marshall looks bigger on the screen.
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This American Othello is the noble Moor,9 a heroic soldier and faithful lover destroyed during the course of the play and honourably resurrected only long enough to punish his own crime with death. His motivations and the pressures that diminish him must be more complex than the ones suggested by Leavis if the Moor is to avoid charges of gullibility and stupidity that don't suit a tragic protagonist. The comic structure of Othellos opening scenes with Brabantio as a Pantalone and Iago as a Zanni (Mendonca 32) and the later scenes in which Othello is doubly ridiculous because he is a cuckold who only imagines he is one (like Ford in Merry Wives) need a careful touch. That may be the reason why Peter MacLean is the only one of the three Brabantios who is not a comic father. He is an impressive figure, grievously hurt. When Desdemona suggests (in lines that were omitted from the National film) that he may be "An instrument of your calling back," and "if you have lost him, / Why, I have lost him too" (4.2.45-48), it is a serious speculation, a reminder of that enmity, that alienation, which by now has cut Othello off from both his adopted city and himself and has separated Desdemona first from her father and then from the husband who has (in a number of unpleasant ways) taken his place.10 Unlike Olivier, William Marshall exemplifies the critical precepts of Brents Stirling, who thinks that "Othello's first appearance in the play is a refutation of slander" (112). Or, as Madeleine Doran puts it, "Othello's first appearance ... gives the lie to both the elements of his portrait: the gross man and the nameless soldier of fortune" (207). Marshall's Othello opens his happiness to the audience, sharing his joy in his new love. When he makes his great speech of explanation in the Senate, there is no smirking over the "Anthropophagi" (as in both the Hopkins and Olivier productions). For this Othello, telling the story is reliving it with the light of Desdemona's understanding added so that we see the Moor as both soldier and lover, his violent life transfigured into a beautiful courtship. The Duke's "I think this tale would win my daughter too" (1.3.171) suddenly sounds not self-serving but merely just. It is appropriate to this production that Othello and Desdemona stand apart during Brabantio's angry exchange with the Duke, two lovers enraptured with each other, dangerously oblivious of the hatreds swirling around them. In Cyprus with Desdemona, Othello has been separated from Venice. As Richard S. Ide says (paralleling Auden), "Othello's quest is for social acceptance, for entrance into the domestic circumscriptions of love and social intercourse" (52). He has tried to join what Michael Long calls Venice's "Courtesy-culture" (41), and, as a result, most of his acts are public actions aimed at fitting in. He rushes off to war on his wedding night out of a sense of duty; his reunion with Desdemona is a civic ceremonyeven his postponed wedding night is celebrated by proclamation; he dismisses Cassio at least partly because of the social standing of Montano; Desdemona's supposed adultery damages his public honour and destroys his occupation. Ironically but inevitably, this Moor is "of all the tragic heroes ... the most emphatically Christian" (Rabkin 63); the barbarian is a symbol of courtesy, and whether the actor plays wholly with the lines as William Marshall does or partly against them like Olivier, the contradictions are evident. Othello as alien is a visual fact on stage as he can never be in the study; his isolation is blazoned, and his lostness away from the battlefield that employs his energies and the city that gives him his place becomes ever clearer.11 Iago is able to fill Othello's lack with lessons, telling him about Venetian behaviour and pushing him into responses which a Venetian would supposedly make. Interestingly, all three Iagos are variations on the seemingly good servant who harbours a subterranean wickedness. All three play "straight"; there are no knowing winks to the audience when Othello would notice.12 This consistent core in such different productions may perhaps suggest a minimum which Iago requires to play with and Othello must have to react against, the balance between them making the unbalancing of Othello both believable and inevitable.13 This situation justifies our pity for him, allowing us to answer Robert Speaight's question, "We are moved, but have we the right to our
