Orson Welles's second Shakespearean film and first European one. It was shot over a period of three years, with Welles taking time off for fund-raising appearances in things like The Third Man and The Black Rose. The soundtrack particularly suffered, and it still sounds dreadful after its "refurbishment" of 1992: fuzzy-edged, disembodied. The look of the thing is another matter: the high angles and low, the tilted cameras, the silhouettes, the chiaroscuro. In sum, that undiscriminating style that jazzes up and scuffs up the classics (Macbeth, Falstaff, The Trial) just as it fancies up and puffs up pulp (Lady from Shanghai, Touch of Evil, Mr. Arkadin). The obligatory blocks of poetry do tend to get in the way -- though the text has been decimated -- and Welles the actor looks like he might have been cleaning the chimney but doesn't look like any Moor. (1952) — Duncan Shepherd
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