UnowPriceless hyped garbage

Aneesa Wardle The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

Allison Davies The film never slows down or bores, plunging from one harrowing sequence to the next.

Ginger Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

oOoBarracuda Oliver Parker directed the 1995 version of William Shakespeare's Othello starring Laurence Fishburne in the titular role. This version also boasts the acting talent of Kenneth Branagh as the antagonist. Enraged that he has been passed over for a promotion, Iago develops an elaborate plan to strike revenge against the man who passed him over, Othello. Presenting the danger of isolation as a master manipulator takes advantage of another man, Othello plays out a cautionary tale of power and struggle.Iago (Kenneth Branagh) is furious that his loyalty and civility has been overshadowed by another, and he instantly begins devising an elaborate plot to seek revenge against Othello and bring about his downfall. Becoming obsessed with his master plot, Iago develops a narcissistic addiction to bringing about Othello's downfall.The highlight of this film is the acting of Kenneth Branagh's Iago. He plays the role in a deliberate calculating method, just as the character begs to be played. Laurence Fishburne's turn in the titular role was excellent as well. the action is centered around Fishburne, but he is a secondary character to that of the manipulator Iago. Fishburne plays this distinction well and the film prospers from his lead role.Days ago after my initial viewing of this film, I thought it was wonderful; after taking some time to process it, however, I think it was pretty forgettable. Initially, I thought the wall-breaking of Branagh was a fun way to engage the audience, but otherwise, I wasn't much engaged. As good as Branagh's Iago was, it was played differently than I imagined from the Shakespeare original. He was much closer to the Desdemona (Irène Jacob) character than I ever thought he was in the play. This may be the most faithful adaptation of Othello, but the characterization was different than I ever expected.

Jackson Booth-Millard It wasn't actually my choice to watch this film based on the story by William Shakespeare, it was part of a study in Secondary School. It wasn't directed by him, but I really like Kenneth Branagh in this film. Basically in the old days of England, black people weren't liked that much and were mostly slaves, and Othello (The Matrix's Laurence Fishburne) was a black man who tried to possibly become hero or king, whichever, of Denmark. At the same time, with his villainous lying skills, the nasty bastard servant Iago (the very well cast Branagh) tried to become king himself, and get people against each other. There are some good bloody moments, and good acting, I suppose I would want to see this again for my own purposes. Worth watching!

Jonathon Dabell Director Oliver Parker wanted to make Othello a more "pacy" story, so he omitted quite a lot of the original text when writing this version for the screen. Luckily, the cuts and alterations that he has made do little damage to the old Shakesperean chestnut. I wouldn't say that any of the tweaks are particularly for the better, but the essence of Shakespeare's tale of envy, jealousy and deceit is so powerful that it would take a bungling fool - an Ed Wood wannabe, for instance - to rob it of its power. The weighty themes shine through as strongly as ever in this latest presentation. Laurence Fishburne plays the titular character, a renowned Moorish soldier. His courage has impressed young Venetian lady Desdemona (Irene Jacob) and the pair of them secretly marry. However, her father is displeased by this secret ceremony and he warns Othello that if she can deceive her own father then she may one day do the same to him. One of Othello's soldiers, Iago (Kenneth Branagh) fails to get a promotion of rank which he feels he deserves, and to gain revenge he engineers a series of lies and incidents designed to convince Othello that his wife is being disloyal to him by fornicating with another man. Inevitably, viewers may find themselves comparing this version with other productions. How does it rank alongside the 1952 Orson Welles version and the 1965 Laurence Olivier one? To be honest, it depends upon the viewer. Purists would probably opt for the Olivier offering, since it is only very slightly abridged and contains such strong performances that all four lead actors earned Oscar nominations. Film buffs might go for the Welles version, with its moody b&w lighting and a now-classic murder scene, not to mention the fact that the production history itself is as fascinating as the story. This version will undoubtedly find favour with viewers more inclined towards modern tastes. It has high production values, a sweeping score, accessible delivery of the lines, flashy photography, and "cool" stylistic touches (Fishburne's head tattoo, for instance). Personally, I feel the 1952 Othello will always be the benchmark, but this one is reasonably well made and it compares quite favourably with other versions.

betsywetsy This film is violent, prurient, and exploitative. It is unjust. It is needed that a great actor should be Iago, but here in this perfect performance from Kenneth Branagh, we are abused. We are shorted our Othello. The camera lingers on handsome Iago, catches his every thought - but the Moor is more a distant spectacle, meted more thriftily the camera's time and the microphone's. We see him feast, dance, fight, consummate his vows, but we don't get the Promethean heat. Our hero is tormented by salacious visions, unnecessary, over-long, and ineffective. Fishburne is obviously comfortable with Shakespeare and capable of the range of emotions, but he stays too aloof, too formal. He is most tormented by the mere idea of Desi's disloyalty, tbe matter of proof and of her more incriminating acts are de-emphasized, and doubt (of Iago) holds no place. All pathos is Desdemona's and much of hers taken, too. The music is quite good, including Iago's and Desi's songs. Roderigo and Cassio well done. Desdemona has an annoying accent and too much of a single look - very young and innocent. Emilia quite good. The whole doesn't hold together. I love Branagh, I think Fishburne could do better, but Orson Welles is still the standard for Othello, piteous, subtle, a man driven by irresistible suggestion, whereas Fishburne seems willingly to go along, and kills more violently than gently and regretfully. Perhaps it is an unwhitewashed Othello...