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emotion?" (267) in the affirmative. Othello seeks to enter a courtesy culture, but, as A. D. Nuttall says, he "does not merely belong to another culture but to an earlier one" (142). Like Homer's Achilles and many other military men (including Coriolanus, Antony, and Hotspur) the Moor belongs to a "shame culture" (142). And like Shakespeare's other soldier heroes14 (with the exception of Prince Hal and his two crafty fathers), Othello is unsuited to the daily business of politics, unable to distinguish an enemy who does not carry a visible weapon. To him, people are what they seem, and for Desdemona to appear so definitely one thing and to be so completely another is chaos come again (3.3.93). But this is to make him too simple, as criticism almost invariably does. Perhaps the reason for Othello's steady success with theatrical audiences and his relative failure with scholarly ones is that he shows himself (in gesture and emotion) rather than telling about himself. In this sense, even his words are gestures, feelings rather than arguments, and his true complexity is shown on the stage or in film. Watching the third act of the play, first with Olivier and then with Marshall, is an illuminating experience. Olivier's Othello becomes jealous sooner, his large, unbalanced ego tottering into rage. He not only blows his love away but throws his talismanic crucifix after it. Nevertheless, there are layers of emotion within this Moor, tangled into each other as if by some seismic disturbance. In the great "Pontic sea" speech, his driving anger comes to a full stop with the grieving sigh of "humble love" (3.3.462). His speech becomes a map of intended and unintended ironies, the doubleness of his language like the shattered mirror of his perceptions. He threatens everyone around him (so that Iago and the audience see the knife-edge on which the deception balances), but his arm's action has no chance to restore his mind's peace. The story of the handkerchief which he tells to Desdemona is a brutal parody of their wooing; this African romance is meant to frighten, not to delight, but still there is the unercurrent of lost bliss. His belief is never subdued by his logic. William Marshall's Othello seems "perplexed in the extreme" (5.2.349). While Olivier responds to the betrayal with violence, Marshall's shuddering readjustment resembles King Lear in his gentler moods. Caught between his belief in Desdemona and his belief in Iago, he seems to search for a world where mutually contradictory facts coexist. When the pressure becomes unbearable, he shifts into a sarcasm more biting than anything Olivier uses, but he does not employ either the histrionic booming or the high-pitched gibbering that distinguish Laurence Olivier's multi-layered performance. For Marshall, the handkerchief speech is a return to the storytelling of the courtship, a last desperate appeal for Desdemona to set the world right, and her lie seals their fates. These two very different performances converge (possibly like a plausible Iago this is one of the essential balances which the movement of the play requires) in the gentleness with which both Othellos murder their Desdemonas. Olivier moves away from the image of a proud man revenging an injury and reaches a kind of grandeur with his subdued suffering. William Marshall has been playing for this from the beginning, and the tension of watching him do what he so much hates is excruciating. Emrys Jones says, "at a performance of the play, it may be suggested, in one part of our minds we strongly desire Othello to succumb to passion" (129-30), in the sense that we want the inevitable events of the drama to take place. Perhaps at least a part of the complexity of Othello is experienced only in performance, where we become passive accomplices, agreeing to a world of deceptions and mistakings until, like Emilia, we are willing to risk our safety to clarify the suffering. The conclusions of both performances directly contradict T. S. Eliot, F. R. Leavis, and others who see the Moor as ignoble to the end. The emotional restraint during the execution of an adulteress is replaced by inconsolable grief over the murder of a chaste wife. It may be possible to suggest that Othello's last thoughts are for himself, but neither Olivier nor Marshall conveys this idea. The suicide seems not to be a means to guarantee damnation or avoid Venetian punishment, but the last expression of the dramatic and psychological complexities in the character, a final unjust justice. Olivier's "honourable murderer" adds one
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more twist by producing a knife from nowhere and stabbing himself in the back. The tragic loading of the bed is not, cannot, be simple in film or on the stage, or (as in the Jonathan Miller production) the center disappears. In performance, Othello has the complexity of tragic humanness.

