This film could have been one of the best opera movies ever, if only Zeffirelli had refrained from interfering with not only the musical score, apparently to cut down the length to standard two-hour movie time (which is bad enough), but with the contents of the opera as well. His version blatantly suggests that Cassio was indeed somehow interested in Desdemona (on which level remains vague) which is simply not the case.
This suggestion deprives the piece of the particular level of insanity that Otello's actions bear. It is very important that Otello's jealousy has indeed no basis in fact but is solely propelled by means of Iago's evil insinuations. In my opinion it is a rather cheap attempt by Zeffirelli to wring more "movie drama" out of a piece that already is so dramatic it doesn't need the "enhancement".
As for the length, the opera normally runs for 2 hours and 20 to 30 minutes, which is not unheard of for a movie, and I don't think that people who are interested in an opera film would have said, "if it had been two hours I would have watched it, but two and a half hours is too long" and I doubt that people who are not interested in filmed opera would have been more willing to watch it for the reduced length. For someone who loves this particular opera it is very painful to see and hear it mutilated like that (Zeffirelli has proved with the Traviata film that you can slightly reduce the score in a manner that is much less offensive).
As for the acting, he couldn't have chosen a better cast. Placido Domingo, having been in his prime at the time, is a rare example of an opera singer able to apply just the right amount of subtlety required by the occasion. Whereas other singers tend to overact in a medium that is defined by a much closer look on the actions and expressions of the actors he gives a very moving, very convincing performance, always aware that no excessive gestures are needed, instead making you believe that the character is a real person. His singing is beyond reproach or criticism, the voice has a beauty you rarely find in other tenor voices of the time. Katia Ricciarelli is also very good and moving, although her performance slightly leans toward the theatrical approach. Justino Diaz is convincing enough as the villain and obviously enjoys the role which adds to the altogether gripping feel of the movie. The setting, production design and costumes are at the usual level of Zeffirelli's well-known naturalistic directorial approach and attention to detail, which I rather like in opera movies. To sum it up, I wish he hadn't tempered with the opera but instead had shown a little more faith in and respect for Verdi's work.
This suggestion deprives the piece of the particular level of insanity that Otello's actions bear. It is very important that Otello's jealousy has indeed no basis in fact but is solely propelled by means of Iago's evil insinuations. In my opinion it is a rather cheap attempt by Zeffirelli to wring more "movie drama" out of a piece that already is so dramatic it doesn't need the "enhancement".
As for the length, the opera normally runs for 2 hours and 20 to 30 minutes, which is not unheard of for a movie, and I don't think that people who are interested in an opera film would have said, "if it had been two hours I would have watched it, but two and a half hours is too long" and I doubt that people who are not interested in filmed opera would have been more willing to watch it for the reduced length. For someone who loves this particular opera it is very painful to see and hear it mutilated like that (Zeffirelli has proved with the Traviata film that you can slightly reduce the score in a manner that is much less offensive).
As for the acting, he couldn't have chosen a better cast. Placido Domingo, having been in his prime at the time, is a rare example of an opera singer able to apply just the right amount of subtlety required by the occasion. Whereas other singers tend to overact in a medium that is defined by a much closer look on the actions and expressions of the actors he gives a very moving, very convincing performance, always aware that no excessive gestures are needed, instead making you believe that the character is a real person. His singing is beyond reproach or criticism, the voice has a beauty you rarely find in other tenor voices of the time. Katia Ricciarelli is also very good and moving, although her performance slightly leans toward the theatrical approach. Justino Diaz is convincing enough as the villain and obviously enjoys the role which adds to the altogether gripping feel of the movie. The setting, production design and costumes are at the usual level of Zeffirelli's well-known naturalistic directorial approach and attention to detail, which I rather like in opera movies. To sum it up, I wish he hadn't tempered with the opera but instead had shown a little more faith in and respect for Verdi's work.