Any schoolboy Shakespearean or home movie-maker can fault this Othello … in a dozen ways. Its narrative goes by such fits and starts that it is often hard to follow the story. The cutting of the text seems often merely perverse: key scenes are excised and minor ones inflated disproportionately. Identifications and explanations are forgotten; raw edges abound. The poetry of this most poetic play seems deliberately obscured, while the rough post-synching and the variable quality of the sound make the clearest voices at times unintelligible.
It is so easy to see these things. It is too easy to rejoice in our own fine discrimination in catching so considerable an artist as Welles tripping, to...
(The entire section is 417 words.)