Monday, April 28


  • 1:15
  • 3:15
  • 5:15
  • 9:45

$7.50 Member   $13.00 Regular

(1952) As Othello lies dead, a horrified Iago is hoisted above the crowd in an iron cage — and then the play begins. Shakespeare’s classic of jealousy and retribution, as Moorish warrior Welles just can’t stop listening to the insinuations of Micheál Mac Liammóir’s Iago, in one of Welles’s most dazzlingly visual works, from its baroque Venetian beginning; to the windy, sun-splashed battlements of Mogador; to the stunning murder sequence in a Turkish bath (improvised when costumes failed to appear). Despite a chaotic shooting schedule, even by Welles standards (production spanned three years, several countries, and three Desdemonas; Suzanne Cloutier, the last, later married Peter Ustinov), it still took the Grand Prize at Cannes. Presented as part of “Celebrate Shakespeare 2014!,” commemorating the 450th anniversary of the Bard’s birth. Approx. 95 min. DCP restoration.




“A BROODING EXPRESSIONIST DREAM! May be the greatest Shakespeare film!”
– Jonathan Rosenbaum

– Village Voice

“A very great Film Noir! Naturally, Welles turned the limitations into strengths. When the costumes didn’t show up, he filmed in a Turkish bath. When an actor couldn’t make it, he used a stand-in and changed his camera angle. When challenged to match footage shot in Mogador and Venice, he contrived dazzling webs of montage. This is Shakespeare filmed with love and powerhouse enthusiasm, never with reverence.”
– Tony Rayns, Time Out (London)

“Cinematically, Welles’ production of Othello cannot be improved. Each scene is a triumph of design. Although we are sometimes conscious of effect for effect’s sake, the knowledge in no way diminishes the effectiveness... The film’s tempo carries you along like a tidal wave. The actors are in constant competition with the camera, and the camera is always winning. No emotional conflict (save the major one) is ever quite as impressive as San Marco Square at dusk or a shot of the Venetian waters.”
– Charles Markowitz, The Village Voice (original 1956 review)

“Imbued with Welles’ trademark inventiveness and dramatic force; Welles plays Othelllo in Moorish makeup and his longtime friend and mentor Micheál Mac Liammóir is a serpentine and obviously gay Iago. Suzanne Cloutier is the faithful Desdemona — her reputation is poisoned and life blighted by the venomous Iago, guiding his hated master slowly but surely down the path to madness and murder. ‘Othello’ has been filmed numerous times, but never with such extraordinary visual grace and power.”
– Michael Wilmington, Chicago Tribune