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This photo depicts Sax’s modern adaptations of Ben Jago (Christopher Eccleston; left) and John Othello (Eamonn Walker; right). Sax’s decision to have the film occur in modern day London had a negative impact on the film.
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This photo depicts Sax’s modern adaptations of Ben Jago (Christopher Eccleston; left) and John Othello (Eamonn Walker; right). Sax’s decision to have the film occur in modern day London had a negative impact on the film.
Othello: de-canonised by Sax’s mutilation
Jaqueline Bhagwan investigates the devastating effect of Geoffrey Sax’s interpretation of one of Shakespeare’s canons.

Ironically, Sax’s modern-day interpretation of Othello could be classed as a tragic movie. Othello is written by, arguably, the greatest playwright in history, Shakespeare. Sax’s modern outtake of Othello uses a contemporary backdrop, yet it fails on many occasions to capture the true essence of Shakespeare.
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In his attempt to make the play his own, it seems as though Sax fails to impart the best of himself.
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In his attempt to make the play his own, it seems as though Sax fails to impart the best of himself.
Though Sax utilised a great cast, he was unable to effect the epitome of each character: his lacklustre version doesn’t fully translate the forth-righteousness of Othello (played by Eamonn Walker), the depth of Iago’s (Jago, played by Christopher Eccleston) manipulation and the integrity of Desdemona (Dessie, played by Keeley Hawes).
It’s not just the characters: the lack of Elizabethan speak detracts from the Shakespearean gusto that many of the Shakespearean purists come to expect. It has been said that artists, whether they be painters, actors or directors,