How Orson Welles resurrected the spirit of Othello in Moroccohttps://en.majalla.com/node/304891/culture-social-affairs/how-orson-welles-resurrected-spirit-othello-morocco
How Orson Welles resurrected the spirit of Othello in Morocco
Essaouira, a Moroccan coastal gem, was the backdrop of Orson Welles' "Othello," a financially troubled cinematic masterpiece that won the Palme d'Or at Cannes in 1952.
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Essaouira, Morocco.
How Orson Welles resurrected the spirit of Othello in Morocco
It’s the love story of a filmmaker and a city: American visionary director Orson Welles partially shot Othello in Morocco’s Essaouira, firmly placing it on the cinematic map – and falling in love with it in the process.
The 1951 Palme d’Or-winning Shakespearean film cemented the picturesque Essaouira as one of the world’s most sought-after filming locations for dramas, period pieces, and fantasy epics.
Welles adored Essaouira, too.
It saved him from an exceedingly rough spot; the film’s production had been marred with financial turmoil – an Italian producer pulled out of the project, as well as French contributors, costume designers, and set engineers.
Othello.
But Essaouira alone stood unwaveringly by Welles, shattering his expectations. It provided an essential backdrop for his ambitious vision, which the director had to realise through modest means, stubborn determination and pure innovation.
Essaouira, with its labyrinthine castles, towers, and walls hugging the sea, became Welles’ saviour.
The city’s dedicated community of traditional craftsmen, artisans, and seafarers stepped up to the plate, infusing the project with life and showcasing the resilient power of creativity.
It's the love story of a filmmaker and a city: American visionary director Orson Welles partially shot Othello in Morocco's Essaouira, firmly placing it on the cinematic map – and falling in love with it in the process.
Unconventional approach
According to Welles, Othello was originally set to be an opera film, a suggestion that came from the film's original producer. The idea was inspired by Giuseppe Verdi's Otello, an opera based on Shakespeare's masterpiece.
However, when the producer saw that Welles was skirting the operatic concept in favour of a more cinematic approach, he refused to stay involved with the project.
Despite the budgeting nightmare that the Italian's exit created, Welles persisted.
He sought a French production company, having already selected Victorine Studios in Southern France for shooting indoor scenes, while Venice and Essaouira stood tall in outdoor scenes.
Many critics and historians speculated that a cash-strapped Welles chose Essaouira to save money, having been abandoned by one producer after another. Faced with few alternatives, Welles relied on his own private production company.
Orson Welles during the making of Othello in Essaouira, Morocco circa 1950 pic.twitter.com/VlfN4WLy
During that time (1948-1951), Morocco was a filmmaker's haven, free of bureaucratic complications and expensive filming contract requirements.
Welles quickly obtained the necessary permits, only to face another issue: once the project kicked off, there was a glaring lack of commitment and punctuality in the costume design department, due to depleted funds.
That failed to deter the then-36-year-old director.
Within the bustling environment of Essaouira, then known as Mogador, Welles sought the help of local artisans and craftsmen. They weaved costumes from jute, fashioned shields from sardine boxes, and contributed to the peculiarity and vibrancy of many scenes by joining the cast as soldiers and other extras.
Within the bustling environment of Essaouira, 'Othello' director Orson Welles sought the help of local artisans and craftsmen. They weaved costumes from jute, fashioned shields from sardine boxes, and joined the cast as soldiers and other extras.
Othello's Moroccan origins
However, there was more to Welles choosing Essaouira than just money.
First, there was a spatial alignment between the city and the film's scenario, which unfolds between Venice and Cyprus.
But more importantly, there was a historical and anthropological reason behind choosing Essaouira as a key setting: the character of Othello himself, who has roots in North Africa, particularly Morocco, as evidenced by his dark skin and renowned title of Moor.
Orson Welles and Suzanne Cloutier in The Tragedy of Othello: The Moor of Venice (1951).
Indeed, the titular protagonist of Shakespeare's 1622 play was a popular Moroccan leader serving as a Venetian general. His grace, strength and military prowess charmed Desdemona, the daughter of a nobleman in town.
The Senate entrusted Othello with leading an army to fight the Turks in Cyprus, but soon the story turned tragic when his jealous flag bearer, Iago, told him of Desdemona's adultery with Cassio, Othello's trusted aide.
The unfounded accusation led to Othello murdering his wife and ultimately taking his own life.
Most of the plot and characters of Shakespeare's play are originally based on a tale found in Italian writer Giraldi Cinthio's 1565 book, Hecatommithi. There, Othello is called 'Il Moro', a common description of North Africans, particularly Moroccans, during that period.
Thus, despite deviating from the original character's name, Shakespeare did preserve his Moroccan origin. Some even suggest that Shakespeare drew inspiration for Othello from Abd al-Wahid bin Masoud, the Moroccan ambassador to Queen Elizabeth I at the time.
Welles as Othello
Welles' movie picks up where Shakespeare's play left off: a solemn funeral for Othello and Desdemona. The haunting opening scene is masterfully shot against the backdrop of Essaouira's port castle, which represents the island of Cyprus.
The ominous castle on the rocky shores of the sea forewarns the audience of dark, complex, and tragic events to come.
What makes this cinematic offering even more unique is that Welles himself portrayed Othello, with a performance as impressive as it is compelling.
Orson Welles in the title role in his "Othello."
Welles did whatever he needed to do to match his character's Moroccan-ness, even in terms of skin colour; perhaps the black-and-white cinematography also helped veil the actor's naturally fair and blonde appearance.
All of Welles' efforts paid off in the end.
The film won big at the Cannes Film Festival in 1952, where Welles chose to dedicate his award to Essaouira, acknowledging it as not just a logistical choice, but a natural homage to Othello's intrinsic Moroccan identity.
