At the end of three, the two men, remarkably enough, shouted, in unison “mandolins!” Mandolins it would be for Welles’ adaptation of Shakespeare’s Othello. Scoring a steam bath scene, neither great mind was satisfied with the melodramatic score Lavagnino had written thus far, and agreed that they’d sit in silence, count to three, and blurt out whatever came to mind.
It would be hard to predict an amazing moment between Welles and Francesco Lavagnino, one half of the film’s composing team. He also asserts, without explanation, that “no one connected with the picture knew what would be happening from one day to the next.” Higham claims that a shot in which Welles had to smack Cloutier in the face was particular arduous, since Cloutier would flinch with each take. They were then shooting in Venice, and would soon move to Rome. Betsy Blair did some shooting, but was replaced by Cloutier in August of ‘49. Welles briefly considered Cecile Aubry, and then mounted a protracted search. She spoke little English, and ultimately was scratched. The first candidate was Italian Lea Padovani, with whom Welles was locked in a passionate affair. He was an old friend of Welles’s, but he thought of acting on the screen as slumming, later telling Welles biographer Charles Higham that Hollywood was “a collection of shacks at the end of a poisoned rainbow.”Īs for Suzanne Cloutier as Desdemona, she was chosen at the end of a long process. The film also stars Suzanne Cloutier and Micheal MacLiammoir. Welles plays the title role in this 1952 Shakespeare adaptation, which he also directs.
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