Welles is a capable Shakespearean actor, though his penchant for grand theatrical gestures is occasionally misplaced in the more intimate medium of film. By dwelling on ceremony and procession, Welles accentuates the conflicts that bedevil Othello, a character who feels socially inferior and unworthy of Desdemona's love.
The black-and-white cinematography is sterling, while the aggressively angular shots keep the audience a little off-balance throughout. Somehow, despite these problems, Welles put together a visually exciting accompaniment to the aural delight of Shakespeare's words.
Lastly, by omitting reams of material, inserting scenes of his own (such as the funeral procession that bookends the film), and rearranging several others, the 91-minute film has an assertively Wellesian stamp on it.
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An ever-changing cast (many could not commit to the on again/off again production) further inhibited Welles' ability to pull together a cohesive and coherent film. McBride not only provides fascinating glimpses of other unfinished film projects such as The Deep, Orson’s Bag, The Merchant of Venice, and Moby Dick but also those fascinating documentary essays such as F for Fake, Filming Othello (1978), and the unedited Filming The Trial (1981) where Welles combines various strands of form, meaning. When their first plan, to have him accused of witchcraft. After a woman is found fatally overdosed, a rumor spreads. Many of the actors were unavailable to dub their parts, so Welles himself voiced their characters. He allies himself with Iago (Micheál MacLiammóir), who has his own grudge against Othello, and the two conspire to bring Othello down. The Orson Welles radio dramatization of the Agatha Christie story. Unable to afford adequate sound equipment, Welles was forced to post-synchronize the dialogue (as he had with Macbeth), but the dubbing is disconcertingly haphazard. Beset by financial problems, Orson Welles' 1952 production of Shakespeare's play took nearly four years to complete.
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