NOTES
1Olivier enters carrying an unsheathed scimitar at 2.3.161. [Return to

text.]
2Shakespeare's Moor was, in all probability, black. The nineteenth

century tradition of the tawny Moor (introduced by Kean in 1814) was a reaction to the increasing racial prejudice of both audiences and critics, including Charles Lamb and Coleridge. Sample sentiments can be found in the Variorum Othello (Furness 389-96). For a full discussion of the issue, see Ruth Cowhig, "Actors, Black and Tawny, in the role of Othello, and their Critics"; Daniel Seltzer, "Elizabethan Acting in Othello"; Norman Sanders, The New Cambridge Othello 10-14; and G. K. Hunter, "Othello and Colour Prejudice" in Dramatic Identities and Cultural Tradition 31-59. See also Barbara Everett's "'Spanish' Othello: The Making of Shakespeare's Moor," in her Young Hamlet 186-207. She finds the Moor to be "a mixture of black and tawny, of negroid and Arab; he is almost any colour one pleases, so long as it permits his easier isolation and destruction" (197). [Return to text.]
3There are other disparities in this production. Montano, "the gravity and

stillness of [whose] youth/ The world hath noted" (2.3.183-84) looks older than Brabantio. The much-admired references to Renaissance paintings seem equally misplaced, as though this were a Tom Stoppard fantasy in which a Shakespearean performance wanders in and out of art galleries, disturbing the patrons. On this last subject, Michele Willems argues cogently in "Verbal-Visual, Verbal-Pictorial or Textual-Televisual? Reflections on the BBC Shakespeare Series" that the richness of the pictures "may interfere with the reception of the text" (100). [Return to text.]
4Martin L. Wine discusses "Television Othello or The Play of Iago" in

Othello: Text and Performance 73-80. [Return to text.]

5One of the many ironies in Othello's theatrical history is British Equity's

refusal to allow "the great black American actor, James Earl Jones, to play the title role" (Henry Fenwick, The BBC TV Shakespeare: Othello 18) in a play which is, among other things, about the exclusion of outsiders. [Return to text.]
6Olivier's Moor of Venice has been criticized as a stereotype. As

Jonathan Miller puts it, "His portrait is made up of all the ludicrous liberal cliche attitudes towards Negroes" (qtd. in Foster Hirsch, Laurence Olivier 127). Interestingly, the same objections were voiced against Olivier's Jew of Venicein a production directed by Jonathan Miller. [Return to text.]
7Olivier undercuts the idea of the elaborate impersonation, pointing out

that the famous walk was invented on the first night of the performance as a means of keeping his big toes from standing straight up when he got excited (Confessions of an Actor 271-72). [Return to text.]
8John Simon is not alone in his objections to Leavis. Norman Sanders,

editor of The New Cambridge Othello, says Leavis' "essay on the play has had far too much influence owing to his great authority as a critic of poetry and the novel, and despite the fact that his remarkable gifts are clearly of the type that makes him about as naturally incapable of appreciating drama as it is possible to be" (23). For other critics on this side of the argument, see the following note. [Return to text.]
9Those critics who support this interpretation include (among many

others) John Holloway, The Story of the Night; Helen Gardner, "The Noble Moor" and "Othello: A Retrospect, 1900-67"; Martin L. Wine,
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Othello: Text and Performance; Marvin Rosenberg, The Masks of Othello; and Norman Council, When Honour's at the Stake. [Return to
text.]
10See Michael Long, The Unnatural Scene: A Study in Shakespearean

Tragedy 40-41. [Return to text.]

11Northrop Frye in Fools of Time treats the play as a tragedy of

isolation, not passion. He says, "The simplest and starkest account of the isolating of an unreflective temperament, however, is Othello" (102). [Return to text.]
12Interestingly, in Orson Welles' very filmic rendering of the play, Iago,

deprived of soliloquies, concentrates only on winning the confidence of his dupe of the moment. [Return to text.]
13See, for instance, Carol Jones Carlisle, Shakespeare from the

Greenroom 217-40; Marvin Rosenberg, The Masks of Othello 178-79; and Bob Peck, "Othello" in Shakespeare in Perspective Volume 2.
[Return to text.]
14Richard S. Ide's Possessed With Greatness: The Heroic Tragedies of

Shakespeare and Chapman is a book-length study of the soldier-hero.

[Return to text.]

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