He promotes Iago to lieutenant and resolves to punish his wife. Vengefully, Iago asserts that Desdemona and Cassio are having an affair. Iago is bitter because Othello has promoted another soldier, Cassio, to lieutenant, while he remains Othello’s ensign and confidant. In a voice-over, he explains the events that have happened before the start of the play and begins with Iago’s frank admission, “I hate the Moor.” Indeed, Iago’s hate for Othello sets the play’s plot in motion. Welles dispenses with the bulk of conversation. Shakespeare’s “Othello” opens with a lengthy conversation between Rodrigo, a Venetian nobleman, and Iago, a soldier, about Desdemona’s marriage to Othello, the titular Moor of Venice. He creates an “Othello” that is stark and unexpectedly moving. While his actors are costumed in Elizabethan attire, Welles brings this timeless drama of jealousy and deceit into sharp focus. He cuts Shakespeare’s work down to 93 minutes, removing the ribald humor and superfluous subplots. Yet, “pomp and circumstance” also seems antithetical to Welles’s artistic vision. Finally, when he could not find more money to keep filming, he edited the footage he had together. Welles shot “Othello” intermittently for three years. This choice may have been dictated by the circumstances of the film’s production. The first film that Welles completed in Europe was his 1951 adaptation of William Shakespeare’s “Othello.” Although Shakespeare describes the “pomp and circumstance of glorious war” in “Othello,” Welles’s film has very little of the pageantry that features in other filmmakers’ Shakespeare adaptations. The answer to this question is that he continued making masterpieces.
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